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forbidden-sunlight · 3 months

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yandere!Alastor with Violet Evergarden!reader scenario

Warning: aged-up!reader [in early to late twenties], obsessive behavior, implied violence, implied emotional and physical abuse, implied brainwashing, knowledge based on spoilers from the first two episodes of the 2024 series.

There may be possible triggers in this story.

If you do not feel comfortable venturing any further, please hit the 'back' button on your device or computer and read something much more pleasant than a possible series of unfortunate events.

You are responsible for your own Internet consumption!

Hey guys, welcome back to another Hazbin Hotel fic, starring Hell's one and only Radio Demon, Alastor! This is a collaborative piece written with @isuckatwritingsobenice, whom I share a mutual adoration for Violet Evergarden, the anime and titular character who is in my humble opinion, one of the best written female protagonists I have seen in anime.

As always, bullying is not tolerated here. If you have nothing nice to say, please do not say it. Furthermore, if you believe the warnings listed above will make you uncomfortable, please leave now.

For those who have decided to stay, sit back, relax, and let's see what's going for tonight's broadcast :)

Alastor is someone who thrives on entertainment and chaos. Seeing the scourge of Hell striving to redeem themselves in Charlie’s hotel, only to fail as soon as they gave into the vices they’ve been trying to cure themselves of? That’s the only reason he agreed to help the princess with her passion project. He needed some inspiration after lacking it for so many decades!

When you had arrived at the hotel with nothing except the clothes on your back and a suitcase that protected your precious Remington typewriter, the Radio Demon would not deny that he was amused to see a sinner who actually saw his advertisement on the television. After all, no one was taking Charlie seriously, and who would? Apparently you did, but for a different reason: you were looking for a job, a purpose. You said so in the interview, and you were willing to learn. When Vagatha asked what would be considered a flaw in your work ethic, you took off your leather gloves and showed her and Charlie the alloy prosthetics that acted as your new limbs after losing them in the war.

Why you still had them and why your appearance was wholly human, you did not know. Would this be considered a flaw? You were not sure either. You are still learning about modern technology, especially the handheld devices called cell phones.

Although the staff was in dire need of someone who could advertise the Hazbin Hotel on the Internet, the princess found something you could do and might be adequate at: gardening. More specifically, being the hotel’s groundskeeper. Someone who can maintain the hotel’s outward appearance and make sure the hell-grass or weeds don’t get too out of control. You stood up from your seat, feet planted together and saluted Charlie, promising that you will do your best in a monotone voice.

The poor dear did get a little flustered from your actions, but Vagatha did not seem to mind, asking you to follow her upstairs so that she could show you your new room and give you the key. Your first day will be tomorrow.

Oh, this will be fun~! Alastor thought with a wide grin. Someone new to antagonize and watch fall into the fiery pits of failure! Husk was starting to bore him anyway.

And he was not disappointed.

He saw you struggle with holding a garden spade, laying down carpets of fresh grass neatly without trying to crush it between your prosthetic limbs, carrying fertilizer and what flowers to plant! These entertaining events happened within the first week of being here. Is he sorry that his shadows purposely swapped the fertilizer bags and replaced the seed bags to plant roses with rat bait? Absolutely not!

The more chaos that he created, the more entertained he will be. The anticipation to see you crumble from the pressure and expectations of dear Vagatha and Charlie is almost palpable, he couldn’t wait!

However, you were not someone who gave up as easily as he hoped you would.

You kept showing up every day at the exact time, and worked in the garden until Niffty had to drag you inside to have lunch. Then you stayed outside for a bit longer, making sure everything was ready for the following day. You even tried to help out in the kitchen, though you were still struggling to properly hold a knife and chop up vegetables for his jambalaya or cracking eggs in a bowl to help Niffty bake a cake at nine o’clock in the evening because she was bored and wanted something sweet.

You carried heavy crates of liquor for Husk and even massaged his temples when he complained of a headache. When you discreetly switched out the liquor in his booze for water one time he held a grudge against you for pulling that stunt for almost a week. He eventually forgave you by preparing a Shirley Temple on the house after you politely rejected a whiskey on the rocks because you did not drink alcohol.

Sir Pentious, the wannabe overlord, was utterly fascinated with your prosthetic limbs and had asked you to let him examine them. That comment earned him a low, menacing growl from Vagatha, spear in hand. The Egg Bois seemed to like you well enough that they tried to help you out in the garden when all they really did was make your job a bit harder. You still thanked them anyway.

Angel Dust tried to take you shopping for a new wardrobe since you always wore the same outfit every day, but his definition of fashion bordered on risque and flaunting his assets. You were not here to flaunt your appearance, you were here to work, but you thanked him anyway. When he came back to the hotel, staggering inside on wobbly legs and his face covered in black-blue bruises, you were the one who caught him and helped him settle on a table as Husk pulled out a first aid kit. You allowed Angel to put all four of his arms around you and cry on your shoulders, carefully placing your skeletal prosthetics around his back.

How is it that a single sinner could empathize with everyone here except him?

This singular thought, this curious idea, is what motivated Alastor to find out more about you. And there is no else in Hell who can spill the tea on someone as accurately as his dear friend Rosie.

A trip to Cannibal Colony was in order~! So he did go there, proclaiming he’ll be back before dinner and ignoring Vagatha’s cursing as well as the princess trying to calm down her short-tempered lover.

As it turned out, he had heard about you, it’s just that the topic in question did not interest him at the time. Rosie conjured up some old newspaper clippings, pointing at the image of you fighting against an exorcist in hand-to-hand combat during the Extermination. This article had been written five years ago, and the one before that? Three years ago. It seemed like you were simply at the wrong place at the wrong time, and you fought back because that is what your life had been before; surrounded by violence, vanquishing enemy forces when they crossed your path. Yet when you did make an appearance, everyone in Hell clamored for any scraps of information. Anything to find out who is the mysterious sinner who looked like a human and could rip off an exorcist’s head bare-handed.

Now, you were staying at the hotel trying to put whatever remained of your afterlife together. That is your true purpose and now the Radio Demon knew.

Alastor thanked Rosie for the information and the company, leaving Cannibal Colony in a merry mood. Everything was in place. Everything made perfect sense now.

If you were looking for a way to be useful in his newest project, he can make that happen. All he needs to do is nudge you in the right direction without Charlie and Vagatha around.

They are adorable when they are taking turns being a guard dog around you, you sweet little darling~.

Taglist

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@imperfectbloodmoon

@doc-tooth

@nixie-writes

@riddle-simp

@tired-of-life-86

@blackmageoffandoms

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writingwithcolor · 6 months

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Non-offensive Historical terms for Black people in historical fiction

@pleasespellchimerical asked:

So writing historical fiction, with a white POV character. I'm not sure how to address race in the narration. I do have a Black main character, and I feel like it'd feel out of place to have the narrator refer to her as 'Black', that being a more modern term. Not sure how to do this without dipping into common historical terms that are considered racist today. Thoughts on how to handle this delicately, not pull readers out of the narrative? (fwiw, the POV character has a lot of respect for the Black character. The narration should show this)

There are non-offensive terms you can use, even in historical fiction. We can absolutely refer to Black people without slurs, and if slurs is all one can come up with, it’s time to go back to the drawing board. I cannot say which terms are best for your piece without knowing the time period, but hopefully the list below helps.

Historical terms to use for Black people (non-offensive)

African American documented as early as 1782 (documented in an ad in the Pennsylvania Journal). Note the identity isn’t accurate for non-American Black people.

African could refer to African people or “from 1722 as ‘of or pertaining to black Americans.’”

The place of origin could also be used. For example, “a Nigerian woman”

Africo-American documented as early as 1788.

People of Color documented as early as 1796 (with specific contexts, usually mixed people)

Afro American documented as early as 1817, 1831 (depending on source)

Black American documented as early as 1831

Black was used in Old English to refer to dark-skinned people. Black was not capitalized until recent years, so “She was a young black woman.” would make sense to say, though “She was a young Black woman.” is the better standard today, although not universally adopted. I personally prefer it capitalized.

Moor was used as early as the late 1400s for North African people, but had a somewhat flexible use where anyone visibly Black / Of African descent or the Afro Diaspora might be referred to or assumed as a Moor. Note, it has other meanings too, such as referring to Muslim people, but that doesn’t mean the person using it is going by the dictionary definition. Not really the way to go today, but okay in a historical setting (in my opinion).

Biracial (1860s), mixed race (1872), multiracial (1903) and multicultural (1940s) are also terms to refer to people of two or more races.

Occupation + description. Throughout history, many people have been referred to as their occupation. For example, the Carpenter, The Baker, the Blacksmith. Here’s an example of how you might go about using occupation and traits to identify a Black character in history. Here’s an example I came up with on the fly.

“You should go by Jerry’s. He’s the best blacksmith this town’s ever seen. Ya know, the real tall, dark-skinned, curly haired fellow. Family’s come here from Liberia.”

Offensive and less-sensitive terms for Black people

Blacks was used in plural more, but this is generally offensive today (Even writing it gives me **Thee ick*)

Colored was mostly used post-civil war until the mid 20th century, when it became unacceptable. This is not to be conflated with the South African Coloured ethnic group.

Negro/Negroes were also used as early as the 1550s. Capitalization became common in the early 20th century. I'm sure you know it is offensive today, though, admittedly, was not generally seen as such until around the 1960s, when Black replaced it. It does have its contexts, such as the trope “The Magical Negro” but going around using the term or calling someone that today is a lot different.

Mulatto referred to mixed people, generally Black and white, and is offensive today.

The N-word, in all its forms, is explicitly a slur, and there is absolutely no need to use it, especially in a casual manner, in your story. We’ve written about handling the N-word and alluding to it “if need be” but there are other ways to show racism and tension without dropping the word willy-nilly.

Deciding what to use, a modern perspective

I’m in favor of authors relying on the less offensive, more acceptable terms. Particularly, authors outside of the race. Seldom use the offensive terms except from actual direct quotes.

You do not have to use those offensive terms or could at least avoid using them in excess. I know quite famous stories do, but that doesn’t mean we have to so eagerly go that route today. Honestly, from teachers to school, and fellow non-Black students, it’s the modern day glee that people seem to get when they “get a chance to say it” that makes it worse and also makes me not want to give people the chance.

It goes back to historical accuracy only counting the most for an “authentic experience” when it means being able to use offensive terms or exclude BIPOC from stories. We’ve got to ask ourselves why we want to plaster certain words everywhere for the sake of accuracy when there are other just as accurate, acceptable words to use that hurt less people.

Disclaimer: Opinions may vary on these matters. But just because someone from the group cosigns something by stating they’re not offended by it, doesn’t mean a whole lot of others are okay with it and their perspectives are now invalid! Also, of course, how one handles the use of these words as a Black person has a different connotation and freedom on how they use them.

~Mod Colette

The colonial context

Since no country was mentioned, I’m going to add a bit about the vocabulary surrounding Black people during slavery, especially in the Caribbean. Although, Colette adds, if your Black characters are slaves, this begs the question why we always gotta be slaves.

At the time, there were words used to describe people based on the percentage of Black blood they had. Those are words you may find during your searches but I advise you not to use them. As you will realize if you dive a bit into this system, it looks like a classifying table. At the time, people were trying to lighten their descent and those words were used for some as a sort of rank. Louisiana being French for a time, those expressions were also seen there until the end of the 19th century.

The fractions I use were the number of Black ancestors someone had to have to be called accordingly.

Short-list here :

½ : mûlatre or mulatto

¼ or ⅛ : quarteron or métis (depending on the island, I’m thinking about Saint-Domingue, Martinique and Guadeloupe)

1/16 : mamelouk

¾ : griffe or capre

⅞ : sacatra

In Saint-Domingue, it could go down to 1/64, where people were considered sang-mêlé (mixed blood for literal translation, but “HP and the Half-Blood Prince” is translated “HP et le Prince de Sang-Mêlé” in French, so I guess this is another translation possibility).

-Lydie

Use the 3rd person narrative to your advantage

If you are intent on illustrating historical changes in terminology consider something as simple as showing the contrast between using “black” for first person character narration, but “Black” for 3rd person narrator omniscient.

-Marika

Add a disclaimer

I liked how this was addressed in the new American Girl books it’s set in Harlem in the 1920’s and there’s a paragraph at the beginning that says “this book uses the common language of the time period and it’s not appropriate to use now”

-SK

More reading:

NYT: Use of ‘African-American’ Dates to Nation’s Early Days

The Etymology dictionary - great resource for historical fiction

Wikipedia: Person of Color

#Black #terms #words #historical fiction #Black history #Creator Responsibility #racial slurs #slurs #asks

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howtofightwrite · 29 days

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Have you read GRRM books? He claims swords needed to be “especially designed for women’s hands” how true is this?

About as true as all of those, “girl guns.” Because, as you know, a woman cannot hold a Glock unless it's pink or sky blue. Which is to say, not even remotely true.

You might get a situation where a child would be unable to operate a weapon designed for adults because the grip is too cumbersome, but even this is going to be something of an outlier. Even years later the Nicholas Cage's line from Lord of War (2005) sticks with me, when describing the AK he narrates, “...so simple a child could use it, and they do.”

Just like basically any other common grip you encounter in your daily life, from screwdrivers to steering-wheels and cell phones, selling smaller, or more colorful ones, is strictly a marketing gimick.

Now, is a legitimate context, but it doesn't really have anything to do with the wielder's sex. If they had the money, the time, and the desire for a perfect grip, they might commission a smith to produce a grip specifically for their hand. Though, the only place I've ever come across this was in competitive fencing. I have seen cases where someone modifies their blade's grip with tape or other materials to better fit their hand, or the addition of a leather (usually shagreen) wrap over their grip, but even that is somewhat unusual. (Shagreen is leather from a shark or ray, and it grips the skin, making it easier to hold, especially when wet.)

Ironically, girl guns do illustrate the one case where have some weight: Weapons as fashion accessories.

I know I've complained about weapons (particularly handguns) as fashion accessories in previous posts, but the truth is that using weapons like this is not new behavior. In the early modern era, one of the ways the rising middle class liked to display their status was with a sidearm. (In this case, referring to a sidesword or, later, a rapier.) I've looked specifically into women carrying sidearms at that point in history, but it really would not surprise me in the least if they did, and if there were, that at least some of those swords were specifically designed to be more delicate and, “feminine,” per their owner's tastes. (Though, to be fair, a more delicate grip on a rapier would be fairly impressive, as the grips tend to be pretty thin.) This is a case where you might want to look into it further, if it really catches your interest, but I've never really run this down before.

If you're still dubious, feel free to wander into nearly any HEMA event, and you'll have a better than average chance of a woman being willing to prove this idea false with a Zweihander, that may in fact be taller than she is. (Historically, Zwiehanders could be over 2 meters long, and chances extremely good that you're shorter than 2 meters.)

I know I'm regurgitating previous posts here, but it really is worth remembering that swords are much lighter than people think. Zweihanders are some of the heaviest battlefield swords from history, and even the heaviest examples weigh less than 9lbs. Women in HEMA can, and do, use them effectively. Swords aren't about being big and heavy, they're about being a (in this case) seven foot long razor blade.

Since we're on the Zweihander specifically (and this may also apply for some of the other greatswords, such as the Scottish Claymore), this is a case where you might have a custom weapon forged for you. However, in this case, that's more about the right blade length, then worrying about the grip being too thick or too thin. Ideally, you want the blade length to match your height (roughly), this is because of the drills with the weapon itself, though you could adjust to a longer blade if that's what you had.

Now, to be clear, the idea of someone, particularly a noble, having a blade custom forged for them specifically isn't strange. That's something that did happen, both at the noble's request, and also as diplomatic gifts from other nations. Examples of the latter resulted in beautiful art pieces that you would never take into battle.

If you had a situation where you couldn't use a sword because the grip was too large (for, whatever reason), there are ways to fix that. In an ideal situation, you could simply pop off the pommel and grip, and then replace the grip with one that was a better fit to your hand. If the tang itself was the problem (this is the metal core of the grip, and is part of the blade, which the pommel attaches to), you might be able to shave (or file) down the tang, and then replace the grip with a new one, fitted to the now smaller tang. I'm not particularly wild about modifying the tang directly, simply because there is a (minor) risk of reducing the structural integrity of the sword in the process. Though, replacing the grip (especially on a sword with a threaded pommel) is very doable, and unless someone, somehow, screws up catastrophically, it should be a pretty trivial modification. (Again, replacing a sword's original grip with a new shagreen grip does make a lot of sense if the owner wants that improved grip.)

But, to the original question, it's not really a thing.

-Starke

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#writing reference #writing advice #writing tips #how to fight write #starke answers

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cryptotheism · 2 months

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So I was reading a book on the history of double-entry bookkeeping in early-modern Britain today ("A History of the Modern Fact", by Mary Poovey), and the author mentioned offhand that numbers, far from being afforded universal respect in the late 16th century, actually carried pejorative associations with necromancy and black magic. Can you comment on this?

So, for most of human history, math has kinda been associated with magic. The fact that you can write a bunch of shapes on paper, and then manipulate those symbols to make a really good bridge, is kinda fucking crazy when you think about it.

"England in the late 16th century" is right about when John Dee died. It was after his death that his wizard notebooks were discovered and published. The fact that one of the queens most trusted confidants was actually literally trying to talk to angels with magic, was kinda the story of the century. It was around this time that Shakespeare wrote The Tempest, which featured a heavily John Dee inspired Prospero.

Dee's most significant contribution to England was actually his skill at cartography. Simply by correcting some astronomical math and pouring over charts, he figured out how to shortcut weeks off trade routes to India. The relationship between astronomy, mathematics, and Dee being a wizard, was not lost on English pop culture.

So, if you were an old guy in 1626 with a beard who spent all of his time cloistered in a big castle, and all you did was weird math, people might half-seriously speculate that you might be doing some wizard shit.

Additionally, this is a period where many mathematics texts from the Islamicate world were making their way to England. And you've gotta understand that like 25% of these Arabic math textbooks straight up had spells in them. Any English collegiate mathematician at this time would at least be tangentially aware that Islamic polymaths were doing some pseudo-religious stuff with mathematics. But that doesn't mean it was taken seriously beyond commonplace orientalism.

So I'm not sure if I would go so far as to say that numbers themselves had a negative association with magic. Like, accountants had normal boring math to do all the time and nobody cared.

I would say that mathematics were occasionally regarded with suspicion under specific circumstances.

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marzipanandminutiae · 2 years

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articles about the “wild new trend” of piercing from the late ‘50s and early ‘60s are fascinating to read. a selection of excerpts:

- one doctor cautioned that girls with pierced ears would be “required to constantly wear earrings to hide the holes in their heads” (or you could just not be weird about a tiny dot on someone else’s earlobe?)

- Genevieve Dariaux, then director of the Nina Ricci couture house, said in 1965 that “Pierced ears are unthinkable for an elegant woman, and even more dreadful for a young girl.” bear in mind that, as I’ve said, earrings that made your ears LOOK pierced were still common. what the difference was, nobody has yet made plain

- lots of evidence that going to a doctor was the preferred “safe” method for piercing at the time. but many doctors refused to do it, or said they would but that they strongly discouraged patients from having the procedure done. this checks out with my mother’s experience in 1965- her schoolmate’s anesthesiologist father did free piercing for all his daughter’s friends

- some teenagers around 1965 called clip and screwback earrings “chicken earrings” (implying that the wearers were too scared of pain to get their ears pierced, I think)

- one advice column, also from 1965, implied that pierced ears were just a passing fad. the previous several centuries of western history would like a word, Mx. Columnist...

- A GIRL WITH RESTRICTIVE PARENTS BRINGING UP THE ARGUMENT THAT HER GRANDMOTHER HAD PIERCED EARS. YES. FINALLY SOMEONE REALIZED THE LOGICAL FALLACIES HERE. the argument against that is, indeed, a sort of “that was the Bad Old Days and we know better now” deal as some other commenters have hypothesized

- one article mentions that the trend could be part of the Victorian revival that was just becoming popular in the mid-60s, which is a fascinating thought I’ve never considered before

- many doctors complaining that they were suddenly being called upon to pierce ears despite not really knowing how. this is interesting, because before the Great Ear-Piercing Taboo, jewelers offering piercing services were more like modern piercers than Claire’s employees (and doctors weren’t involved at all unless an infection set in). descriptions I’ve read of Victorian piercer-jewelers mention a lot of things we’re familiar with today- needles designed with a hollow for inserting the starter jewelry, for example, and even “freezing” solutions to numb the earlobe. so in those early resurgence days, going to a long-established jewelry store for your piercing might actually have been a better option than a doctor’s office

- two young women in a 1964 Canadian article (from Calgary) mention that they think screwback earrings look cheap and gaudy, and the pierced version is more conservative and tasteful, in an interesting reversal of mainstream thought

- a newspaper columnist saying pierced ears give him “the wim-wams,” so they are to be avoided. whatever the hell that means

- a LOT of people seem to think that ear piercing was popular in the Victorian era because wealthy women didn’t want to lose their expensive jewelry. sorry folks- my collection of Victorian costume earrings (all pierced) says otherwise

- much confusion as to why modern girls want to do something so old-fashioned

- one woman marvels at how comfortable it is to wear earrings in pierced ears, as opposed to clips and screwbacks. I feel infinitely blessed, as an earring-lover, to have been born when I could escape the scourge of ear-vises altogether

- apparently an eccentric elderly man on Salt Spring Island, British Columbia, literally bribed all the women of the community to pierce their ears because he liked the way it looked. one of them mentioned that she held out for $25- $244 CAD or $188 USD in today’s money. all because some rich Victwardian codger had a very specific fetish

- this absolutely incredible response of an Indian diplomat’s wife when asked, in New York, why she wore a diamond nose stud: “Because I feel [diamonds] become me more than rubies or emeralds.” QUEEN

- “when the fad changes, as it indubitably will-” are you certain of that, ma’am

#long post #ear piercing #fashion history #retro #vintage #dress history

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canyourfavesurvivecastledracula · 3 months

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Theres a comic where Mickey Mouse survives the castle, but could Donald Duck survive?

If I recall correctly, in the comic the threat was literally spicy paprika...soup? I think it was soup. Dracula was making everyone capsaicin fiends. Mickey was explicitly playing Jonathan Harker and he still didn't get to hit Dracula with the shovel *smh*

Anyway, Donald Duck. I have an ask sitting here somewhere about Daffy Duck as well. Why is it that cartoon ducks just seem to be drawn to suffer? People look at a duck and think what if he could talk (badly) and also the universe hates him specifically? ...although actually having met ducks I do kinda get it. Put that thing in Situations.

Two things that are immediately very funny: the locals not answering his questions because they literally can't understand him and Dracula keeping him an extra month as a language coach. "You English have a saying: *incomprehensible Donald Duck noises* "

So Donald is incendiary, cowardly, petty, and good hearted. That first one is going to get him into trouble except that he definitely knows how to take a beating. He's always being beaten by something or other. I think he will also be very frightened of Dracula, which might keep his legendary temper in check at least for a while. Hiding under the blankets and trying and failing to send letters are two things that I think are very Donald Duck appropriate. I think the people down in the courtyard will get a sound (and inarticulate enough to air on tv) cursing - unlike Jonathan Harker, Donald Duck is allowed to say $*#%

The more I think on it, the more the Castle Dracula sequence lends itself to a Donald Duck style comedy of errors. Imagine his incandescent rage when Dracula takes his stuff. Donald does do the thing of coming on violently and then, finding himself overmatched, completely change tone to deferentially playing nice. And while in his own cartoons it usually doesn't work and he gets badly beaten by whatever overstrong opponent he's offended, I think this is the kind of behavior Dracula would find very very entertaining. Making his prisoner sheepishly put away a giant mallet or whatever and slink away just by raising an eyebrow? It's better than blood.

Donald would absolutely demand to be let go, see A Million Slavering Wolves, and change his mind immediately with that big *dying inside* smile he does. And then as soon as his own door closes throw it open again to shake his fist and swear at the Girlies while they melt away laughing at him.

I think Donald would absolutely hit Dracula with a shovel. It would go bonk. Then he would try a set of increasingly bizarre weapons with no effect - pick-axe, sword from nearby suit if armor, dynamite... it would be a whole thing, before finally slinking away defeated.

He falls off the wall and hits the castle 12 times on the way down, but survives the fall all battered and broken, then is immediately chased by wolves off into the closing credits, swearing and sputtering all the way.

So I believe that Donald Duck can survive Castle Dracula, and now I want to see this cartoon.

I also realized halfway through that I am absolutely basing this off the very early Donald Duck cartoons where he's allowed to be a violent jerk. It is possible that a more modern Donald might fare differently.

#donald duck #cartoons #animals

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a-s-fischer · 9 months

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One of the things I hear a lot from Gentile witches and neo-pagans who want to work with Lilith or claim to work with Lilith, is that she is actually a Mesopotamian goddess, usually either Ishtar/Inanna or Erishkigal, and that it was the Jews, with their horrible patriarchy juice, who slandered her and cast her down, and so the Jews do not deserve to say what happens to her and it isn't antisemitism to work with her, or to completely ignore what the Jews say about what she is in a Jewish context.

Lilith is not Ishtar or Erishkigal. However, there is a Mesopotamian figure that is pretty stinking analogous to Lilith, and is probably her folkloric ancestor, by which I mean the idea of Lilith probably comes from this Mesopotamian figure. In fact, Lilith almost certainly is either a Jewish version of this figure, or, they are both descended from the same Near Eastern and Mediterranean basin folkloric figure. That figure is Lamashtu.

Lamashtu is, much like Lilith, the supernatural embodiment of maternal and infant mortality, a figure of power and terror, who functions as a way to embody and cope with the profound dangers that are pregnancy, childbirth, and infancy without effective medical care. the Mesopotamians never worshiped Lamashtu, but they did seek to appease her, including making symbolic gifts to her, to keep her from visiting them, and killing them or their children.

An interesting side note is that there is also a Mesopotamian figure who specifically opposes Lamashtu and functions as the protector of pregnant women and infants, and that figure is Pazuzu, a wind spirit, who ruled over other wind spirits, including ones called the Iilu in the Akkadian language. Akkadian is a Semitic language, related to Hebrew, and this word is probably a cognate of Lilith, but the Iilu probably have no relationship to the figure of Lilith except her name. You might know Pazuzu as the demon featured in the movie, The Exorcist, and ironic fate for a mythological protector of women and children.

Anyway, if you'll remember, I implied above that the Lamashtu/Lilith figure, was present in various guises throughout the Mediterranean basin and the Near East, so there are of course figures analogous to both of them throughout the region, such as Lamia of Greece, and the Strix of Rome.

So if you really really want to work with a figure who functions as the supernatural embodiment of maternal and infant mortality, Lamashtu, Lamia, or the strix would all be excellent options that don't come from an extant closed religious practice. All the baby killing, none of the antisemitism and cultural appropriation.

While all three figures are almost certainly descended from the same folkloric root, they're all subtly different, because as stories and characters travel, they change. as such, they all have particular good points about them as figures of veneration.

Lanashtu is the OG bad bitch, who commanded fear, respect, and offerings, like a mythological mafiosa, collecting protection money.

Lamia has attached to her the story that she was one of Zeus's dubiously willing lovers, who was screwed over first by Zeus, the embodiment of patriarchical rule, then by a jealous Hera, the embodiment of patriarchal marriage, so if what attracted you to Lilith was the story from the Alphabet of Ben Sira, about a victim of the patriarchy getting her own back through violent vengeance, Lamia might be the girl for you. With her however, the emphasis is less on her murder of children, then on her seducing and eating men, though she does also get strongly associated with killing children, especially boys.

And the strix is particularly interesting, because the word comes down to us in the modern Italian word for witch, striga. Indeed, one of the theories as to where the witch figure came from in Early Medieval, and then Early Modern Christianity, was as the strix demon made human. This might explain the close association between Early Modern Witchcraft and infant mortality, including Italian stories of witches causing infants to die seemingly natural deaths, so that they could dig them up and eat them after their funerals, something that ties these human supposed witches very closely to demonic folkloric antecedents. If you are looking for a figure of unfairly maligned female power, the strix and her close association with later human witches, might be the one for you.

All three of these figures, much like Lilith herself, are reflections, both of the power women wielded even within patriarchal societies, over the process of pregnancy, birth, and childrearing, and also the powers of death and loss that everyone was subject to. There is something powerful, transgressive, and even healthy in acknowledging the fears and dangers presented by this death and loss,and for some people, that might take the form in venerating the underlying powers. If this is something that would be spiritually meaning for you, and you wish to work with such a figure, and you are not Jewish, please respect the fact that Lilith is part of a closed religious practice, and remember that Lilith has sisters, in other parts of the Mediterranean basin and the Near East, who are not from extant closed cultures, and who might serve your needs better anyway.

#a s fischer original #Lilith #jewish #jumblr #witchcraft

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physalian · 27 days

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What No One Tells You About Writing #4 (100 Follower Special!)

Have you got any that deserve to be on these lists? Don’t be shy! Send ‘em over.

Part 1

Part 2

Part 3

*This list contains mentions of assault, #4

1. Zero cursing is better than censored cursing

I made the mistake in the early days of writing a self-censoring character, and every “curse” she said just took the teeth out of the rest of the statement. I’m talking gosh, darn, dang, etc, not world-specific idioms a la “scruffy nerf herder” or “dunderhead” instead of “dumbass”.

Look to any American TV show that so, so badly wants to use f*ck or sh*t but has to appease the sensitive conservatives who still somehow believe strong language is worse than graphic violence and horrifying psychological damage. For shame! Your characters can be angry without expletives, so rework your sentences to include equally damning insults that don’t resort to potty mouths if you’re concerned about ratings.

Or go full-throttle into the idioms of the world or the time period like Pirates of the Caribbean. Or just… don’t. There’s zero modern cursing in the Lord of the Rings adaptation and not a single sentence that censors itself. The dialogue is above vulgarity and feels more *fantastical* that way anyway.

2. “Yeah, you aren’t the target audience.”

It’s kind of hilarious seeing the range of reader reactions to two characters I intend to have a romantic relationship. Some will go “I ship it!” after the first page of them together… and another will go “wait, I thought they were just friends” up until they kiss. Sometimes you might be too subtle, other times it might be better to just accept that you can’t rewrite your entire book to please one naysayer.

When I’m pitched a fantasy adventure book that turns out to be a by-the-numbers romance where no one is allowed to be a peasant and every important character is royalty in some way, with a way cooler fantasy backdrop, I get severely disappointed. That doesn’t mean the book is bad, it just means I’m not the target audience.

3. There is no greater character sin than making them boring

Unless you live in the wacky world we find ourselves in where any flaws whatsoever are apparently harmful depictions of so-and-so and not at all written with things like ~nuance~. I will gush over your heinous villain committing atrocities because he’s *interesting*. I will not remember Bland Love Interest who’s a generic everyman with zero compelling or intriguing traits or flaws.

There’s another tumblr post out there that I cannot find that says something like this, and I believe the post goes “his crimes are fiction, my annoyance is real”. Swap annoyance for boredom and you get what I mean. So, I don’t care what your character does so long as they’re memorable. I will either root for their victory or their doom, but I do need *something* to root for.

4. The line between “gratuitous” and “respectful” is actually very thick

Less what no one tells *you* about writing and more what no one tells screenwriters. Y’all do realize you can write a character who experiences assault without actually writing the assault, right? Fade to black, have them mention it in their backstory, or have the horrific aftermath as they come to terms with it. An abrupt cut to this devastated character when it’s all over and they’re alone with themselves can be incredibly poignant and powerful. This goes with anything sensitive, especially if it’s not coming from experience.

If you want to write it or film it respectfully, romanticizing assault, for instance, is when it’s framed as if either character has earned or “deserves” it. If the narrative in any way argues that it's justified. The victim might have "earned" it for any of the BS reasons we use in the real world, or the perpetrator might've "earned" it because of temptation, desire, pressure to assert dominance, etc. Representation is important, but are you “representing” to shed light on a misunderstood and maligned topic, or are you doing it to satisfy a fetish or bias in yourself?

5. Don’t let your eyes get bigger than your stomach

Fantasy has no limitations, which means you can dig way deeper into the well of your worldbuilding than you realize, until you look up and realize you’re stuck down there. I have never seen a more obvious inevitable disaster looming than the pilot of GoT season 5. Why? Nobody has any plans. They’re all just led around by whatever side quest the writers throw them on, twiddling their thumbs until the writers deign to pull the trigger on the White Walkers.

To the point that what should be a major character can skip an entire season because his arc is meaningless. Everything in the last half of that show was one big “eventually” while the story toiled around in an ever-expanding cast of characters and set pieces (seriously, it’s hilarious how jarring the extended version of the theme music became compared to the pilot episode to fit all these locations).

When you have too many directionless characters, too many plot elements, too many ideas you want to fully mature and get their due spotlight and then somehow combine them all together for a common foe in the end, writing can get tedious and frustrating very quickly. Why, I imagine, the book series remains unfinished. Fantasy is great for being able to create such complex worlds, but don’t be the snake that eats its own tail trying too hard.

6. No one cares about your agenda if you insult them to push it

This deserves its own post but here we go. Peddling an agenda is a paradox: those who agree with you won’t need to be preached to, and those who you want to persuade will instead reject you further because they feel belittle and disrespected. This is why so many recent “strong female characters” fail on both sides of the aisle. Feminists see an annoying caricature of the movement they’re passionate about. Antifeminists see an insufferable, shallow, liberal mouthpiece when they just want to be entertained. You have failed both sides, congrats.

The answer? Write a strong, nuanced, well-developed character. Then make them a woman. I know this has been said before but this BS keeps happening so clearly the screenwriters aren’t listening. Entertain me first. Entertain me so well I don’t even realize I’m learning.

7. Today’s audiences won’t react the same way as tomorrow’s

Sometimes genres or tropes get oversaturated and need a few years to cool off before audiences are receptive to them again—teen dystopia, anyone?—that doesn’t mean your story is inherently bad because it’s unpopular (nor does it mean it’s amazing because it is popular).

You should always write the book you want to read, not the book that chases trends. I can pick up a well-written teen dystopia I’ve never read before and enjoy it. I can continue to ignore Divergent because it has nothing to say. Write the book you want to read, but then accept that you might make no money because no one else wants to read it, not because they think it’s bad. And, who knows? You might get a boom of chatter months or years down the line when readers stumble upon an uncut gem.

8. Your characters don’t age with you

Depending on how long you’ve been working on your world and what age you were when you started, the characters, concepts, morals, and story you set out to tell might no longer reflect who you want to be as an author when all is said and done. Writing can take years, some of which can be incredibly turbulent and life changing. I wrote the first draft of my first original novel in my freshman year of college. Those characters and that draft are now unrecognizable and has left a world I’ve poured my heart and soul into in limbo.

I’ve slowly creeped up my characters’ ages. My writing has matured dramatically. The themes I wanted to explore in the height of the 2016 election are just demoralizing now. That book was my therapeutic outlet and, as consequence, my characters sometimes reflect some awful moods and mindsets that I was in when writing them. But nothing in that world grows without me tending to it. It’s not alive. Despite all the work I’ve done, there’s still more to be done, maybe even restarting the plot from the ground up. When I think of what no one told me about writing, staring at characters designed by someone I’m not anymore is the hardest reality to accept.

—

If you think I missed something, check out parts 1-3 or toss your own hat into the ring. Give me romance tropes. Mystery, thriller, historical fiction, bildungsromans, memoires, children’s books, whatever you want! Give me stuff you wish you’d known before editing, publishing, marketing, and more.

Also, don’t forget to vote in the dialogue poll!

#writing advice #writing resources #writing tips #writing tools #writing a book #writing #writeblr #fantasy #sci fi #character design

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cinellieroll · 1 month

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☆ random aot headcanons!

eren, armin, mikasa, sasha, connie <3

cw: modern au, slight angst but nothing too graphic. there might be grammar errors too bc fuck proofreading honestly

small note: so the reason why i took so long to post is because i had to do a lot of things and my old draft got fucking DELETED and that affected my motiviation to write so...im so sorry 😭

armin:

- during armins childhood he used to be scared of dogs until he came over eren's house often. his fear of dogs eventually disappeared. (i hc that erens family had a dog that time and its a german shepherd)

- armin has had his own small shelf of books ever since he was a baby! he got his bookwork attitude from his father.

- meanwhile he got his manipulating skills from his mama (and no i don't mean this in a bad way. armins mom is a girlboss.)

- went to church every sunday when he was young till his early teens. eventually stopped because he became more and more devoted in school.

- every year he looks forward to vacations the most because thats where he gets to visit his other relatives in the province! they live nearby the ocean and armin always receives trinkets and seashells from them.

- if you ever get to live with armin expect a lot of magnets on the fridge. especially if they're beach related like seashells, squids and fish!

- always has chapstick everywhere he goes especially in school because he has a bad habit of biting on the skin on his lips.

- loaded with stationery bro like you name it, he has it

- he's kind of a picky eater and also has a few allergies like shrimp or a specific fish.

eren:

- had a lot of game merch as a kid. minecraft, fortnite, etc. you name it, he has it.

- very much a computer addict during his teenage years. his parents constantly scolded him for it and they eventually got tired of scolding him lmao

- has been sent to the guidance quite many times because of his recklessness. like every fucking school year you'll hear my boy in the guidance.

- the fact that jean has teased him way too many times because of it doesn't help

- one of those bitches who turns their pfp into a black screen and posts on his story "hiatus." then comes back the next day

- mikasa was mainly the one who taught him to drive, including levi

- road rage thats all im sayin

- during elementary and highschool there's never a day where he doesn't fall asleep in class. usually falls asleep in math or history

- always compares heights with mikasa to sew if he finally grew taller than her

mikasa:

- entered her goth phase once she reached highschool

- from other peoples perspective, they'd think miksasa would be a smoker but in truth she actually hates it. one of her main priorities are self care after all

- very strict with her work out routine. she can't miss a day of it unless it's her cheat day

- her cheat day is like once every 3 months bro

- but it's good for you because she lets you join her. if you're lucky she'll let you sit on your back while she does push ups ;)

- joined jujitsu and taekwando with eren when they were younger

- started walking to school by her own or with eren and armin when she turned 15

- always rolls her eyes or side eye people unintentionally

- very protective of her girl friends. if you're close enough with her she'll always accompany you everywhere like how she does with eren. she's constantly asking where you are on weekends and on school days she'll be waiting for you outside your classroom breaks.

sasha:

- enjoys and i mean ENJOYS going to the mall and always look forward to cinemas. she'll invite all her friends for a good movie date!

- her favorite genre is horro and likes to watch conjuring with connie.

- her favorite color is purple and yellow!

- another one who falls asleep in class alongside connie

- after school convenience store hangoutd are very common when you're friends with her!

- if you're in a friend group with her and you feel left out, she'll most likely be the one to notice.

- no worries, she'll make you feel right at home!

- (istg this is the reason why ppl cry over her death i lub her sm..)

- very loud and obnoxious laughs but its okay because it's sasha

connie:

- is a basketball varsity student! to be honest he likes every sport where he gets to run and jump alot because it "fuels" something inside of him

- no school items whatsoever like he lost all of them after a month. he prays for the best and just picks up pens and pencils on the ground.

- always does bets with his friends. usually consists of who will treat everyone free food after school

- likes banana icecream / popsicles. like the ones where you peel it and stuff. also a slurpee lover. dude he just buys anything he finds delicious in the store

- sings out loud in the hallways when he's in an especially good mood. bro he got scoldes by the teachers once

- mainly teases jean out of all his friends but i feel like thats already canon

- HE DOES THAT THING THAT OLDER BROTHERS DO WHERE THEY BLOCK YOU AND DO A BASKETBALL MOVE ISTG ITS INFURIATINGGGGG

- also glides his hand on the ceilings when he gets the chance

- his bag smells like ass

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elaratyrell · 3 months

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Aegon Targaryen NSFW Alphabet

*Divider from saradika-graphics*

Warnings: AFAB! Reader, not proof read, smut under the cut {duh}, language, mentions of drinking and drugs, infidelity, mentions of pregnancy, a brief mention of assault

A/N: It's TGC's birthday today so I thought I'd write something for Aegon. Happy birthday Tom! ❤️

A = Aftercare (what they’re like after sex)

It depends what stage of the relationship you're in. If you're nothing more than a fuck, or in the very early stages of your relationship, Aegon will likely go to sleep pretty quickly. If your relationship has progressed further than that, a genuine love forming between the two of you, he might pull you close to him, one hand rubbing lazy circles along your back while he holds a goblet of wine in the other. If you're sore, he'll have the maids run you a bath.

Modern! Aegon would likely have a smoke, either a cigarette or a joint, whatever he had lying around really. And hey, if you're up for it, he'll let you share it with him.

B = Body part (their favourite body part of theirs and also their partner’s)

Aegon doesn't particularly like any part of himself. He never had any regard for his self care, never took the time to actually appreciate anything about himself. However, if he had to choose something, it would be his mouth, specifically his tongue. He could spend hours buried between your thighs, hearing you breathe out soft moans and whispers of his name as he brings you to the edge over and over again {Bonus: Modern! Aegon has a tongue piercing. Fight me.}

As for you, Aegon would adore every inch of you... BUT... we know this man has a weakness for tits. He loves your tits.

C = Cum (anything to do with cum, basically)

He doesn't really give a damn about mess. He also doesn't give a damn about where he cums, as long as it's on or in you in some way. On your face, your tits, your stomach... he doesn't care. He is lazy, and so will probably be more likely to just cum inside of you. It's more intimate, he feels closer to you and it just lets him enjoy holding you as close as he can while you both find your release.

D = Dirty secret (pretty self explanatory, a dirty secret of theirs)

All I'm going to say is he wouldn't mind you using some of those... ahem… toys he has in his chambers on him one day...

E = Experience (how experienced are they? do they know what they’re doing?)

He's had a ton of experience, of course. His reputation precedes him.

However, what he hasn't ever had experience in is the vulnerability, the intimacy, the love that can be experience while with someone physically. The women on the streets of silk he paid to pity him, the maids he took advantage of, and he never had that romantic bond with Helaena. Feeling those things with you is new to him. He's never felt truly loved. Until you.

F = Favourite position (this goes without saying)

He's a lazy boy, and he loves your breasts, so having you straddle his waist while he lays back comfortably on the bed, your tits bouncing in his face as you bounce on top of you. Anytime you're on top is ideal for him, though I feel that he'd be down to try most positions.

G = Goofy (are they more serious in the moment? are they humorous? etc.)

Aegon {especially Modern! Aegon} is the most likely one to be less serious in the moment. His humour will most likely be in the form of rather crude or inappropriate comments, teasing you in an attempt to ease any tension there might be, especially if he's known you long enough to trust you. For him, sex is a form of escapism, of stress relief. His life is full of severity and seriousness, so this time he spends with you is the only time he can truly loosen up and relax.

H = Hair (how well groomed are they? does the carpet match the drapes? etc.)

The carpet will definitely match the drapes. And like I said above, Aegon takes little care of himself. I doubt he'd make much effort to keep himself tidy unless you really wanted him too. However, I don't think he'd be particularly hairy down there anyway.

I = Intimacy (how are they during the moment? the romantic aspect)

It's complicated with Aegon. Once again, it truly depends on what your relation is to him. All of the sexual partners he's had in the past have been a feeble attempt to fill the hollowness in his chest, to try and feel what love could feel like, even if it isn't quite true. He's touch starved, and is willing to play along with whoever he pays to facilitate his yearning for affection, even if the coldness lingers stronger than before when it's over.

If you haven't known him long, if you're just a companion he uses so to speak, to feel loved, then don't expect him to be romantic. He'll crave your attention, he'll want nothing more than to feel your arms wrapped around him, fingers combing through his knotted hair as you slowly lull him to sleep. If he's drunk, he may slur a few praises in your ear as he ruts into you, or gaze up at you with half lidded lilac eyes, glaze over from his intoxication but shining up at you as though he could love you.

If you're committed to him and he to you, if he trusts and loves you, then he will most definitely yearn for that intimate aspect when with you. He'll hold you closer, he'll praise you, his touch softer and kisses fuelled with passion. He needs you, and only you can provide him with that moment of feeling cherished, so he tries to return the favour and show you how much he cherishes you.

J = Jack off (masturbation headcanon)

Despite being so lazy, Aegon is always in the mood, whether it be first thing in the morning or in the dead of night, and if you're not there to help him out for some reason, he'll be perfectly content with taking care of himself, although would prefer it if it were you helping him instead.

K = Kink (one or more of their kinks)

Aegon has a whole shit ton of kinks, but these are the main ones I think he'd have:

Praise Kink: LOVE THIS MAN. He needs to be loved. He knows he doesn't deserve it, but he desperately wishes for it. Hearing your sweet voice in his ear moaning how good he's doing, how he's making you feel, will make him feel so much closer to you. It will make everything more intimate to him. And it goes both ways, he wants you to know how good you're making him feel, especially if you're in a serious relationship with him.

Body Worship: For the same reason as above. Aegon has trouble articulating how he feels through his words. He prefers to show it, and so he'll worship you like a goddess to show you how much he loves you.

Teasing/Edging/Orgasm Denial: Aegon would both love those used on you and on him. He's a tease, he enjoys hearing you beg for him, tears in your eyes from how overstimulated you are, a sheen of sweat covering your writhing body as you desperately grasp at the bedsheets beneath you. He's not known for being particularly patient or self controlled, but he could spend hours denying you both of your releases if it meant the satisfaction of seeing you so needy for him. On the other hand, he also loves it when he's on the receiving end, completely at your mercy, pathetic whimpers spilling from his lips as he bucks his hips upwards, his attempts at feeling any kind of friction to satiate his desire and frustration proving fruitless and you deny him what he wants.

Public Sex: This man would take such glee in riling you up at family dinners, his hand slipping beneath your skirt, watching as you would lightly gasp as his fingers brush against your core. He'd lazily smirk at the glare you'd send his way, rubbing featherlight circles on your clit. He'd test your limits, bring you close to release before pulling away, going as far as to lick his fingers clean in front of his whole damn family.

Lactation Kink: He's a tit man, and seeing how swollen and round they'd grow with your pregnancy would drive him absolutely wild. When you'd complain about how heavy they'd feel, how they ached, he'd be by your side in an instant, his hands already unlacing the bodice of your dress to free your heavy breasts from their confinements, telling you to relax and let him help you and take care of you.

L = Location (favourite places to do the do)

He's shameless, he'd do it anywhere. His bedroom, his throne, the pleasure house, the bath, the gardens, the kitchens, on dragon back... pretty much anywhere. Although I feel like when he's crowned King, he'd have a thing for having you on your knees in front of him or sat on his lap while he sits on his throne. Seeing you worship your King... it makes him feel more powerful than he ever has before.

M = Motivation (what turns them on, gets them going)

You could walk into a room and look at him for one second longer than usual and he's hard. You could breathe deeply, causing your chest to heave slightly and he's grabbing your hand, pulling you to him. If you really want to get him going, praise him, tease him, he'll be practically dry humping you like a bitch in heat.

N = No (something they wouldn’t do, turn offs)

While he wouldn't be opposed to minor degradation, I think that going to far will bring too many scars to the surface. Don't be too mean, he's a sensitive boy. I also think that other than cum and spit, any other bodily fluids would be out of the question.

O = Oral (preference in giving or receiving, skill, etc.)

Both? Both. Both is good.

He loves burying his head between your thighs, making you come undone countless times by just the use of his mouth. He's spends hours testing your limits, seeing what makes you roll your hips against him, or throw your head back in pleasure as you sing his praises. He loves it.

But he also loves it when you unbutton his trousers, lowering yourself to your knees while his hand threads through your hair, eager to pleasure him. Especially when he's sitting on the throne, the conqueror's crown glittering on his head.

P = Pace (are they fast and rough? slow and sensual? etc.)

It depends how horny he is. Despite being rather lazy, he can also be desperate, rutting into you like a wild animal so he can reach his release.

However, especially in the mornings, he may prefer to slowly roll his hips against yours {especially if you're in a proper relationship} taking his time as he slowly wakes up from his slumber.

Sex is how he expresses himself, and if he needs to do that in a flurry of passion or a slow, loving way where he just yearns to be close to you and feel you, depends on his mood. He may switch between the two, or even let you set the pace when he's feeling a little lost with himself, his insecurities and self esteem hitting an all time low after a nasty fight with his mother or grandfather.

Q = Quickie (their opinions on quickies, how often, etc.)

I've said it before and I'll say it again. This man's always down for sex. And if that means a quickie against the wall or on the table, he'll be down for it. He'll really love it if that's how you wake him up in the mornings when he's late for his duties, straddling his waist or using your mouth to pleasure him before the day begins. As King of Westeros, his time with you will likely be shorter than before, and a quickie might be all he can do before attending to his duties, so he takes advantage of every moment, no matter how short, to be with you.

R = Risk (are they game to experiment? do they take risks? etc.)

Of course he is. He's down for most things, I'll reckon, and always open to hear suggestions from you for what else you can do to make things interesting in the bedroom.

S = Stamina (how many rounds can they go for? how long do they last?)

Always. Horny. I think he could last a few rounds. 3-4 in one night maybe. Especially if you're taking the lead. And if his cock can't take any more for one night, he has his fingers, his tongue... he can find other ways to satisfy you if you're still wanting more.

T = Toys (do they own toys? do they use them? on a partner or themselves?)

Have you seen his room? He would not oppose the use of toys at all.

U = Unfair (how much they like to tease)

He's a brat, he'll happily test your patience and relentlessly tease you to see how long it takes for you to snap. And on the other side, he'll secretly revel in you teasing him, taking your time to pleasure him. Cockwarming is a favourite of his, he can last a long time with you squirming on top of him, his hands planted firmly on your waist, trapping you in place as he sees how long it takes for one of you to break, almost like a game to him.

V = Volume (how loud they are, what sounds they make, etc.)

He doesn't care who hears him. When you make him feel as good as you do, he wants you to know. He'll let out loud, breathy moans and low groans and grunts in your ear. He also whimpers a lot, especially if you're in control and teasing him, refusing to grant him his release. He doesn't care how pathetic it sounds, he can't hold it in, and he wants you to know how good you're making you feel.

W = Wild card (a random headcanon for the character)

This man is a switch. Yes, he will be a submissive brat, whimpering from your touch and begging for you to let him cum, but he can also easily turn the tables on you so you're the one crying for him to fuck you. He can be quite dominant when he wants, bending you over the nearest surface and hiking up your skirts, fucking you raw as you grab onto whatever he's pinned you down on so tightly your knuckles turn white, crying out in pain as he'd tug your hair roughly.

X = X-ray (let’s see what’s going on under those clothes)

He's about average in length above average in girth. It's thick, I know it.

Y = Yearning (how high is their sex drive?)

Very high. He always craving you, always wanting you, which can be a blessing or a curse depending on your sex drive. Even in his sleep he's grinding against you, only to wake up in the middle of the night, hard as a rock.

Z = Zzz (how quickly they fall asleep afterwards)

Honestly? Pretty damn quick. Especially if you pull him into your arms, running your fingers through his hair and kissing his forehead. He'll be out within minutes, snoring softly. However, if you do need something {a bath or something to eat etc} he will make sure that's done for you first.

If you wanted to be added to the general HOTD taglist or taglists for specific character/s, just let me know

Masterlist

#Aegon Targaryen #Aegon Targaryen x reader #Aegon Targaryen headcanon #Hotd #Hotd x reader #Hotd headcanon #House of the dragon #House of the dragon x reader #House of the dragon headcanon #Aegon Targaryen x you #Hotd x you #House of the dragon x you #Aegon Targaryen headcanons #Hotd headcanons #House of the dragon headcanons

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eightyonekilograms · 2 months

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I went to the Apple Store yesterday to try the scripted demo of their VR headset. My overall impression is that it's the best possible execution of what might be a fundamentally flawed idea.

The passthrough video is pretty incredible. It's somewhat dimmer than reality, and the color accuracy is just OK, but it's more than good enough to feel like you're looking through clear displays at the real world. I'm told the passthrough on the Quest 3 is even better, but haven't tried that and can't comment. One thing is that there is a weird motion blur effect when you turn your head, I'm not sure if that's a display tech limitation or introduced deliberately by the software as a workaround for a different display tech limitation.

The resolution is 4K per eye, which, as mentioned, is more than enough for a powerful sense of presence in the real world. One of the nifty bits of the demo was when you turn the dial to tune out the world and suddenly you're sitting by a mountain lake, and the feeling of actually being there is overwhelming. The dystopian implications of needing a VR headset to sit at a mountain lake aside, it would be cool to have one just to have your office be anywhere you can imagine. Not $3500-before-tax cool, but cool.

Wow sports leagues are going to love this thing. I don't give a shit about sports and even I was thinking, "If the NBA put a stereoscopic camera courtside and sold you games for $50 a pop, I'd absolutely buy that"

But 4K per eye is not enough to do work, not even close. The experience of using normal computer-y applications on this was not unlike plugging your laptop in to a TV that's at the normal TV distance. You can do it, it works, but it's not anyone's preferred way of working. Text is amazingly legible, but only at sizes that are equivalent to having a single webpage take up your entire 4K monitor at normal monitor distance.

It is not particularly comfortable. Part of this might be that the store demo makes you use the "catcher's mitt" strap, which only goes around the back of your head and so gravity has to be countered only by the pressure of the thing against your face. Reviewers have said that if you use the other band that goes over your head the situation is better, but still.

A lot of early comments were making fun of Apple for having the battery be an external thing you put in your pocket and attach with a wire, but I think that's just fine: we all walk around with giant batteries in our pockets anyway, and anything you can do to have less weight on your head is a Good Thing. But then Apple took all those weight savings and spent them on making the stupid thing out of metal and glass instead of polycarbonate. It's nuts! It's like if you made a car that was 500kg lighter because you invented magical tech for keeping the engine somewhere else, and then went "great! with all the weight savings now we can build the body out of lead". Apple, you don't need to fear plastic. Plastic is good! Plastic built modern civilization.

You control it with a combination of eye tracking and pinch gestures. This is the main piece of evidence of my "best version of a bad idea" thesis: it works really, really well; so well that I can tell this is probably an evolutionary dead end. It's just fine— miraculous, even— for dragging windows around and doing the basic stuff the in-store demo has you do. It's amazing that you can more or less have your hands anywhere, including on your lap, and the recognition works perfectly (by contrast with the HoloLens I tried 5 or so years ago where the gesture recognition was total crap). But it's immediately obvious that you can never do serious manipulation of your computing environment with this.

The takeaway is that it's incredible for passive consumption of specifically-made media, assuming that ever exists at scale. But it will be a long time before we're gogged in like Hiro Protagonist to do our office jobs this way.

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writingwithcolor · 4 months

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My alternate universe fantasy colonial Hong Kong is more authoritarian and just as racist but less homophobic than in real life, should I change that?

@floatyhands asked:

I’m a Hongkonger working on a magical alternate universe dystopia set in what is basically British colonial Hong Kong in the late 1920s. My main character is a young upper middle-class Eurasian bisexual man. I plan to keep the colony’s historical racial hierarchy in this universe, but I also want the fantasy quirks to mean that unlike in real life history, homosexuality was either recently decriminalized, or that the laws are barely enforced, because my boy deserves a break. Still, the institutions are quite homophobic, and this relative tolerance might not last. Meanwhile, due to other divergences (e.g. eldritch horrors, also the government’s even worse mishandling of the 1922 Seamen's Strike and the 1925 Canton-Hong Kong Strike), the colonial administration is a lot more authoritarian than it was in real history. This growing authoritarianism is not exclusive to the colony, and is part of a larger global trend in this universe. I realize these worldbuilding decisions above may whitewash colonialism, or come off as choosing to ignore one colonial oppression in favor of exaggerating another. Is there any advice as to how I can address this issue? (Maybe I could have my character get away by bribing the cops, though institutional corruption is more associated with the 1960s?) Thank you!

Historical Precedent for Imperialistic Gay Rights

There is a recently-published book about this topic that might actually interest you: Racism And The Making of Gay Rights by Laurie Marhoefer (note: I have yet to read it, it’s on my list). It essentially describes how the modern gay rights movement was built from colonialism and imperialism.

The book covers Magnus Hirschfeld, a German sexologist in the early 1900s, and (one of) his lover(s), Li Shiu Tong, who he met in British Shanghai. Magnus is generally considered to have laid the groundwork for a lot of gay rights, and his research via the Institut für Sexualwissenschaft was a target of Nazi book-burnings, but he was working with imperial governments in an era where the British Empire was still everywhere.

Considering they both ended up speaking to multiple world leaders about natural human sexual variation both in terms of intersex issues and sexual attraction, your time period really isn’t that far off for people beginning to be slightly more open-minded—while also being deeply imperialist in other ways.

The thing about this particular time period is homosexuality as we know it was recently coming into play, starting with the trial of Oscar Wilde and the rise of Nazism. But between those two is a pretty wildly fluctuating gap of attitudes.

Oscar Wilde’s trial is generally considered the period where gay people, specifically men who loved men, started becoming a group to be disliked for disrupting social order. It was very public, very scandalous, and his fall from grace is one of the things that drove so many gay and/or queer men underground. It also helped produce some of the extremely queercoded classical literature of the Victorian and Edwardian eras (ex: Dracula), because so many writers were exploring what it meant to be seen as such negative forces. A lot of people hated Oscar Wilde for bringing the concept to such a public discussion point, when being discreet had been so important.

But come the 1920s, people were beginning to wonder if being gay was that bad, and Mangus Hirschfeld managed to do a world tour of speaking come the 1930s, before all of that was derailed by wwii. He (and/or Li Shiu Tong) were writing papers that were getting published and sent to various health departments about how being gay wasn’t an illness, and more just an “alternative” way of loving others.

This was also the era of Boston Marriages where wealthy single women lived together as partners (I’m sure there’s an mlm-equivalent but I cannot remember or find it). People were a lot less likely to care if you kept things discreet, so there might be less day to day homophobia than one would expect. Romantic friendships were everywhere, and were considered the ideal—the amount of affection you could express to your same-sex best friend was far above what is socially tolerable now.

Kaz Rowe has a lot of videos with cited bibliographies about various queer disasters [affectionate] of the late 1800s/early 1900s, not to mention a lot of other cultural oddities of the Victorian era (and how many of those attitudes have carried into modern day) so you can start to get the proper terms to look it up for yourself.

I know there’s a certain… mistrust of specifically queer media analysts on YouTube in the current. Well. Plagiarism/fact-creation scandal (if you don’t know about the fact-creation, check out Todd in the Shadows). I recommend Kaz because they have citations on screen and in the description that aren’t whole-cloth ripped off from wikipedia’s citation list (they’ve also been published via Getty Publications, a museum press).

For audio-preferring people (hi), a video is more accessible than text, and sometimes the exposure to stuff that’s able to pull exact terms can finally get you the resources you need. If text is more accessible, just jump to the description box/transcript and have fun. Consider them and their work a starting place, not a professor.

There is always a vulnerability in learning things, because we can never outrun our own confirmation bias and we always have limited time to chase down facts and sources—we can only do our best and be open to finding facts that disprove what we researched prior.

Colonialism’s Popularity Problem

Something about colonialism that I’ve rarely discussed is how some colonial empires actually “allow” certain types of “deviance” if that deviance will temporarily serve its ends. Namely, when colonialism needs to expand its territory, either from landing in a new area or having recently messed up and needing to re-charm the population.

By that I mean: if a fascist group is struggling to maintain popularity, it will often conditionally open its doors to all walks of life in order to capture a greater market. It will also pay its spokespeople for the privilege of serving their ends, often very well. Authoritarians know the power of having the token supporter from a marginalized group on payroll: it both opens you up directly to that person’s identity, and sways the moderates towards going “well they allow [person/group] so they can’t be that bad, and I prefer them.”

Like it or not, any marginalized group can have its fascist members, sometimes even masquerading as the progressives. Being marginalized does not automatically equate to not wanting fascism, because people tend to want fascist leaders they agree with instead of democracy and coalition building. People can also think that certain people are exaggerating the horrors of colonialism, because it doesn’t happen to good people, and look, they accept their friends who are good people, so they’re fine.

A dominant fascist group can absolutely use this to their advantage in order to gain more foot soldiers, which then increases their raw numbers, which puts them in enough power they can stop caring about opening their ranks, and only then do they turn on their “deviant” members. By the time they turn, it’s usually too late, and there’s often a lot of feelings of betrayal because the spokesperson (and those who liked them) thought they were accepted, instead of just used.

You said it yourself that this colonial government is even stricter than the historical equivalent—which could mean it needs some sort of leverage to maintain its popularity. “Allowing” gay people to be some variation of themselves would be an ideal solution to this, but it would come with a bunch of conditions. What those conditions are I couldn’t tell you—that’s for your own imagination, based off what this group’s ideal is, but some suggestions are “follow the traditional dating/friendship norms”, “have their own gender identity slightly to the left of the cis ideal”, and/or “pretend to never actually be dating but everyone knows and pretends to not care so long as they don’t out themselves”—that would signal to the reader that this is deeply conditional and about to all come apart.

It would, however, mean your poor boy is less likely to get a break, because he would be policed to be the “acceptable kind of gay” that the colonial government is currently tolerating (not unlike the way the States claims to support white cis same-sex couples in the suburbs but not bipoc queer-trans people in polycules). It also provides a more salient angle for this colonial government to come crashing down, if that’s the way this narrative goes.

Colonial governments are often looking for scapegoats; if gay people aren’t the current one, then they’d be offered a lot more freedom just to improve the public image of those in power. You have the opportunity to have the strikers be the current scapegoats, which would take the heat off many other groups—including those hit by homophobia.

In Conclusion

Personally, I’d take a more “gays for Trump” attitude about the colonialism and their apparent “lack” of homophobia—they’re just trying to regain popularity after mishandling a major scandal, and the gay people will be on the outs soon enough.

You could also take the more nuanced approach and see how imperialism shaped modern gay rights and just fast-track that in your time period, to give it the right flavour of imperialism. A lot of BIPOC lgbtqa+ people will tell you the modern gay rights movement is assimilationalist, colonialist, and other flavours of ick, so that angle is viable.

You can also make something that looks more accepting to the modern eye by leaning heavily on romantic friendships that encouraged people waxing poetic for their “best friends”, keeping the “lovers” part deeply on the down low, but is still restrictive and people just don’t talk about it in public unless it’s in euphemisms or among other same-sex-attracted people because there’s nothing wrong with loving your best friend, you just can’t go off and claim you’re a couple like a heterosexual couple is.

Either way, you’re not sanitizing colonialism inherently by having there be less modern-recognized homophobia in this deeply authoritarian setting. You just need to add some guard rails on it so that, sure, your character might be fine if he behaves, but there are still “deviants” that the government will not accept.

Because that’s, in the end, one of the core tenants that makes a government colonial: its acceptance of groups is frequently based on how closely you follow the rules and police others for not following them, and anyone who isn’t their ideal person will be on the outs eventually. But that doesn’t mean they can’t have a facade of pretending those rules are totally going to include people who are to the left of those ideals, if those people fit in every other ideal, or you’re safe only if you keep it quiet.

~ Leigh

#colonialism #colonization #worldbuilding #alternate history #history #lgbt #china #hong kong #british empire #ask

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starrysharks · 5 months

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alright, here it is: ZENO'S COLOR GUIDE 3.0 !

here, i'll have three "chapters" regarding color:

CH1: how i color in illustrations

CH2: color and character design (in zeno's case)

CH3: how zeno makes his colors cooler

CH1: HOW I COLOR IN ILLUSTRATIONS

it must be noted that, as of lately, i heavily use halftones in my art and the way i use them for gradients effects my color choices. of course you don't need to use halftones if you don't want to, as it's just my personal choice, but anything regarding halftones here could (probably) also apply to regular gradients!

when choosing colors in an illustration, i usually have three things in mind: mood, character, and contrast. we'll be using "gloomy bunny naptime" as an example here.

MOOD: what's the vibe of the piece? for example, here in "gloomy bunny naptime", wanted a mellow, sleepy vibe, so purples and pinks seemed like the best choice. these colors also have a dreamy effect due to being common in real-life early mornings/summer nights - basically, i tend to use associative colors in illustrations.

i usually only use a pallete of 3-7 colors, though of course more characters calls for more colors. for multi-character pieces, i would actually make a "rainbow" of colors based on the mood of the piece - essentially, a bank of colors to use for your colorful casts based on the actual rainbow. you can alter this based on the saturation levels you want! hope that makes sense. i'm not the best at this though, so i would heavily recommend looking for guides from artists who are more skilled in that department.

CHARACTER: velvet is the focus of the piece, and as a character her palette is made up of many purples and pinks. of course, it's easier because she and ribbon both have similar designs, but i would still recommend using colors based on/complementary to the focus character's pallete, though this is a rule that can and should be broken if needed. gradients can be used to provide a smooth transition from color-to-color and add depth to the piece, as well as showcase velvet's pallete. when making any gradient, you probably want to have a vibrant middle color. this is difficult to achieve in most art programs, so i'd do it like this:

you can use gradients in lots of cool ways to make stuff pop! (i think this collage shows i use too much purple and pink though.)

CONTRAST: the context of the piece also aids the color through contrast. (that's a lot of Cs!)- we see that velvet is just waking up, and the light from her switch is glowing brightly. i wanted to convey something like her switch suddenly turning on in the middle of the night, waking her up - so the console emits "light" in the form of illuminating the contrasting color of pink against the purples. it might seem specific to this piece, but what i'm trying to say is that contrasting colors can lead the eye to the focal point of the piece, that being velvet herself. because a great deal of the rest of the piece is dark, we look at the contrasting switch screen - the brightest thing in frame - and our eyes move around and up to take in the focal point character. at least that's how i wanted it to be ;w; i guess you could convey it as something like this?

CH2: COLOR AND CHARACTER DESIGN (IN ZENO'S CASE)

this is where i start to get annoying, so stand back! when deciding on colors for a cast of characters, there are many factors: time period, variety, personality, and more that i can't think of.

TIME PERIOD: this one is simple. for example, a futuristic time period (such as that in x-calibur) calls for colder colors, such as greens and blues. for characters involved in futuristic professions such as space exploration, this works incredibly well. for modern time periods, less focus can be on colors and more on the shapes of the clothes, but this is not a shapes tutorial! i don't have any ancient times oc stories, but i'd probably use earthy and warm tones.

VARIETY: this is also rather simple. i try to be aware of the palletes that i used, and the similarities they might have with other characters. i try to use similar colors for characters who belong to certain organisations or have a uniform, but of course, it's not like catholic school students adhere their entire look to their uniform, so this is a rule that can be broken yet again. art is all about learning things and breaking them, remember that!!!

color can also be used for symbolism. my absolute fav example for this is vivica and octavia - the amount of red in their designs is supposed to represent the amount of freedom/passion/anger/confidence they have or are allowed to express under their different circumstances. as vivica belongs to a strict organisation, she has far less red in her design, showing her emotions are stifled - meanwhile octavia has it as her main complementary color because of her freedom to express her emotions, though those emotions may be destructive because of her circumstances.

PERSONALITY: what colors are associated with your character's personality? i actually usually refer to magical girl groups to see what's commonly associated with different colors. here's the main trend:

red: hot-headed, passionate, firey

orange/yellow: bright, happy-go-lucky, sunshine personality

green: wise, mellow, kind

blue: serene, graceful, elegant

purple: magical, regal, fancy

pink: usually the main character (though this because magical girl anime tends to be marketed towards young girls), sweet, relatable, determined

of course these are only stereotypes from one genre of anime, and different colors have tons of different meanings. color theory is the best way to learn this! these colors can also express different moods, which ties into ch1. i myself constantly ignore these rules - v-con, a bombastic hyper DJ, is purple (though he does have yellow accents) for example. basically, i just take them as a general rule and try to have them in mind while drawing.

CH3: HOW ZENO MAKES HIS COLORS COOLER

this might be the most important part of this guide. once again, there are a few things to consider here: filters, hue, overlays, and more!

FILTERS: for ibispaint, you can use an adjustment layer on your whole piece to use a filter. i usually only use brightness/contrast here - upping the brightness (or darkening it based on the mood of the piece) and upping the contrast. this helps to better express values and intensify the colors if that's what you want. i often use it in all my pieces to some extent.

hue/saturation/lightness is also helpful in moderation. you can alter the hue - though it usually only helps if you bring it back or forward by just a few points, or the entire pallete will change. saturation is what it sounds like, and slightly over/desaturating the piece can help with atmosphere. lightness is what it sounds like - lightens the colors in the piece. i don't use it at all.

posterize and sharpen mask are some that i've used recently. posterize can add some crazy effects to your art, but i'd probably need to edit it slightly after using it because it can mess with certain colors.

HUE: it's a layer type that can change the overall hue of the piece. i usually use it at a low percentage for atmosphere. kind of like a gradient map but nothing like it? idk

and OVERLAYS: i just use a very saturated blue/purple color over the entire piece at a very low percentage, around 5-10%. it can wash out the piece at too high a percentage.

and that's basically it! sorry it kind of derailed at the end i spent like 2 hours on this and got super tired. goodnight i'm going to sleep please also look at other artists etc etc. bye.

#zeno's art #long post #color tutorial #liar by korn is actually a really catchy song yea the lyrics are weird but its so good tbh #peak drums and bass and guitar and vocals and then the lyrics are hot booty. this is what nu metal's all about people #ask questions if you want #about nu metal or art i dont care

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star-anise · 2 years

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You just posted like ten different things about potatoes in the span of maybe five minutes, and I gotta know your take on "The Martian".

Like, the (fictional) man alone on a planet literally only survives because of potatoes shrink-wrapped in plastic for a Thanksgiving meal. If they weren't slated to be on Mars for Thanksgiving, he would have died.

And Andy Weir (author of the original novel) did such a good job with the science of every other element to the story, I honest-to-god believe that potatoes could actually manage to grow in Martian soil (even if that's not been proven for certain afaik).

Which means..... could potatoes terraform Mars into sustaining life??? Are potatoes the key to the universe???

Haha sorry for going so hard on them! Those were mostly all posts from 2020 when gardening and fantasy worldbuilding were lockdown fixations for me. One of them blew up recently so I wanted to give The People more of the content it seemed they were looking for. I don't actually know a lot about potatoes. I just think they're neat.

I do not want to take apart the concept of "colonizing Mars" as some kind of woke gotcha. I want to take your question seriously and charitably. However, I just am the kind of person who's like "Hmm, 'colonize', we should really stop and unpack that word," so let's do that, without forgetting the potato element.

(What "I don't know a lot" means: Potatoes were a crop my family grew several acres of for a few years on our farm before we switched our focus to sheep. I am about 50% as reliable as a horticultural brochure on various potato diseases and growing condition issues. I have listened to two University lectures and read perhaps four historical journal articles beginning-to-end on how the Columbian Exchange affected early-modern Europe, that and half as much again on medieval and early modern European farming practices and population changes, and perhaps three science/history articles specifically on the domestication and proliferation of the potato. I am a white Canadian who actively seeks out information and training in Indigenous history and culture in the Americas, but that's probably still only equal to like, two Native Studies classes in university. I know more than the average person on this topic, but I am also not an expert compared to people who have devoted serious time to learning about this.)

But I have some intuitions in a couple of ways:

The Martian is probably being wildly over-optimistic about its potatoes. They would probably have been irradiated into sterility before being vacuum-packed, and I don't think you can split and propagate them that quickly or successfully. However, potatoes can definitely grow in all kinds of conditions (including under my sink).

They might not be the world's healthiest or happiest potatoes, tho. Soil quality definitely affects the end product. Presumably Watney, being a botanist studying Mars' soil composition, knew how much he had to ameliorate his soil with latrine compost (which would definitely have needed a LOT of processing, since human waste is generally not good for plants, but maybe he used chemicals to speed that up?) to get good soil. However, we would probably need to add a LOT of shit to Mars' soil (and air, and water) for it to host plant life.

Mark Watney makes a joke about having "colonized Mars" because "colony" is Latin for "farm" and he farmed on Mars so haha, funny joke! And we talk about colonies on Mars partly because that's what science fiction did, and a lot of science fiction has been into that colonialism aesthetic. But colonialism and empires actually aren't great, not just because they necessitate huge amounts of racism, oppression, and genocide—I know, you asked me a fun question about potatoes and did not sign up for this, I'm not here to drag you, hear me out—but because they're also really sucky models for agriculture and successful societies generally.

My British ancestors tried to be colonial farmers in a place that is sometimes colder than Mars (Canada's Treaty Six), and let me tell you: IT SUCKED. Most of the crops and herbs and vegetables and flowers that settlers here brought from home and are used to? DON'T FUCKEM GROW. For the Canadian prairies to become conventional farmland, farmers and scientists had to scramble to find, or produce, cold-hardy varieties of everything from wheat to roses. A lot of flowers and plants that are unkillable invasive zombie perennials in other climates don't survive our winters no matter hard we try. The trees and flowers that hold cultural or sentimental attachments for us often don't grow here. The climate is so harsh and population is spread so thin that we cannot do the 100 mile diet and eat foods we're familiar with, and can hardly even manage the 1000 mile diet. (Not that I try, but, my family did once look into it)

A huge number of colonial homesteads, where the pioneers go out on their little covered wagon and build little houses on the prairie? Failed miserably and got bought up by land speculators. My own family came out to Alberta in the 1880s and moved around from land assignment to land assignment, like, six times before settling at their current place in the early 1900s.

Meanwhile: POTATOES

Potatoes are less than ten thousand years old! I am not any kind of expert on archaeology, please nobody throw things, but humans showed up in the Andes (think: high, cold mountains) of South America roughly 9,000 years ago. There are hundreds of wild potato varieties, but they generally produce fairly tiny tubers. It took active work of Indigenous Andean people around 8,000 years ago around Lake Titicaca to cultivate specific strains of potato, doing oldschool genetic modification to make them bigger, more delicious, and hardier. From that cultivation effort around a single species of wild potatoes, they produced thousands of cultivated potato varieties.

Ancient Andean farmers and botanists also played a big part in cultivating quinoa from wild amaranth, as well as producing modern food crops you probably haven't heard of, like oca, olluco, mashua, and yacon, and also coca, which may get a bad rap because it's what cocaine and coca-cola are made from but you cannot deny it's got kick.

Basically, Indigenous people of the Americas (South, Central, and North) went all in on botany and plant cultivation. Plants that we take for granted now have mostly been developed by Indigenous people in the past few thousand years: Tobacco, sunflowers, marigolds, tomatoes, pumpkins, rubber, vanilla, cocoa, sweetcorn, maize, and most kinds of pepper except peppercorn. These things were not found; they were made, by careful cultivation of the world as it was.

This gives us a vision of the future. Colonization, and industrial agriculture, both lean us towards the vision of a totally uniform end product, with the same potato varieties grown on each farm because we have made every farm the same. Instead we could embrace biodiversity and focus on privileging local knowledge and considering the interactions of environment, plants, microbiota, and people. We could create potatoes that were happy on Mars. We could create Mars that is happy to have us. We could create a society that can accept what Mars has to offer.

A lot of why we dream about colonizing Mars is the idea that the Earth itself is dying, that we are killing it, and we need to abandon this farmstead and seek out a new frontier. I acknowledge that shit is bad, but I don't agree with that framing. I am increasingly persuaded that there is a third path between ecological destruction and mass exodus, and I think we need to reject European colonial mentality that creates the forced choice. I find far more use in privileging the knowledge of people who live on and with land than their landlords and rulers, and I especially find value in Indigenous knowledge of land management practices and food production.

I am absolutely not saying that Indigenous people were or are wonderful magical ~spiritual beings~ who frolicked in an Edenic paradise that only knew death and disease once white people showed up. This isn't noble savage bullshit, nor am I invoking people who existed once but whom I have never met. I am saying that I have Indigenous neighbours, colleagues, relatives, and elected representatives. I have learned about mental health, leatherworking, botany, and ecology from Metis and First Nations elders and knowledge-keepers. And like. They have good and useful shit to say.

This is about culture, not race. It is not that their biological DNA means that they know more than me about how to get food from this landscape. It's about cultural history and what we learn from our heritages. What have our cultures privileged? Like, Europe has historically been super into things like metallurgy, domesticating livestock, and creating dairy products. If I want to smelt iron or choose animals to make cheese from, European society would have a lot of useful information for me! And what Indigenous cultures in the Americas have historically focused on instead of cows and copper* include 1) getting REAL familiar with your local flora and figuring out how to make sure you have lots of the herbs and grains and roots and berries you need, and 2) how to make a human society where people can live and have good lives, but do not damage the environment enough to impair the ability of future generations to have the same sort of life.

*Several indigenous American cultures did practice various forms of metallurgy. It's just one of those proportional things, about what societies really go for

Conclusion

I think we could use the processes that formed the potato to find and foster forms of life that could survive on Mars. It would involve learning to think that botany is a sexy science, and understanding just how rich and complicated the environment is. To oxygenate the atmosphere, we'd have to get super enthusiastic about algae and lichen and wetlands. We would have to learn to care deeply about the microorganisms living in the soil, and whether the potatoes are happy.

We'd have to create an economy that counts oxygen and carbon dioxide production on its balance sheets. To learn how to wait for forests to grow back after a fire, instead of giving up in despair because the seedlings aren't trees yet. To do the work now and be hopeful even though we might not see the payoffs for decades, or our victories might only be witnessed by future generations.

So yes, I think we could totally plant potatoes on Mars

But I also think that if we ever got there, we'd have turned into the kind of people who could also save Earth in the first place.

Which makes it a good enough goal in my opinion.

#staranise original #agriculture #potatoes my beloved

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gothhabiba · 5 months

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loving your falafel research saga and just wanted to ask - something I remember hearing about falafel is that while Israeli culture definitely appropriated it, the concept of serving it in pita bread with salads, tahini etc. is a specifically Israeli twist on the dish. I wonder if you found/know anything about that?

The short answer is: it's not impossible, but I don't think there's any way to tell for sure. The long answer is:

The most prominent claim I've heard of this nature is specifically that Yemeni Jews (who had immigrated to Israel under 'right of return' laws and were Israeli citizens) invented the concept of serving falafel in "pita" bread in the 1930s—perhaps after they (in addition to Jews from Morocco or Syria) had brought falafel over and introduced it to Palestinians in the first place.

"Mizrahim brought falafel to Palestine"

This latter claim, which is purely nonsense (again... no such thing as Moroccan falafel!)—and which Joel Denker (linked above) repeats with no source or evidence—was able to arise because it was often Mizrahim who introduced Israelis to Palestinian food. Mizrahi falafel sellers in the early 20th century might run licensed falafel stands, or carry tins full of hot falafel on their backs and go from door to door selling them (see Shaul Stampfer on a Yemeni man doing this, "Bagel and Falafel: Two Iconic Jewish Foods and One Modern Jewish Identity," in Jews and their Foodways, p. 183; this Arabic source mentions a 1985 Arabic novel in which a falafel seller uses such a tin; Yael Raviv writes that "Running falafel stands had been popular with Yemenite immigrants to Palestine as early as the 1920s and ’30s," "Falafel: A National Icon," Gastronomica 3.3 (2003), p. 22).

On Mizrahi preparation of Palestinian food, Dafna Hirsch writes:

As Sami Zubaida notes, Middle Eastern foodways, while far from homogeneous, are nevertheless describable in a vocabulary and set of idioms that are “often comprehensible, if not familiar, to the socially diverse parties” [...]. Thus, for the Jews who arrived in Palestine from the Middle East, Palestinian Arab foods and foodways were “comprehensible, if not familiar,” even if some of the dishes were previously unknown to most of them. [...] They found nothing extraordinary or exotic in the consumption, preparation, and selling of foods from the Palestinian Arab kitchen. Therefore, it was often Mizrahi Jews who mediated local foods to Ashkenazi consumers, as street food vendors and restaurant owners. ("Urban Food Venues as Contact Zones between Arabs and Jews during the British Mandate Period," in Making Levantine Cuisine: Modern Foodways of the Eastern Mediterranean, p. 101).

Raviv concurs and furnishes a possible mechanism for this borrowing:

Other Mizrahi Jewish vendors sold falafel, which by the late 1930s had become quite prevalent and popular on the streets of Tel Aviv. [...] Tel Aviv had eight licensed Mizrahi falafel vendors by 1941 and others who sold falafel without a license. [FN: The Tel Aviv municipality granted vending license to people who could not make their living in any other way as a form of welfare.] Many of the vendors were of Yemenite origins, although falafel was unknown in Yemen. [FN: Many of the immigrants from Yemen arrived in Palestine via Egypt, so it is possible that they learned to prepare it there and then adjusted the recipe to the Palestinian version, which was made from chickpeas and not from fava beans (ṭaʿmiya). Shmuel Yefet, an Israeli falafel maker, tells about his father, Yosef Ben Aharon Yefet, who arrived in Palestine from Aden [Yemen] in the early 1920s and then traveled to Port Said in 1939. There he became acquainted with ṭaʿmiya, learned to prepare it, and then went back to Palestine and opened a falafel shop in Tel Aviv [youtube video].]*

But why claim that Yemeni Jews invented falafel (or at least that they had introduced it from Yemen), even though its adoption from Palestinian Arabs in the early days of the second Aliya, aka the 1920s (before Mizrahim had begun to immigrate in larger numbers; see Raviv, p. 20) was within living memory at this point (i.e. the 1950s)? Raviv notes that an increasing (I mean, actually she says new, which... lol) negative attitude towards Arabs in the wake of the Nakba (I mean... she says "War of Independence") created a new sense of urgency around de-Arabizing "Israeli" culture (p. 22). Its association with Mizrahi sellers allowed falafel to "be linked to Jewish immigrants who had come from the Middle East and Africa" and thus to "shed its Arab association in favor of an overarching Israeli identification" (p. 21).

Stampfer again:

On the one hand (with regard to immigrants from Eastern Europe), [falafel] underscored the break between immediate past East European Jewish foods and the new “Oriental” world of Eretz Israel.** At the same time, this food could be seen as a link with an (idealized) past. Among the Jewish public in Eretz Israel, Yemenite falafel was regarded as the most original and tastiest version. This is a bit odd, as falafel—whether in or out of a pita—was not a traditional Yemenite food, neither among Muslims nor among Jews. To understand the ascription of falafel to Yemenite Jews, it is necessary to consider their image. Yemenite Jews were widely regarded in the mid-20th century as the most faithful transmitters of a form of Jewish life that was closest to the biblical world—and if not the biblical world, at least the world of the Second Temple, which marked the last period of autonomous Jewish life in Eretz Israel. In this sense, eating “Yemenite” could be regarded as an act of bodily identification with the Zionist claim to the land of Israel. (p. 189)

So, when it's undeniable that a food is "Arab" or "Oriental" in origin, Zionists will often attribute it to Yemen, Syria, Morocco, Turkey, &c.—and especially to Jewish communities within these regions—because it cannot be permitted that Palestinians have a specific culture that differentiates them in any way from other "Arabs." A culinary culture based in the foodstuffs cultivated from this particular area of land would mean a tie and a claim to the land, which Zionist logic cannot allow Palestinians to possess. This is why you'll hear Zionists correct people who say "Palestinians" to say "Arab" instead, or suggest that Palestinians should just scooch over into other "Arab" countries because it would make no difference to them. Raviv's conclusion that the attribution of falafel to Yemeni immigrants is an effort to detach it from its "Arab" origins isn't quite right—it is an attempt to detach it, and thus Palestinians themselves, from Palestinian roots.

"Yemeni Jews first put falafel in 'pita'"

As for this claim, it's often attributed to Gil Marks: "Jews didn’t invent falafel. They didn’t invent hummus. They didn’t invent pita. But what they did invent was the sandwich. Putting it all together.” (Hilariously, the author of the interview follows this up with "With each story, I wanted to ask, but how do you know that?")

Another author (signed "Philologos") speculates (after, by the way, falsely claiming that "falafel" is the plural of the Arabic "filfil" "pepper," and that falafel is always brown, not green, inside?!):

Yet while falafel balls are undoubtedly Arab in origin, too, it may well be that the idea of serving them as a street-corner food in pita bread, to which all kinds of extras can be added, ranging from sour pickles to whole salads, initially was a product of Jewish entrepreneurship.

Shaul Stampfer cites both of these articles as further reading on the "novelty of the combination of pita, falafel balls, and salad" (FN 76, p. 198)—but neither of them cites any evidence! They're both just some guy saying something!

Marks had, however, elaborated a little bit in his 2010 Encyclopedia of Jewish Food:

Falafel was enjoyed in salads as part of a mezze (appetizer assortment) or as a snack by itself. An early Middle Eastern fast food, falafel was commonly sold wrapped in paper, but not served in the familiar pita sandwich until Yemenites in Israel introduced the concept. [...] Yemenite immigrants in Israel, who had made a chickpea version in Yemen, took up falafel making as a business and transformed this ancient treat into the Israeli iconic national food. Most importantly, Israelis wanted a portable fast food and began eating the falafel tucked into a pita topped with the ubiquitous Israeli salad (cucumber-and-tomato salad).

He references one of the pieces that Lillian Cornfeld (columnist for the English-language, Jerusalem-based newspaper Palestine Post) wrote about "filafel":

An article from October 19, 1939 concluded with a description of the common preparation style of the most popular street food, 'There is first half a pita (Arab loaf), slit open and filled with five filafels, a few fried chips and sometimes even a little salad,' the first written record of serving falafel in pita. [Marks doesn't tell you the title or page—it's "Seaside Temptations: Juveniles' Fare at Tel Aviv," p. 4.]

You will first of all notice that Marks gives us the "falafel from Yemen" story. I also notice that he calls Salat al-bundura "Israeli salad" (in its entry he does not claim that European Jewish immigrants invented it, but neither does he attribute it to Palestinian influence: the dish was originally "Turkish coban salatsi"). His encyclopedia also elsewhere contains Zionist claims such as "wild za'atar was declared a protected plant in Israel" "[d]ue to overexploitation" because of how much of the plant "Arab families consume[d]," and that Israeli cultivation of the crop yielded "superior" plants (entry for "Za'atar")—a narrative of "Arab" mismanagement, and Israeli improvement, of land used to justify settler-colonialism. He writes that Palestinians who accuse "the Jews" of theft in claiming falafel are "creat[ing] a controversy" and that "food and culture cannot be stolen," with no reflection on the context of settler-colonialism and literal, physical theft that lies behind said "controversy." This isn't relevant except that it makes me sceptical of Marks's motivations in general.

More pertinent is the fact that this quote doesn't actually suggest that this falafel vendor was Yemeni (or otherwise) Jewish, nor does it suggest that he was the first one to prepare falafel in pitas with "fried chips," "sometimes even a little salad," and "Tehina, a local mayonnaise made with sesame oil" (Cornfeld, p. 4). I think it likely that this food had been sold for a while before it was described in published writing. The idea that this preparation is "Israeli" in origin must be false, since this was before the state of "Israel" existed—that it was first created by Yemeni Jewish falafel vendors is possible, but again, I've never seen any direct evidence for it, or anyone giving a clear reason for why they believe it to be the case, and the political reasons that people have for believing this narrative make me wary of it. There were Palestinian Arab falafel vendors at this time as well.

"Chickpea falafel is a Jewish invention"

There is also a claim that falafel originated in Egypt, where it was made with fava beans; spread to the Levant, including Palestine, where it was made with a combination of fava beans and chickpeas; but that Jewish immigration to Israel caused the origin of the chickpea-only falafal currently eaten in Palestine, because a lot of Jewish people have G6PD deficiencies or favism (inherited enzymatic deficiencies making fava beans anywhere from unpleasant to dangerous to eat)—or that Jewish populations in Yemen had already been making chickpea-only falafel, and this was the falafel which they brought with them to Palestine.

As far as I can tell, this claim comes from Joan Nathan's 2001 The Foods of Israel:

Zadok explained that at the time of the establishment of the state, falafel—the name of which probably comes from the word pilpel (pepper)—was made in two ways: either as it is in Egypt today, from crushed, soaked fava beans or fava beans combined with chickpeas, spices, and bulgur; or, as Yemenite Jews and the Arabs of Jerusalem did, from chickpeas alone. But favism, an inherited enzymatic deficiency occurring among some Jews—mainly those of Kurdish and Iraqi ancestry, many of whom came to Israel during the mid 1900s—proved potentially lethal, so all falafel makers in Israel ultimately stopped using fava beans, and chickpea falafel became an Israeli dish.

Gil Marks's 2010 Encyclopedia of Jewish Food echoes (but does not cite):

Middle Eastern Jews have been eating falafel for centuries, the pareve fritter being ideal in a kosher diet. However, many Jews inherited G6PD deficiency or its more severe form, favism; these hereditary enzymatic deficiencies are triggered by items like fava beans and can prove fatal. Accordingly, Middle Eastern Jews overwhelmingly favored chickpeas solo in their falafel. (Entry for "Falafel")

The "centuries" thing is consistent with the fact that Marks believes falafel to be of Medieval origin, a claim which most scholars I've read on the subject don't believe (no documentary evidence, + oil was expensive so it seems unlikely that people were deep frying anything). And, again, this claim is speculation with no documentary evidence to support it.

As for the specific modern toppings including the Yemeni hot sauce سَحاوِق / סְחוּג (saHawiq / "zhug"), Baghdadi mango pickle عنبة / עמבה ('anba), and Moroccan هريسة / חריסה ("harissa"), it seems likely that these were introduced by Mizrahim given their place of origin.

*You might be interested to know that, despite their Jewishness mediating this borrowing, Mizrahim were during the Mandate years largely ethnically segregated from Eastern European Zionists, who were pushing to create a "new" European-Israeli Judaism separate from what they viewed as the indolence and ignorance of "Oriental" Jewishness (Hirsch p. 101).

This was evidenced in part by Europeans' attitudes towards the "Oriental" diet. Ari Ariel, summarizing Yael Raviv's Falafel Nation, writes:

Although all immigrants were thought to require culinary education as an aspect of their absorption into the new national culture, Middle Eastern Jews, who began to immigrate in increasing numbers after 1948, provoked greater anxiety on the part of the state than did their Ashkenazi co-religionists. Israeli politicians and ideologues spoke of the dangers of Levantization and stereotyped Jews from the Middle East and North Africa as primitive, lazy, and ignorant. In keeping with this Orientalism, the state pressured Middle Easterners to change their foodways and organized cooking demonstrations in transit camps and new housing developments. (Book review, Israel Studies Review 31.2 (2016), p. 169.)

See also Esther Meir-Glitzenstein, "Longing for the Aromas of Baghdad: Food, Emigration, and Transformation in the Lives of Iraqi Jews in Israel in the 1950s," in Jews and their Foodways:

[...] [T]he Israeli establishment was set on “educating” the new immigrants not only in matters of health and hygiene, [77] but also in the realm of nutrition. A concerted propaganda effort was launched by well-baby clinics, kindergartens, schools, health clinics, and various organizations such as the Women’s International Zionist Organization (WIZO) and the Organization of Working Mothers in order to promote the consumption of milk and dairy products, in particular. [78] (These had a marginal place in Iraqi cuisine, consumed mainly by children.) Arab and North African cuisines were criticized for being not sufficiently nutritious, whereas the Israeli diet was touted as ideal, as it was western and modern. […] [T]he assault on traditional Middle Eastern cuisines reflected cultural arrogance yet another attempt to transform immigrants into “new Jews” in accordance with the Zionist ethos. Thus, European table manners were presented as the norm. Eating with the hands was equated with primitive behavior, and use of a fork and knife became the hallmark of modernity and progress. (pp. 100-101)

[77. On health matters, see Davidovich and Shvarts, “Health and Hegemony,” 150–179; Sahlav Stoller-Liss, “ ‘Mothers Birth the Nation’: The Social Construction of Zionist Motherhood in Wartime in Israeli Parents’ Manuals,” Nashim 6 (Fall 2003), 104–118.]

[78. On propaganda for drinking milk and eating dairy products, see Mor Dvorkin, “Mif’alei hahazanah haḥinukhit bishnot ha’aliyah hagedolah: mekorot umeafyenim” (seminar paper, Ben-Gurion University, 2010).]

**On the desire to shed "old, European" "Jewish" identity and take on a "new, Oriental" "Hebrew" one, and the contradictory impulses to use Palestinian Arabs as models in this endeavour and to claim that they needed to be "corrected," see:

Itamar Even-Zohar, "The Emergence of a Native Hebrew Culture in Palestine, 1882—1948"

Dafna Hirsch, "We Are Here to Bring the West, Not Only to Ourselves": Zionist Occidentalism and the Discourse of Hygiene in Mandate Palestine"

Ofra Tene, "'The New Immigrant Must Not Only Learn, He Must Also Forget': The Making of Eretz Israeli Ashkenazi Cuisine."

#sorry for this but you should've known better than to ask me about falafel at this stage in my life #falafel research saga

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