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Night-owl

@not-someone-who-matters

she/her, I am a fandom girl so be prepared to find fandom things over here. Also, to the mututals that receive my current interest into their dash randomly: im sorry (but also not)

Love how tumblr has its own folk stories. Yeah the God of Arepo we’ve all heard the story and we all still cry about it. Yeah that one about the woman locked up for centuries finally getting free. That one about the witch who would marry anyone who could get her house key from her cat and it’s revealed she IS the cat after the narrator befriends the cat.

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Might I add:

The defeat of the wizard who made people choose how they’d be to be executed

The woman who raised the changeling alongside her biological child

The human who died of radiation poisoning after repairing the spaceship

The adventures of a space roomba

Cinderella finding Araura (and falling in love)

I don’t know a snappy description but the my nemesis cynthia story certainly lives in my head

I am in love with you /p

Does anyone know where to find the one with the Antichrist raised by loving mother and their family has been raising antichrists so they turn out good for generations?

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If you’re following me because of this, a reminder that this is the current up to date list and I reblog tumblr stories I come across under the #storytime tag. Enjoy!

"Once upon a time... a little collector came to this planet accompanied by their family."

This is a very big project I have done with the idea of retelling what I understood to be The Collector's backstory in a way that required no words at all: only visuals. Undertale fans may also recognize the style homage here, as well as relevance in music choice.

My name is not my own. My face does not belong to me. It never did! And yet for eighteen long years, I didn’t know any better.

My mother never guessed; my father may have known. It might explain his distance. My sister certainly figured it out, after she went to Elsewhere. I imagine that’s why she encouraged me to go.

The kind interpretation is that she hoped I would find understanding I’d never felt in the human world. That I would find kindred spirits on campus.

The cruel interpretation, I think, is that she hoped I would never come back. That Elsewhere would swallow me whole, and whether she got her true sibling back or not, she would never have to see another changeling again as long as she lived.

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Catch up Wisptober Day 8: Cuckoo

 " The king of the Changelings and his loyal birds were always a rare sight at the fairy court. It seems that strange Mornach loved much more to walk the human realm.“ Slowly catching up! I really needed a bit of time off after October but I am slowly getting back to those last 3 days I missed! :)

Here’s a story about changelings: 

Mary was a beautiful baby, sweet and affectionate, but by the time she’s three she’s turned difficult and strange, with fey moods and a stubborn mouth that screams and bites but never says mama. But her mother’s well-used to hard work with little thanks, and when the village gossips wag their tongues she just shrugs, and pulls her difficult child away from their precious, perfect blossoms, before the bites draw blood. Mary’s mother doesn’t drown her in a bucket of saltwater, and she doesn’t take up the silver knife the wife of the village priest leaves out for her one Sunday brunch. 

She gives her daughter yarn, instead, and instead of a rowan stake through her inhuman heart she gives her a child’s first loom, oak and ash. She lets her vicious, uncooperative fairy daughter entertain herself with games of her own devising, in as much peace and comfort as either of them can manage.

Mary grows up strangely, as a strange child would, learning everything in all the wrong order, and biting a great deal more than she should. But she also learns to weave, and takes to it with a grand passion. Soon enough she knows more than her mother–which isn’t all that much–and is striking out into unknown territory, turning out odd new knots and weaves, patterns as complex as spiderwebs and spellrings. 

“Aren’t you clever,” her mother says, of her work, and leaves her to her wool and flax and whatnot. Mary’s not biting anymore, and she smiles more than she frowns, and that’s about as much, her mother figures, as anyone should hope for from their child. 

Mary still cries sometimes, when the other girls reject her for her strange graces, her odd slow way of talking, her restless reaching fluttering hands that have learned to spin but never to settle. The other girls call her freak, witchblood, hobgoblin.

“I don’t remember girls being quite so stupid when I was that age,” her mother says, brushing Mary’s hair smooth and steady like they’ve both learned to enjoy, smooth as a skein of silk. “Time was, you knew not to insult anyone you might need to flatter later. ‘Specially when you don’t know if they’re going to grow wings or horns or whatnot. Serve ‘em all right if you ever figure out curses.”

“I want to go back,” Mary says. “I want to go home, to where I came from, where there’s people like me. If I’m a fairy’s child I should be in fairyland, and no one would call me a freak.

“Aye, well, I’d miss you though,” her mother says. “And I expect there’s stupid folk everywhere, even in fairyland. Cruel folk, too. You just have to make the best of things where you are, being my child instead.”

Mary learns to read well enough, in between the weaving, especially when her mother tracks down the traveling booktraders and comes home with slim, precious manuals on dyes and stains and mordants, on pigments and patterns, diagrams too arcane for her own eyes but which make her daughter’s eyes shine.

“We need an herb garden,” her daughter says, hands busy, flipping from page to page, pulling on her hair, twisting in her skirt, itching for a project. “Yarrow, and madder, and woad and weld…”

“Well, start digging,” her mother says. “Won’t do you a harm to get out of the house now’n then.”

Mary doesn’t like dirt but she’s learned determination well enough from her mother. She digs and digs, and plants what she’s given, and the first year doesn’t turn out so well but the second’s better, and by the third a cauldron’s always simmering something over the fire, and Mary’s taking in orders from girls five years older or more, turning out vivid bolts and spools and skeins of red and gold and blue, restless fingers dancing like they’ve summoned down the rainbow. Her mother figures she probably has.

“Just as well you never got the hang of curses,” she says, admiring her bright new skirts. “I like this sort of trick a lot better.”

Mary smiles, rocking back and forth on her heels, fingers already fluttering to find the next project.

She finally grows up tall and fair, if a bit stooped and squinty, and time and age seem to calm her unhappy mouth about as well as it does for human children. Word gets around she never lies or breaks a bargain, and if the first seems odd for a fairy’s child then the second one seems fit enough. The undyed stacks of taken orders grow taller, the dyed lots of filled orders grow brighter, the loom in the corner for Mary’s own creations grows stranger and more complex. Mary’s hands callus just like her mother’s, become as strong and tough and smooth as the oak and ash of her needles and frames, though they never fall still.

“Do you ever wonder what your real daughter would be like?” the priest’s wife asks, once.

Mary’s mother snorts. “She wouldn’t be worth a damn at weaving,” she says. “Lord knows I never was. No, I’ll keep what I’ve been given and thank the givers kindly. It was a fair enough trade for me. Good day, ma’am.”

Mary brings her mother sweet chamomile tea, that night, and a warm shawl in all the colors of a garden, and a hairbrush. In the morning, the priest’s son comes round, with payment for his mother’s pretty new dress and a shy smile just for Mary. He thinks her hair is nice, and her hands are even nicer, vibrant in their strength and skill and endless motion.  

They all live happily ever after.

*

Here’s another story: 

Two identical infants lay in the cradle. “One you bore, the other is a Changeling. Choose wisely,” the Fae’s voice echoed from the shadows. “I’m taking both my children,” the mother said defiantly.

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Once upon a time there was a peasant woman who was unhappy because she had no children. She was happy in all other things – her husband was kind and loving, and they owned their farm and had food and money enough. But she longed for children.

She went to church and prayed for a child every Sunday, but no child came. She went to every midwife and wise woman for miles around, and followed all their advice, but no child came.

So at last, though she knew of the dangers, she drew her brown woolen shawl over her head and on Midsummer’s Eve she went out to the forest, to a certain clearing, and dropped a copper penny and a lock of her hair into the old well there, and she wished for a child.

“You know,” a voice said behind her, a low and cunning voice, a voice that had a coax and a wheedle and a sly laugh all mixed up in it together, “that there will be a price to pay later.”

She did not turn to look at the creature. She knew better. “I know it,” she said, still staring into the well. “And I also know that I may set conditions.”

“That is true,” the creature said, after a moment, and there was less laugh in its voice now. It wasn’t pleased that she knew that. “What condition do you set? A boy child? A lucky one?”

“That the child will come to no harm,” she said, lifting her head to stare into the woods. “Whether I succeed in paying your price, or passing your test, or not, the child will not suffer. It will not die, or be hurt, or cursed with ill luck or any other thing. No harm of any kind.”

“Ahhhhh.” The sound was long and low, between a sigh and a hum. “Yes. That is a fair condition. Whatever price there is, whatever test there is, it will be for you and you alone.” A long, slender hand extended into her sight, almost human save for the skin, as pale a green as a new leaf. The hand held a pear, ripe and sweet, though the pears were nowhere ripe yet. “Eat this,” the voice said, and she trembled with the effort of keeping her eyes straight ahead. “All of it, on your way home. Before you enter your own gate, plant the core of it beside the gate, where the ground is soft and rich. You will have what you ask for.”

As somebody who really enjoys cartoon saloon, I find myself looking for similar content all the time. I'm certain I'm not the only one who does this so I figured i would compile a list of content that scratches the same itch as cartoon saloon's itish folklore movies

So here we go!!!!

1. The Daughters of Ys

Media type: graphic novel

About: The daughters of Ys is a graphic novel vatiation of a Brenton folktale. The art, story, and writing are gorgeous, and this is my top pick for similar content. I would sell my soul to get this animated.

Content warnings: nudity, implied sex, violence, murder

2. The Moorchild

Media type: novel

About: The Moorchild is a piece of children's fiction about a half-folk half-human, changeling girl. Despite being a children's book, it's one of my favorite pces of prouse. The story is engaging (even the second time around) and is better than most adult fiction I've read. Audiobook versions are available, too.

Content warnings: none

3. The Last Unicorn

Media type(s): Novel, graphic novel, animated movie

About: The Last Unicorn is a classic novel with an animated movie and comic adaptations. The 2d animated movie was released in 1982 by the Rankin/bass company. The film itself is whimsical. The animation is impeccable and is worth the watch for that alone. Also, they twinkified Prince Lir, hes so hot, oml.

There are several graphic novels from what I've seen. Each of them are just as good as the movie, but they tend to contain more of the world building.

The novel is worth the read even if you've seen the movie already. The lore and worldbuilding are so tasty, and there's so much cut out of the story cut out for the movie and graphic novel. Audiobook versions are available, too.

Content warnings: minor violence, nudity, and the movie has an overly sexualized tree you have been warned

I have more if you care to see them but right now i am tired as fuck, I'll make a part two later.

I was a changeling child. My parents begat a child who laughed and giggled and played as babes do, but it was taken from them. The fair folk came in the night, and they spirited my parents’ true child away, and in its place they left me.

Though I looked identical to the taken babe, in the morning my parents knew immediately that I was not truly the fruit of their loins. I did not laugh as children do, nor play as children do, and as I grew up I behaved in strange ways and knew secrets I should not have known. They did not know why the fair folk took their child and left a duplicate in its place, but they tried their best to send me back and to have their true progeny returned.

They cried, at first. They despaired. That night my father, deep in his cups, rushed out into the woodlands beyond the village and bellowed out a demand that the fair folk take this creature back, that they retrieve this thing, this mockery in human skin, and give him his true child. But if the fair folk heard his demands, they did not heed them. No matter what my parents did, they could not return me.

So they reconciled themselves to the simple fact that their child was gone, and they settled on secrecy. They did all they could to hide the truth of me from the others in the village, did all they could to help me to blend in with the people and affect some semblance of humanity. Gradually, I learned.

In time, I think, they came to love me. In time, I think, they came to forget their true child—or at the very least to convince themselves that they had been mistaken that morning, that no switch had ever been made. Yet there was always a distance between us, and though that distance would grow shorter with the passing of the years, it never truly closed.

*

I was a changeling child, and though I sought to hide this fact, it seemed that the humans could always tell. Countless were the times when I would meet someone and they would look at me oddly, and later I would overhear them speaking with others about what a strange and off-putting creature I was.

It seemed that, even if they did not know for certain, even if they were unaware of the secrets of the fair folk and the nature of the changeling, they knew upon speaking with me that there was something different, something not quite right, about this stranger in their midst.

Oftentimes they would attempt to be friendly, at least at first. A man would reach out to shake my hand. A woman would look me in the eye and smile. But I would recoil at the man’s touch, and when I looked the woman in the eye in turn I would be greeted by all that she was.

I would see an intensity, a vastness, a wealth of humanity so overwhelming that I would have no choice but to turn away. Thus I would be deemed “rude.” Thus I would be called “cowardly.”

My thoughts were not their thoughts, and my actions were strange. The other children of the village would make a game out of mocking me, though it was rare that I would realize at first that that was what they were doing. I would gladly participate in my own humiliation, thinking it nothing more than a game, and thus would receive even more of their mirthful cruelty. When the truth of the situation would—belatedly—come to me, I would run home and cry into my mother’s skirts, and she would offer me all the hollow tokens of comfort that a mother is obliged to give to her child.

But she did not understand why I cried, and she would resent me for my difference. Over time, I grew to recognize this truth as well, and I grew distant from her. I learned how to hide my feelings, to disguise the intensity of my emotions. When they threatened to rise up and consume me, my mind would go numb and my soul would still itself, and so I would become empty and shielded from the turmoil within my own heart.

*

I was a changeling child, and as I grew, I learned all the ways to hide what I was. I learned to wear a false smile like those upon the faces all around me, and I learned to hide my discomfort at others’ touch. I forced down food which was revolting in texture, even as my stomach churned and I desired nothing less than to retch it up.

But even as my proficiency in this farce grew, the suspicion of those around me never truly faded. No matter how well I hid my difference, now matter how adept I became at wearing my human mask, they could always sense that I was not one of them, that I did not belong among their kind.

Still I worked to bury my truth. I stilled my emotions and I hid their intensity, but this ruse did nothing to quell their power. That intensity, though denied an outlet, remained. It roiled and it churned within me, and whenever I was fool enough to let my guard down, to relax my control just a little, it bubbled to the surface and overwhelmed me. I would scream and I would thrash as these emotions took hold, and my parents would take me and beat me and scold me for my outburst. And still I would scream until my voice was hoarse, until exhaustion claimed me and my bruised body fell still once more.

*

I was a changeling child, and when I was on the cusp of adulthood I wandered through the forest outside my village and basked in its peace. I let my mind grow still as I walked, and I left behind all the worries of my daily life. This became a routine, and I would often find time to walk beneath the trees.

One day in the midst of that wandering, I happened upon a pond of clear water. Standing there, at the edge of that pond, I looked down upon my reflection and I pondered the question of who I was. I desired to know the truth of myself, and to know what sort of creature had truly been left in that crib all those years ago.

I reached up with my hands and I grasped my face and tugged at my skin. It came off without resistance, peeled off with an ease that I never before would have imagined. There was no pain, not the slightest discomfort. Instead, with each new tearing, as each strip of flesh fell away, I was filled with a greater and greater sense of elation and freedom. When I was done, I stared down into the pond, and in my reflection I now beheld for the first time my true face, and I saw that I am grotesque and I am beautiful and I am alien and I am me.

Turning from the pond, I walked once more through the forest, and by the time I returned to the village my human face had grown back, for the people there could never look upon what I truly was. I left the forest, and I slipped in among humanity, masking the truth of my heart.

*

I was a changeling child, and when our village was in the grip of its harvest festival I stood alone at the edge of the crowd. The people danced, though none would dance with me. Humans played instruments and sang songs and the volume and the cacophony of it all filled my ears and filled my head until I felt that familiar numbness creeping through my senses to protect me.

All made merry. They drank and they laughed and couples snuck away into the shadows, giggling to themselves as they did was couples do away from prying eyes.

Alone, I watched it all play out, until soon enough I grew weary and retired away to quiet solitude, exhaustion heavy upon me though I had done so little.

That night I slept deeply, so thorough was my fatigue. I slept alone, with a weight heavy upon my soul. I found myself yearning for touch, even as I feared it.

*

I was a changeling child, and always I have been averse to the company of humans.

It was on the farms, and in the barns, and in the wilderness surrounding my village that I found kinship. Dogs swiftly grew to trust me, and the cats who hunted rodents in our food stores felt no fear of me. The people of the village soon learned that I had a knack for working with animals, and many were the days that I spent among the sheep and among the cattle, caring for them and protecting them and comforting them.

Even the wild beasts beyond the village did not fear me. In the forest I would find wolves, who sat by my side and rubbed their snouts against my arm as though they were tamed hounds. I found deer; the fawns and the doe would accept my hands against their fur, and the stags would bow their heads before me and allow me to pass them by unchallenged.

I was no threat to the creatures of the wild, and they understood this and accepted me. I did not challenge them, and my presence did not rile their passions nor offend their senses. When I was not working in the barns of the fields, I was in the forest, resting with a fox curled up on my lap as I watched the birds flit through the trees above me, and I was thinking deeply of this world I had been left in, and of all its wonders.

*

I was a changeling child, and when a troupe of performers came to our village I was among the crowd that gathered to watch them. I was soon drawn deep into the tale they spun and the story they pantomimed, and soon enough my attention settled upon one player in particular, who took note of me in turn.

We were the same, such was obvious. We were both changeling children, and when the play was done we found each other and shared with one another our truth. We bore ourselves openly in a way that we never had before, and we retired together and shed our skin and our disguises and for the first time exposed our beauty and our strangeness to another.

Together, we shared an intimacy both intense and magical. Together we were ourselves, bare and without pretense, our masks forgotten for just a little while. We held each other without discomfort, and we knew each other in our minds and in our hearts and in our flesh.

When the morning came, we said our farewells. The troupe left the village, and I returned to my everyday life.

*

I was a changeling child, and I live now in a little house at the edge of the village. I tend to my garden and to my chickens, and I care for my dogs who guard the coop and my cats who patrol my plants.

When I go to the market to sell my vegetables and my hens’ eggs, the people are courteous but they are not warm, which suits me well. We complete our transactions and I return home to my quiet and my animals. Children point and whisper among themselves as I pass, and the people of the village give me a wide berth.

My parents, for that is what I call them and that is what they were, are gone now. I live a simple life, and I am satisfied. Sometimes, however, my heart yearns for companionship; the sort that cannot be found among the beasts, and I recall the theater troupe and I wonder if I will ever again meet another who is like me. On occasion I will try, in my own fumbling way, to reach out to a villager, but the intimacy I crave continues to elude me.

For I am a changeling child, and my place is not among the humans of the village—nor will it ever be.

Lord and Muse class thoughts

So

Had a thought about the powers of the Lord and Muse classes

that stemmed from the new idea that the functions of the classes themselves are on a spectrum of sorts, and not just their activity or passivity

So every function exists on some sort of Spectrum

Manipulation, Creation, Destruction, Application, Relocation and Information

since it was noted that whatever a Muse’s function is, it’s closer on the spectrum to a Witch’s (Manipulation) than it is to a Sylph’s (Creation)

And that got me thinking about what would the ends of the spectrum even be?

And at first I assumed Creation/Destruction as the most likely candidates

But I had to give a thought to, what if it was the Lord and Muse’s functions? Since the Lord and Muse are also the bookends of the activity spectrum, wouldn’t it make sense as Master classes that they’d be the bookends here as well?

Which got me thinking, what if the Master classes don’t have a shared function after all?

I’d had vague theories throughout that what separated the master classes apart from the rest so far, was that they were both an activity pair (Active Lord/Passive Muse) AND an function pair at the same time through the shared verb of “Definition” since that was something distinct I could separate from the rest of the 6 regular functions

but the I had this thought, what if it was both that the Master classes were partnered and were not partnered sort of at the same time?

Like, for instance, Muse’s function can only be expressed in a Passive way, because once you express is in an Active Way, it’s no longer a Muse’s function, but a Lord’s

And then it hit me: Inspire and Command

To Inspire someone is to passively bring them under your will and get them to do what you want, it’s not an active command, since the person can choose to ignore the inspiration, but it is highly suggestive and greatly powerful, and just like the rest of the passive powers, it requires an understanding and working with what a person would already choose to do in character for them anyway, requires a greater understanding but comes with less overwriting control

but to Actively bring someone under your will is to Command them, it’s no longer just an inspiration, it’s no longer something you can ignore or choose, it’s a Command. And for a command it doesn’t matter what the person is like, what their will is like or whether the person would realistically choose to do on their own because a forcible command overwrites all of that. 

and that’s, exactly what Muses and Lords DO. not in Homestuck I mean but like, just the base definitions of the words. 

They’re both people who bend other’s to their will, and that’s why Muse and Lord are special but also aren’t paired with another 2 pairs of classes AND that’s how they can be the bookends of both the activity and the functions spectrum

So they DO have the same function in the sense that both of their words are defined as the ability to bend another to their will and being the active and passive counterparts to it, but it also leaves no room for any extra two master classes despite the seperate functions, because of the natural way they themselves get inverted like that

Muse is the Most passive along the spectrum to Lord’s most Active

Muse’s function Inspire is at one end of the function spectrum, versus the Lord’s function Command being at another

So now with that thought, I wonder what the spectrum of functions looks like?

From what I can tell, Inspire and Manipulation so seem very close, and so Command and Information must also be close, and this to me makes sense since Information is often used as bargaining tool that forces people to do things, knowledge is power after all

Creation and Destruction seem the two most likely to be in center, since they feel the most removed from the concepts of Inspire/Command, but Creation still hinges on Inspire’s side, Destruction with Command’s

The finally Application and Relocation, Application is all about using the objects natural function to do what it do normally, so that sounds more Inspiring than Commanding, versus Application being a forcible moving of an object to wherever the user please, so that sounds more Commanding

so if I had to place things in a tentative spectrum:

Inspiration > Manipulation > Application > Creation <> Destruction < Relocation < Information < Command

and then to make everything fit my pedantic abolsutely meaningless pattern, we can change Command to Instruction lol which is nice because then it also starts with I just like Inspiration

Inspiration > Manipulation > Application > Creation <> Destruction < Relocation < Information < Instruction

Which also gives the Lord some leeway to yknow, not be evil, since in Homestuck the idea of bending another’s will to your own without regard for what they want is pretty evil idea, so a command seems inherently a bit too… much?

An Instruction however also contains that same amount of authority without being quite as forceful upfront as a command, but can be if desired

Mostly I just don’t wanna throw all Lords under the bus just because Caliborn exists lol buts it like how Manipulate/Change is the same thing for Homestucks’s purposes, the exact word used doesn’t matter, it’s the intended meaning

in which case the intended meaning for Muse and Lord is:

Muse Class:  Invites Inspiration of (Aspect) or one who Invites Inspiration through (Aspect)

Lord Class: Commands (Aspect) and/or Commands with (Aspect)

writing it like this it’s really easy to see how their couldn’t be a passive Lord function or an Active Muse function

but

the main idea is still, whatever you call them, they are doing the same thing, Bending things to their Will

and the most accurate way to write out their full powers would be as follows:

Muse Class: Invites (Aspect) to Bend to their Will, or one who invites Will Bending through their (Aspect) 

Lord Class: Bends (Aspect) to their will, or Will Bends with (Aspect)

I kinda wish their was a concise verb that means “Will Bending” though that’d be perfect

but the closest thing is the definition of the, which again splits the idea into two very Lord or Musey words?:

“Bend Someone to your Will: To use your Power or Influence to make someone do what you want them to do”

Power Command Authority Instruction: these are a Lord’s Powers. 

Influence Inspiration Trust Alliance: these are a Muse’s Powers.

(THOUGH. I supposed you can take the same scale and make it so the Lord/Muse are at the center of it in a single function, with Creation and Destruction as the bookends instead, in which case the spectrum would look like:

Creation > Application > Manipulation > Inspire/Define/Command < Information < Relocation < Destruction)

It essentially kind of Doesn’t Matter? But I do firmly believe now that whatever it’s called, the powers of the Lord or Muse are to bend things related to their Aspects to their own wills

Maybe it was Lord English himself who invented the whole idea of the Commands in Homestuck in general? That would be a pretty literal interpretation of his powers, and than once he was done with them he just didn’t bother cleaning it up/let the tech fall into other people’s hands

I mean, they are things that literally exist only to try and bend another person’s will to whatever it is you write in them

and is not the idea of bending a word to you will the act or redefining it? So I guess this doesn’t really change my ideas about Lord and Muse, but it did help me clear them up

Inspiration/Definition/Instruction whatever, what matters is that the thing is doing what you want it to do

Well, until daytime, here are the fraymotif circles I did!  They’re transparent! ^O^ It’s hard to put into words how exciting and cool it’s been to actually be a part of Homestuck before it ends.  Maybe I’ll try when my brain isn’t dying.

I LOVE YOU ALL THANKS SO MUCH FOR YOUR KIND MESSAGES!!

EDIT: Okay I did the other six today, just for you guys.  Now go get those tattoos!  Also, I just remembered something important, which is that these things were also suggestions from @rah-bop (yes, she was a real lifesaver when I was running out of ideas).  

I come bearing gifts!

THIS! THIS RIGHT HERE!

I only vaguely remember who ToastyHat is/was, I know they helped with Collide. I know they were one of the artists that posted their work from that flash to their tumblr.

And now it’s gone.

I’m sure people have reblogged the work plenty, but is there even a place hosting this stuff anymore? Is it possible to find the beta sprites for Lord English? Or the early draft of the scene where it shows the kids houses building up next to portraits of the kids, all slow like, during the fourth song (the final cut cut the scene down and I can’t find the rough draft anymore).

I’m sure all this stuff and more is somewhere on the internet, but it’s difficult to find. I don’t even know where or how to find ANY of the bts stuff from Collide.

And its not just about Collide. It’s anything that’s not well documented. Important content just casually posted and one day gone cause the blog or site was deleted or changed.

I don’t know what my point is. I’m just glad I’ve got this blog that will stay forever and host all the video game assets, and in multiple places.

.

.

.

But yeah if anyone can find ANY of the old Collide stuff and send them to me that’s be great. Behind the scenes, betas or drafts, that stuff. I really want to see the early cut of that scene again.

I’m not a classicist, but I suspect one of the reasons so many of the Greek gods are portrayed so unflatteringly was less because they were seen as villains than because they represented their domains.  Of course Zeus sometimes misuses his power, that’s what a king does.  Of course Artemis’s wrath is wild and painful, that’s what nature can be.  Of course Hades snatched away a young girl from her mother’s arms, that’s what death does.  This is one of the reasons callout posts for some gods comparing them negatively to ‘nicer’ gods are kind of missing the point.

as someone who is partially a classicist, this is a better analysis of Greek mythology as a whole than 99.95% of the takes I’ve seen on here (and a substantial number of the takes I’ve seen in ~academia~)

there is a reason for this too

think especially of the hades example, hades doesnt snatch people all of a sudden, death does

the gods were created by humans as a way to process negative events in general, what can you do about death? nothing, you’re powerless, its a force of nature

but a god you can pray to, with a god there is a thin sliver, some miracle, some way of pleasing them through devotion and service that maybe, just maybe, you, through your own blood sweat and tears, can undo whatever terrible thing has happened, and sometimes people just need that, as something to cling to

but if thats the case, if the gods can choose whenever they please, in rare cases, whats the explanation for their being death at all? why is there no simple transactional method to reviving loved ones?

and from there, gods are given human personalities, they dont because they dont want to, for reasons of their own, you must instead bargain with them and convince them and pray and sacrifice as you would any other person

so the gods arent terrible people for no reason at all, the gods are terrible in stories because terrible things happen in this world

but the difference is if those terrible things have a person behind them, a person can be reasoned with, a crater in the ground cannot

— On Cassandra of Troy

"Cassandra" by Florence and the Machine // "Cassandra" by Anthony Frederick Augustus Sandys // "A Thousand Ships" by Natalie Haynes // "The Cassandra Scene in Aeschylus' Agamemnon" by Seth L. Shein // "Ajax and Cassandra" by Johann Heinrich Wilhelm Tischbein // "Elektra" by Jennifer Saint // "Cassandra of Troy" by Jan Drenovec // "mad, mad, mad" by @diradea // "mad woman" by Taylor Swift // "Helen and Cassandra" by Al Stewart // "Cassandra of Troy" by Evelyn de Morgan // "The Daughters of Troy" by Euripides

Cassandra is for eldest daughters with anxiety, who are actually doing much better than they used to, at least externally, but don’t know how to cope with suddenly being expected to act “normally” again. It’s for the people who desperately want to believe in a religion, but are sceptical, pessimistic and disillusioned. It’s for the lonely girls who and simultaneously crave and fear intimacy. It’s for the disobedient women, who are dissatisfied with the idea of domesticity, but don’t see another future for themselves that won’t just leave them isolated