plant based material

[VLD][Uliro] Tourniquet

Title: Tourniquet
Rating: T
Characters/pairings: Uliro, mentions of the other Paladins, mentions of Allura and Coran
Summary: Shiro patches Ulaz right back up. Ulaz helps Shiro put himself back together.

Also on AO3!

cross posted on tumblr bc I think people are lazy to follow links lol (@selina sorry not sorry for making this pop up on your dash again lmao)

Hope you enjoy! :)

“This is unneeded,” Ulaz says, exasperated, as he tries to yank his arm out of Shiro’s grasp. “I am capable of doing this myself. I’ve treated myself for worse injuries in the past.”

“I know,” Shiro replies, his brow furrowed with intense concentration as he holds on strong. In his other hand are a pair of tweezers, pinched around a cotton ball saturated with a homemade ointment Coran swore up and down would help Galra wounds heal faster. “Stop—Ulaz, hold still! I might accidentally stab you with this, and then we’ll have an even bigger problem on our hands.”

Keep reading

Making Oils

This is not the process of making essential oils. Essential oils are pure, undiluted oils extracted in a very specific way (such as steam distillation). While it is possible to make your own essential oils, it’s a bit expensive and time consuming to do so.

Oils you’ve made yourself at home are natural oils. This is made by steeping dried plant material in a base oil. Or mixing essential oils with a base oil.

Base oils are important because it either dilutes essential oil, which can’t be used directly or giving a base for homemade oils. Base oils can add an extra kick to your oil as they all have their own associated properties.

Here’s a list of my favorite base oils:
- Olive: healing
- Almond: unconditional blessing and support
- Grapeseed: spiritual enhancement
- Jojoba: protection, clear vission.
- Sunflower: growth, power of the sun.

There are two methods of making oils: hot and cold.

Cold Method
- Plant
- Base oil
- Jars
- Strainer
Mix equal parts oil and plant in a jar and leave in a cool and dark place for 4 to 6 weeks. Shake jar everyday. Strain oil into new jar and store I’m a cool, dark place.

Hot Method #1
- Plant
- Base Oil
- Oven
- Oven dish
- Jar
Mix equal parts oil and plant in an oven safe dish. Cover. Bake in oven for 6 hours. Cool, strain, and store in a jar in a cool, dark place.

Hot Method #2
- Plant
- Oil
- Base oil
- Stove
- Stove top
- Jar
- Strainer
Heat plant and oil mixture on stove until you can smell the plants. Cool, strain, and store in a jar in a cool, dark place.

After making your oils, charge and bless and you’re ready to go!

a-nom-de-plume  asked:

As someone familiar with vampire literature, what signs would you point out as clear indicators that a certain character is a vampire?

Okay (*cracks knuckles and gets ready for a long post*) I’m going to make the assumption from your username and use of the word “character” that this is a question about vampiric traits you can either incorporate into your writing as an author or identify in the fiction of others as a reader. If it isn’t and you like… need to make a call on your creepy next door neighbor who is never around during the day and hisses uncontrollably whenever they pass the church down the block, you should probably get off the Internet and contact your local eccentric ex-priest/librarian or something.

Moving on, though, the big thing about determining what traits a vampiric character might have lies with exactly what type of vampire they are and what aspects of vampirism are being emphasized in a narrative. I don’t think any set of traits will ever be 100% “clear” signs, as folklore and literary traditions regarding vampires can be incredibly inconsistent and contradictory. Depending on what you’re reading, vampires may have a ruddy complexion or be deathly pale; they may cause dogs to go silent or they may cause dogs to howl; they may achieve their final rest through marriage or be under compulsion to get married to prolong their unlife. Furthermore, a single vampiric trait may be written in different ways depending on who is doing the writing. For example, there are a lot of stories about vampires being repelled by certain classes of plants. For Paul Barber, who comes at the issue as a folklorist/historian, these plants are significant because many of them have thorns in which a rising vampire could become entangled and thereby be stopped; for my friend who is writing interactive fiction regarding vampires, these plants are important because some of them are still green in the winter, and thereby symbolize an overabundance of life which repels the undead; for me, back when I ran a very Catholic-flavored Vampire: The Masquerade game, these plants were significant because several of them have legends claiming that they were the wood from which the true cross was built. These sorts of things can work in a ton of different ways, and with that in mind, I’m going to try to break them down into broad categories, based on what traits might be useful for emphasizing certain types of vampires

Compulsions: Good for emphasizing vampires as condemned former humans, as entities tied to certain aspects of their pasts, or as static creatures locked into certain modes of behavior

  • Vampires must always use some variant on their real name (Carmilla, all those spin-offs of Dracula where he calls himself “Alucard”)
  • Vampires must always tell their life’s story to their lovers, although they may frame their tale as being about somebody else (Paul Feval’s La Vampire)
  • Vampires must marry and drain virgins to prolong their lives or may attain rest through being married… making them want to marry people a lot (numerous plays based on John Polidori’s “The Vampyre”, Étienne-Léon de Lamothe-Langon’s La Vampire, Varney the Vampire)
  • Vampires must steal people’s hair to continue to look youthful… making them look like they’re dying it a lot (La Ville-Vampire which is like… super weird)
  • Vampires must stop to count spilled seeds, knots in fishnets, or other groups of items (folklore… also Sesame Street)

Eerie Traits: Good for emphasizing vampires as creepy, unnatural, or just “wrong”

  • Vampires have glowing eyes or bodies (La Ville-Vampire, Dracula, probably some other stuff)
  • Vampires disturb or anger animals (“The Family of the Vourdalak”, Dracula)
  • Vampires have cold bodies and/or icy, unnaturally strong grips (“The Mysterious Stranger”, Carmilla, Dracula)
  • Vampires smell unnaturally good or unnaturally bad (“Wake not the Dead”, Dracula)
  • Vampires are really pale or have a ruddy, blood-tinged complexion (folklore, waaaay too many books for me to want to look up and list)
  • Vampires have some manner of unhealable wound from their days as a mortal (Étienne-Léon de Lamothe-Langon’s La Vampire, Varney the Vampire)

Religious Traits: Good for emphasizing vampires as condemned by God, inherently demonic, or cursed for their sins

  • Vampires cannot pray, use/touch holy symbols, enter churches, or are otherwise repulsed by holy symbols and holy things (“The Family of the Vourdalak”, Étienne-Léon de Lamothe-Langon’s La Vampire, “Le Morte Amoureuse”, Carmilla, Dracula)
  • In a manner similar to Mephistopheles and other devil figures, vampires cannot cross thresholds or enter dwellings without invitations or assistance (Dracula)
  • As with demons and evil spirits, vampires lose their power at the crowing of the cock… even if said cock does that thing from Hamlet and crows at night (Le Captaine Vampire, maybe Dracula)

Stuff Vampires Hate: Good for emphasizing vampire’s connection to folklore or removal from the everyday world of men

  • Vampires can be repulsed, stopped, or harmed by X plant, with X plant having the potential to be acacia, aspen, ash, blackthorn, hawthorn, garlic, juniper, linden, maple, oak, wild rose, rowan, or green shells from nuts (folklore regarding plant-based repellents, stake materials, and other vampire countermeasures, Dracula)
  • Vampires cannot cross running water, or will be rejected by bodies of water, or have to navigate bodies of water by floating around like they’re a plank (folklore, Varney the Vampire, La Ville-Vampire, Dracula)
  • Vampires are generally nocturnal and don’t want to be up during the day (folklore, waaaay too many books for me to want to look up and list)

Unrecordablity: All of this comes from Stoker; good for emphasizing vampires as soulless or in an unnatural state

  • Vampires do not show up in mirrors (Dracula)
  • Vampires cast no shadow (Dracula)
  • Vampires may not be photographed; your photographs either won’t show them or they will show up as a dead body (Bram Stoker’s notes for Dracula)
  • Seriously, if you even try to paint a vampire, your painting will turn out wrong and look like someone else (Bram Stoker’s notes for Dracula)

Werewolf Traits: There was something of a perception in the nineteenth century that vampires and werewolves were sort of the same thing, and Bram Stoker used a lot of stuff from Sabine Baring-Gould’s The Book of Were-wolves in writing Dracula. These might be useful in creating vampire-werewolf hybrid characters or in emphasizing the animality and beast-like nature of vampires.

  • Werewolves/vampires have joined eyebrows (Dracula)
  • Werewolves/vampires have hair on their palms and pointed, talon-like nails (Dracula)
  • Werewolves/vampires can’t follow people into fields of rye (The notes and typescript for Dracula)

Other Stuff

  • Vampires are insensible to music (Bram Stoker’s notes for Dracula)
  • Vampires can fit through tiny cracks and holes and may just show up places that they shouldn’t (folklore, Dracula)
  • Vampires can make themselves look young after feeding and may look like they got plastic surgery or something (“The Mysterious Stranger”, “The True Story of a Vampire”, Dracula)

So yeah… that’s all that I have/am-willing-to-look-up for now, but I hope it helps! You might also consider looking at superstitions relating to other supernatural entities, like witches, devils, succubi, etc… as vampirism in literature (as is pretty clear in the case of Stoker) often borrows from a lot of bits and pieces of non-vampiric folklore, but if you want info on just vampires being vampires in (admittedly mostly nineteenth century) literature, you now know pretty much what I know.

kurai0okami  asked:

3. 8. 23! OC ask meme

  • 3. Have you ever adopted a character or gotten a character from someone else?

Yes actually! I bought this beautiful plant skull-head feral character from someone on furaffinity a while back and I love them. I want them to be my first fursuit!

  • 8. Do you RP as any of your OCs? If you do, introduce one of your RP OCs here!

I do yes!! There’s my DnD OCs which are ofc by nature RP characters, and then my most recent text-based RP character was Rylan! Rylan is a plant witch, so she has more druid-based powers which influence the natural world. She can grow/ influence the growth of plants from any already existing dead or alive plant-based materials, and she also has two cute calico cat familiars named Thaddeus and Phoebe! 
Rylan is a bit of a sheltered but troubled soul and suffers from very severe anxiety; she was forced to move into the city to work for the empress in sustaining the plant life and assisting the farms of the kingdom. Eventually the empress takes her on a very dangerous adventure, as she’s appointed as a part of her trusted ‘court,’ and Shit Goes Down. Rylan wants to just straight up die, but she meets a hot buff prisoner named Nova from the mountain bloodsmen tribes and they end up bonding, Nova teaches Rylan how to survive in the wild, and they eventually become romantically interested in each other but have to hide it from the empress. IT’S A LOT.

  • 23. Introduce OC that has changed from your first idea concerning what the character would be like?

So my character that’s changed the most from their first concept is either Blackmoon or Shukumei. Both of them are very old OCs.
Blackmoon was originally a creation from my wolfaboo days, as you know, and she was also kind of a Zelda fan character?? She eventually became a human OC and I’ve been trying to rewrite the story so that it’s no longer taken place in Hyrule and I’ve actually come up with some good things!

Shukumei, on the other hand, started out as a lot of different things and went through many phases. 

  1. Shukumei was a male wolf character that lasted for like a week in elementary school. 
  2. Shukumei became a human Teen Titans fan character who worked for Slade, and I’d LARP as her during recess with my friends in elementary school lmao.
  3. in middle school Shukumei became her own thing entirely; a werewolf girl who was murdered by a woman named Rivera who wanted to use her werewolf DNA to do ~evil things~ 
    that was about as complex as that concept became
  4. during highschool I was like “nah, this is lame as fuk. Let’s make it better,” and I made Rivera an assassin to give her more driving purpose for killing Shu. She was the head of the science department of this assassin’s clan and wanted to use Shu’s werewolf blood as a means to create a bio-weapon; Freya was also made a significant character during this timeframe, she was the character who worked under Rivera as her assistant. Freya did field work, watched Shukumei, gathered information. Internally, Freya became a bit obsessed with Shu and began to feel infatuated with her. When Rivera murdered Shukumei, Freya was there trying to stop her but came too late. She ended up getting Rivera exiled from the clan. Freya was also a lot more mentally equipped than Rivera, and so she was appointed the head of the science department and used this position to bring Shu back to life, but the only way Shu was allowed to live afterwards was if she became an assassin and worked for the clan. So, like, that happened and Shu became an assassin.
  5. EVENTUALLY I was like “okay, that story has a lot of loop holes and weird things that don’t make sense. let’s fix it more”
    So I scratched the werewolf shit altogether. No longer a werewolf.
    I also scratched the Shukumei dying and being revived, instead she’s put in a near-death comatose state and brought back from that instead of death. Being brought back from death seemed like a ridiculous leap and I couldn’t explain how it happened, hahaha
    Honestly it’s all so complex I can’t explain it in a short paragraph but I’ll just leave it at that?? 


Preserving antiques isn’t just a personal preference for me but an ethical action, tied so much to my environmentalism. So much of our planet has been unsustainably used for resources, mountains dug up completely for minerals and fuels, forests destroyed for their wood…

I have 1920s photos of the Great Smoky Mountains, mountaintops to the horizon and not a tree in sight. The forests regrew, but how much diversity was lost? How much never came back? The American Chestnut is gone to an introduced fungus, the hemlock is following, heart of pine no longer exists because trees can never reach the size they were before. The whole makeup of the ecosystem forever different because life reappeared in a different order than it originally populated an area. In other parts of world, you can find species so specialized they’re only found on a single mountain top…did we have and lose that here when we stripped mountains bare? How many species of plants and insects and amphibians and more did we destroy without ever even knowing they existed?

And it hurt us too. Hardwoods like walnut, used whole for load-bearing columns, replaced today in construction by cheap, soft, easily-warped pine that has to be glued together to get a wide enough piece because we’ve squandered what was available until now it’s no longer feasible to use. Craftsmanship and durability unappreciated when everything’s disposable, our ability to discern material quality, our history of developing different uses for different natural materials lost. How many potential future resources, plant based medicines, biologic-inspired materials, just…simple knowledge of the world, is gone because of our opposition to limiting our consumption, to rationing what we take so it lasts into the future, rather than exploiting it all at once?

When we paint finished woodwork and furniture rather than repair the old finish, when we rip out or “modernize” historic architecture and structures, when we leave old stone to erode away as if it’s worthless…to not respect the products we made from that destruction, to cover up the natural beauty that lead it to be used and exploited in the first place, to throw away and replace the irreplaceable with more destructively-gained and increasingly-inferior materials…painting over old mahogany as if it’s existence and use is no different from today’s laminated particle board and water-logged pine… it’s disrespectful to what was lost, it’s disrespectful to the lifeforms that died to make that piece, it’s disrespectful to the planet itself.