stoned-ha

2

As tedious as it’s been having people call me “that Dipper-lookin’ kid” on every video I post for the past couple of years, I think I’d actually kinda regret it if I didn’t play along at least once. The original stone eye of providence has been trampled into the soil by hundreds of children, but the pentagram from last summer remains intact.

Also, I sat on a log and now my legs are covered in sap. Now I remember why I stopped wearing shorts.

So Here's what happened

I started laying D&D a little while ago and during my second session our party: 2 warriors, 1 bard, 1 sorcerer, 1 rogue and a barbarian agree to take this cursed coffin that held a Lich spirit inside down into an ancient crypt. Turns out there was a large labyrinth beneath the graveyard and the walls were made of doppelgängers. One of the warriors gets taken and is pulled up to the ceiling and is surrounded by doppelgängers that take on her appearance.

Rogue: I want to climb up and get her down from the ceiling.

DM: Role for perception and athletics.

(Roles an 18 and a 23)

DM: Okay, you easily scale the wall of doppelgängers and successfully grab the real one. Now both of you are stuck to the ceiling.

Female Warrior: I want to try to break free.

DM: Strength check.

(Roles 27!)

DM: You successfully break free from their grasp and the two of you are now falling.

Male warrior (Me): I would like to try to catch them.

DM: role a strength and athletics for each of them.

(For the rogue I roll a 16 and a 17.)

DM: Okay you manage to grab the rogue’s cloak and pull him up on the wall of the labyrinth. Take two damage. What about the warrior?

Me: 14 and a natural 1!

DM: (Face palms and lets out a groan) You successfully grab the warrior as she’s falling but the weight of her heavy plated armor is too much for you and rips your arm from it’s socket.

Me: WHAT!?

DM: However the rogue that just lit a torch cauterizes it.

Shenanigans continue on until the party meets up again. Rogue and sorcerer are trying to lift the heavy stone coffin that has the lich’s soul.

Sorcerer: Can someone give me a hand with this?

Me: I throw my arm at him and say: “Just be sure to give it back when you’re done with it.”

(DM Stares at me)

We continue through the crypt as we avoid several traps and ambushes by the undead.

Rogue: Is the reward even worth it?

Female warrior: This quest is gonna cost us an arm and a leg.

Me: I’m already halfway there.

DM: Why? Why are you like this?

buzzfeed.com
It's about to be easier for transgender teens in Australia to get their hormones
"Every step of the way it feels like it's a fight to let her be her."
By Lane Sainty

Australia is the only country in the world that requires transgender teenagers to go to family court before they can access hormone replacement therapy. And now, a community legal organization will help teens get the transition care they need without breaking the bank.

The group Justice Connect will connect trans youth with pro bono legal representation for the process of getting hormone treatment and/or puberty blockers. A family that doesn’t have pro bono representation can spend as much as $20,000 on the legal process.

People working with the project also acknowledge that it’s a temporary step as activists work to completely abolish the legal component of getting hormones. 

Young transgender woman Georgie Stone, who has collected thousands of signatures on a petition to overturn the Family Court process, said going through the court was “one of the darkest times of my life”.

“I felt bad that my being transgender was forcing my family to go through court, my brother had a hard time. It impacted on all of us and I felt responsible for that. I know it’s not my fault and my family never made me feel that way, but that how this situation made me feel and that’s a burden I shouldn’t have to carry,” she said.

In late December, Family Court judge Peter Tree labelled the process “inhumane” and said there is an “urgent need” for government intervention to overturn it.

This is incredibly important work. More power to you all. 

i’m not sure how to articulate this at all, but the juxtaposition of harry having all these iconic firsts at the beginning of his solo career–being interviewed by paul mccartney for his first solo magazine, cameron crowe for a rolling stone cover for his first album, his first live performance on snl, his first film directed by christopher nolan–because he’s already Somebody and him choosing to take them on, to take these huge risks and put himself out there? choosing to stand up, nervous and shaking, for the first time as a solo artist on live television on a show that famously makes or breaks people’s cares is just amazing to me? 

like i keep thinking of gemma’s quote in another man:

Everything he does seemed to be effortless, even now; watching him leap around a stage in front of thousands of people, he seems untroubled and free from self-doubt. It’s easy to be jealous - he’s one of those people who are just good at things, we all know one - but to assume this means he takes it all for granted, or doesn’t worry, or try, would be oversimplifying him unfairly. His bundles of talent are a mixture of natural ability and intense heart.

it would be so easy for him to coast by, but that’s just not who he is. it’s not effortless, even if it seems that way. he’s so brave and careful and he works really fucking hard. he wants to be honest and make something real, something that he thinks is good and not just for the money. he doesn’t take the chances he’s been given for granted, and he doesn’t take one direction or the fans who helped get him here for granted, no matter how he gets treated in return. he’s just such a lovely person, and i’m so proud of him for being exactly who he is.

Dungeon Crafting: Puzzle Dungeons

image source: Legend of Zelda: Oracle of Ages

Now, I don’t know if you people have seen Mark Brown’s miniseries on YouTube known as Boss Keys, but it’s pretty great. It picks apart and analyzes some of my favorite dungeons from the Legend of Zelda games and finds out what makes a dungeon a Zelda dungeon. I have always loved these dungeons because they have a lot of density and force you to explore the space slowly and think your way through its puzzles. Definitely check out Boss Keys. From what I learned from those videos plus my own experiences as a DM, I’m going to try and detail how to create a Zelda-like puzzle dungeon. There are a few hallmarks that you should hit on:

Dungeon Density

Each area in the dungeon should be complex. It should have several things to interact with in each room other than the monsters or guardians. Everything doesn’t have to be immediately useful or usable, but it should provide context for the dungeon. For ideas, think what the dungeon was used for and research what sorts of things might be in an ancient tomb, lost temple, or forgotten keep. Have certain puzzle elements stand out. A good example from the Legend of Zelda is the eyeball above a closed door. I would stray away from that type of “puzzle” as it’s very well-known, I assume, that you have to hit the eye to open the door. On the other hand, a well-known puzzle like that could signal to the players that this is going to be one of “those” dungeons.

Making a dungeon complex and dense will mean that you have less rooms to populate, and will make it feel robust and well-used. It will also give a feeling of slight confusion for the players as they try to organize all of the information you’re giving them, but as the dungeon progresses, they can pick and choose which parts of the dense dungeon are integral to solving the dungeon!

Hub Areas

With all of that dungeon density I’ve been talking about, it’s good to have some sort of hub area. It could be a large room, a safe sanctuary, or have some overbearing landmark for players to imprint on. This will be the main part of the dungeon that they remember and can rely on. They will pay the most attention to this hub. So if this hub is a main part of solving your dungeon puzzle, they will notice changes made to the room very easily. For instance, a hub room could be a gaping chasm with bridges that seem to be mechanical. When certain levers in other parts of the dungeon are pulled, some pathways in the hub open up and some close off as the bridges ascend, descend, or turn. Back in my post about dungeon tempo, this creates a nice rhythm for players to always come back to a room that they’ve cleared and notice progress.

Branching Paths

Branching paths are a key part of puzzle dungeons. Don’t have a dungeon that is all one path that railroads players to the end of the dungeon with a puzzle for each room. Players need to be able to explore and discover the available paths in the dungeon and find the path for themselves. In the Boss Keys miniseries I mentioned, Mark constantly differs Legend of Zelda dungeons by whether they make you find a path versus making you follow a path. I personally enjoy finding the path and I think most players do too. It is key in creating what are known as…

A-Ha Moments

An a-ha moment is not that feeling you get when listening to Take On Me, but it’s pretty close. It’s that feeling a player gets when they figure out a puzzle by suddenly putting two and two together. There are a few aspects to create this in dungeon and level design:

  • Foreshadowing: implying that one part of the dungeon must be revisited later or implying something further in the dungeon exists. Laying this groundwork puts thoughts in players’ heads to help them markedly acknowledge that it’s okay to leave this area, because something lies ahead.
  • State Changes: the environment of the dungeon or its parts changes based on the actions of the players. This is the “puzzle” part of the a-ha moment. Pressing a button to change gravity, move a pylon, or change water levels can would count as a state change. Even acquiring a key item that can affect the dungeon or the players’ movement would count (see Link’s Pegasus Boots, Hover Boots, Silver Gauntlets, etc.)
  • Backtracking: After the state change, the dungeon has shifted. Some areas that were once inaccessible can now be accessed, and areas that were once open have closed off. This forces the players to backtrack. Where do they backtrack to? The place that foreshadowed the backtracking.

How does this look in practice? Let’s make an example:

The players enter a dungeon and quickly make it to a hub area with four doors. three of the doors have a bridge extending from it to a central platform. The platform and bridges are 100 ft. above a pit of spikes, which are very satisfying to kick the kobolds in this room onto. Once players tire themselves of punting kobolds, they notice that the central platform has a large plinth with a stationary mirror set into it. The mirror is facing one of the directions of the bridges. The mirror can’t be easily moved without tools, and it has no apparent use yet. The players move on to one of the doors connected by the bridge.

The players go through several chambers, fighting monsters and avoiding traps, when they find a room with a lever in it. When pulled, they hear a low rumbling and grinding of stone elsewhere in the dungeon. When they return to the hub room, the central platform and bridges have rotated, allowing passage to the door that didn’t have a bridge leading to it before.

Down this new route, the players find a stone button with an angel relief on it. After pushing a huge rock onto it, they hear another rumbling. On returning to the hub room, an angel relief is now visible on the wall as a stone slab has moved away to reveal it.

The yet unexplored room is still accessible by the bridge, and after exploring down that path, the players find a crank near a gilded relief of a sun. The crank opens up a sunroof in the hub area. The sun (if daytime) shines light onto the central mirror in that room, which then reflects it out in one direction. The only problem is, the beam of light from the mirror isn’t facing the way the PCs want (towards the revealed angel relief in the hub area).

Realizing that they need to point the mirror so the light shines on the angel relief, they must backtrack to the room with the lever that rotates the bridges and mirror until the mirror is oriented the way they want.


This example has density. It’s essentially four rooms with all the things they need to solve a puzzle in the hub area (the central room with the bridges). It could use more density though with more puzzle intertwined throughout some filler rooms or with more things to do in each room; I was light on description for the purpose of the example. It has three branching paths (four if you include where they entered from). The mirror foreshadows a light puzzle, and the sun icon foreshadows the opening of the sunroof. The bridges, angel relief, and sunroof all exist in the hub area and change states based on the players’ actions in the rest of the dungeon. Players have to backtrack to the room that changes the bridge orientation so they can rotate the mirror to face the right direction. This is a fairly simple puzzle, but in the context of a session of D&D where the story less shown and more told, it can prove more difficult. Keep all of these factors in mind when making a puzzle dungeon, and don’t forget to watch Boss Keys!

4

Gavr’inis cairn (around 3.500 B.C.), Île de Gavrinis, Breizh 2017.

The burial chamber is reached from the outside by a 14m long corridor. Of the 29 orthostat slabs that form the sides of the passage, 23 are decorated with carved symbols and patterns.

“It is for its art that Gavrinis is famous. No fewer than twenty-three of it’s twenty-nine upright stones have been carved, not in single or isolated motifs but in a profuse series of compositions so that stone flows into stone or is mirrored by another in patterns engraved in low relief. The art is balanced in panels horizontally and vertically in symbols of which the main elements are concentric arcs and axes. These latter implements have splayed cutting edges like the big, prestige axes from the Carnac Mounds.” - A. Burl

The last stone in my photos has 3 horizontal hand sized holes about 10 cm deep similar to kerbstone 52 at Newgrange (which was built supposedly around 300 years later).

By:  scribbly-z-raid

By:  psychicpumpkinpi

By:  freckledoctopus

So i was looking through Tumblr as usual and found a few Lapis redesigns, they’re very beautiful with color changes and additions, and that got me thinking. Many of you complain about Lapis’s design and i get it, she’s brighter than my future and doesn’t have those golden specks that you see on real Lapis Lazuli stones.

Is she a gem or a glow stick amiright?

But here’s something i realized, you know the Ruby crew, the group of Rubies that are surprisingly diverse.

One of the first things you notice is their different color tones, from the light Eyeball to the darkest Leggy, and people have speculated that the lighter a gem is the longer they have lived. Eyeball has seen the war, she witnessed Rose shatter Pink Diamond with her own eye, so it’s safe to say she’s been around longer than the rest of them. Leggy is the newbie, and as we can see, she’s the deepest red of them all. Knowing this, i believe the reason for Lapis being so neon (although they could have washed her down a bit to be easy on the eyes) is because she’s very old. Like eyeball, she’s had a front view of the war, and who knows how long they’ve been in existence before that.

Now, let’s move on to the gold specks that everyone loves to put in their fanart. Like her skin tone, many find it an issue that she’s purely blue, but that’s no mistake; our Lapis is not just any Lapis, she’s what i would call “expensive”. Here’s a Lapis Lazuli of higher value:

Do you see gold or grey? no? that’s because of it’s lack of pyrite and calcite, which makes it more valuable. From this, i can assume that this stone has a lower quality:

And this one? probably at the bottom of the barrel.

If i’m indeed correct, just imagine the variety of Lapis Lazulies on the show. I’d absolutely LOVE to see a freckled water witch, or a blue and grey cutie who might be seen as inferior but we’d fancy her nonetheless, or at least one with deep blue skin that the critics wish our Lapis had. I might be wrong and made this whole post for nothing, but i just had to get this off my chest so all of the confusion would hopefully clear up.

lil things i love about firebringer

this accidentally became rly long. lmao sorry

• molag’s turtle shell shoulder pads

• lauren i think is singing alto parts in a lot of the songs? and she is usually a soprano right? we got an alto lead kids i’m v happy

• when they go to use a modern-day idiom but they stop halfway through because a word in the idiom wasn’t a word yet (“i don’t wanna be around when the shit hits the … i don’t even know what”)

• tiblyn bowing down and dancing & stuff with her arms still in the air

• “keeri JUST invented dancing”

• EMBERLY’S HAIR that must have taken forever to brush out

• chorn can only SAY chorn but it can SING other words

• “it’s not yet been scientifically proven how big the turtle we live on top of really is”

• jemilla’s freakout when she finds out the duck isn’t a god

• keeri just fucken gnawing on a rock in the background

• meredith cutting off the band to change them to another musical theme

• keeri copying zazzalil’s movements

• KEERI SHOVING THAT BEETLE IN HER HAIR LMAO

• at the end of welcome to the stone age “chorn!” “ha, yes!”

• “it’s happening!!” “what a lion is befriending a little baby pig and now they’re hanging out ??”

• schwoopsie’s squirrel tie and dandelion microphone

• emberly’s really frantic body motions all the time she literally can’t calm down

• “you know how sometimes there’ll be a pack of coyotes feasting on a rabbit, and there’s one small coyote who’s being kept from the meal?” “yeah,” “I’m like the rabbit”

• DUCK IS L O R D

• ducker’s face when tiblyn puts her arms down and the sky doesn’t fall

• “she is the spirit of the river! i know this because i saw her standing by a river once”

• “don’t be mean to lauren!”

• smelly balls dancing alone onstage at the beginning of the night belongs to snarl

• sexual tension between keeri and zazzalil JESUS

• “YEAH IT’S LIKE DO MY BALLS EVEN SMELL?”

• LAUREN SINGING THAT ONE PART IN INTO THE NIGHT IN CHEST VOICE H E L L Y E A H

• the “light that flame” sequence

• the one guy in the band who has two vital lines in the show “time is frozen now” and “did you see that spark upon the wall”

• when smelly balls looks at the flame and says “what is that, a man?”

• in the night belongs to us when jemilla sings “I” while the tribe sings “we”

• choreography in climate change omg omg

• lauren’s super sassy flirty dancing throughout the whole show

• keeri’s supreme love of animals

• jemilla & zazzalil’s two completely different reactions to clark wrapping his arms around them

• “it’s grunt to see you too, grant!!”

• the slide noise when grunt holds up his self portrait

• when grunt asks emberly if he can paint her and it’s the most pure thing in the whole world wtf

• emberly’s lil dance in paint me aw

• “we TRUSTED YOU ZAZZALIL!!!” “who the fuck are you?”

• chorn & smelly balls brotp for life

• “emberly, you just shat out a fire.”

• “well, well, well, look who was wrong!!!”

• clark preaching from the band

• the whole song “together” jfc sorry it’s so gay & pure and i love everything about it

• ba-dum ch everytime schwoopsie says her own name

• when they’re petting snarl and the band starts playing the night belongs to snarl but in a major key

• snarl saying “tell my wife trunkell i love her” as he dies

• chorn’s weird body suit

• how much do u wanna bet they were having a “who can make the ugliest face” contest when chorn taps their foreheads. lauren & brian won

• IN “CHORN” WHEN THEY RESTATE THE THINGS THEY SAID IN “WE ARE PEOPLE NOW” BUT NOW INSTEAD OF “IN THIS TIME, WE DONT KNOW WHY” IT’S “AND IN THIS TIME, WE FINALLY KNOW WHY”

• those high notes jamie hits in chorn!!! get it!!!

• jemilla’s line “they need you as much as me” which could be interpreted as “they need you as much as they need me” or “they need you as much as i need you”

• jemilla & zazzalil proposing at the same time and then ducker marrying them seconds later

bindingfenrir  asked:

Are there any symbols used specifically for Loki with historical proof?

Velkomin(n), vinur minn,
(Welcome, my friend,)

Archaeological records are not exactly my forte, but it does not seem that there are any symbols that were explicitly used for Loki (at least out of those that have turned up in the archaeological record, that is). By that I mean that there are a few possible depictions of Loki (especially of his binding story), but it does not seem that there was a symbol worn in honor of Loki quite like  there was for Thor with Mjölnir. Furthermore, most of the examples that I have located, and that I am going to share with you momentarily, have room for debate in regards to their intended subject matter. Even so, many of these depictions of Loki come fairly late in the Viking Age, after Loki’s image had begun to intertwine with that of the Christian devil.(1)


THE GOSFORTH CROSS:

THIS EXAMPLE YIELDS the most secure depiction of Loki, at least out of the examples that I was able to locate. Yet, even so, this depiction is on a Christian cross. Although containing a substantial amount mythological scenery, they “appear to have been deliberately chosen because they can be presented in accordance with Christian teaching also.”(2) This may be troublesome for people looking for a symbol to ‘revive’ in Loki’s name. Furthermore, even though depicting an older tale, it is generally considered to be a negative tale from a pro-Loki perspective.

Here is the image of a bound Loki on this cross (I have rotated the image):

Here is the tale from the Prose Edda that this portion of the cross presents:

“Now Loki was captured without quarter and taken to a certain cave. Then they took three stone slabs and set them on the edge and knocked a hole in each slab. Then Loki’s sons Vali and Nari or Narfi were fetched. The Æsir turned Vali into the form of a wolf and he tore his brother Narfi to pieces. Then the Æsir took his guts and bound Loki with them across the three stones — one under his shoulders, one under his loins, the third under the backs of his knees — and these bounds turned to iron. Then Skadi got a poisonous snake and fixed it up over him so that the poison would drip from the snake into his face. But his wife Sigyn stands next to him holding a basin under the drops of poison. And when the basin is full she goes and pours away the poison, but in the meantime the poison drips into his face. Then he jerks away so hard that the whole earth shakes. That is what you call an earthquake. There he will lie in bonds until Ragnarok.”(3)

In the image above, all of these details can be seen depicted in a carved from. Loki is shown bound in three places, a snake is above his head, and his loving wife stands beside him holding a basin. The Gosforth Cross is considered to be among the “oldest remaining monuments from the Norse colonies in north-western England,” and is roughly dated to approximately 930–950 (although this dating may now be an outdated claim).(4) A.B. Cook has interpreted this scene, in a fairly middle-grounded approach, as being a parallel between Christian and ‘pagan’ tales, whereby Loki being bound is equated to Satan being bound.(5) This is not to say that Loki is a naturally demonic figure, but rather to explain Loki’s presence on a Christian cross. Regardless of purpose, this image does indeed come from a pre-Christian tale about Loki, and thus is a fairly secure representation of Loki in a historical, visual context.


THE KIRKBY STEPHEN STONE:

THIS EXAMPLE holds room for debate. Some scholars align it with the imagery expressed in the Gosforth Stone, that the bounded figure presented here, likely the Devil, simultaneously invokes a sort of ‘pagan’ imagery that associates it with Loki. Yet, more recent studies have suggested otherwise. John Mckinnell, for example, agrees with Bailey that this “iconography has nothing in common with that on the Gosforth cross nor with such pictures of the bound Satan as those in the manuscript of Junius 11.”(6) Given the inherit insecurity of this example, then, it is most definitely not as secure of a depiction of Loki as scholars had previously thought it to be. Furthermore, it is more likely that this is not Loki, then, but rather a more straightforward depiction of Satan. Still, it is worth including, for it serves as a good example for just how troublesome deciphering these images can truly be.


THE SNAPTUN STONE:

PERHAPS MORE SATISFYING is the Snaptun stone, which was found in Denmark, unlike the previous examples which were found in England. This stone, dating to around 1000 CE (still near the end of the Viking Age), features a face that has a pair of lips with four perpendicular lines etched through it. It is this physical trait that has linked the image to Loki, for Loki’s lips were stitched in a tale recounted in the Prose Edda:

“But when Brook tried to catch him (Loki), he was far out of reach. Loki had some shoes with which he could run across the sky and sea. Then the dwarf (Brokk) told Thor to catch him, and he did so. Then the dwarf was going to cut off Loki’s head, but Loki said that the head was his but not the neck. Then the dwarf got a thong and a knife and tried to pierce holes in Loki’s lips and was going to stitch up his mouth, but the knife would not cut. Then he said it would be better if his brother Awl was there, and as soon as he spoke his name the awl was there, and it pierced his lips. He stitched the lips together, and tore the edges off. The throng that Loki’s mouth was stitched up with is called Vartari.”(7)

And here is an image of the stone itself:

This stone has been identified as a hearth stone, and thus would have had a function associated with fire within the household.(8) Interestingly enough, if this stone was indeed used for the purpose of maintaining a hearth’s fire, its very function would reflect the story from which the reference to Loki may derive. Brokk, after all, was a dwarf and smith — a dealer in fire. This is my own conjecture, but it is worth pondering, nonetheless.


LESS SECURE POSSIBILITIES:

THERE ARE A FEW OTHER OBJECTS worth mentioning here, although they are most definitely not concrete examples of symbols used for Loki by any means. Many people will see what they want to see, so we must take delicate care in interpreting them. The following objects are often reproduced as pendants. Some people already associate these images with Loki, although there is no proof of this being the case. Interpret these as you will, but keep in mind the insecurity that is inherently bound to these images.

The first of these is often called the Gripping Beast Pendant, and there are several variations of these. The one shown below is in the Borre-style, and it dates to roughly the tenth century. It was made in Scandinavia, but found in England. Some people have associated this with Loki’s binding story, which we have recounted above. It is possible that this is an abstract representation of that story, but there are no direct indicators (such as Sigyn and her basin) to make this interpretation more secure. The safest interpretation is that this pendant represents a tangled beast, and not necessarily Loki, especially since intertwining animal motifs are quite common in Scandinavian art.

Here is the description of this object from the British Museum:

“Cast silver open-work pendant with a a Borre-style design of a gripping beast inside a frame further decorated with four protruding animal heads. Suspension loop with central ridge and double median groove. The back of the pendant is undecorated. Small areas of gilding and niello are in evidence on the surface of the pendant.”(9)

Other examples are equally insecure and even have multiple interpretations associated with them. There is a ‘mask’ from Gnezdovo that dates to roughly the tenth century, but some say it could be Odin. It bares similar resemblance to the Snaptun Stone, but there are no stitched lips, which was the only solid ‘evidence’ for it to be Loki in the first place. There is also a winged figure that was found at Uppåkra (Sweden) from the same century, but some believe it may be depicting Völund the Smith,(10) although others have suggested that it could be Loki borrowing Freyja’s falcon ‘dress’, which has been told in the Prose Edda (and in the Poetic Edda, of course):

“Being filled with terror, he (Loki) said he would go in search of Idunn in Giantland if Freyja would lend him a falcon shape of hers. And when he got the falcon shape he flew north to Giantland and arrive one day at giant Thjassi’s; he was out at sea in a boat, but Idunn was at home alone. Loki turned her into a nut and held her in his claws and flew as fast as he could. When Thjassi got home and found Idunn was not there he got his eagle shape and flew after Loki and caused a storm-wind by his flying. And when the Æsir saw the falcon flying with the nut and where the eagle was flying, they went out under Asgard and brought there loads of wood-shavings, and when the falcon flew in over the fortification, it let itself drop down by the wall of the fortification. Then the Æsir set fire to the wood-shavings and the eagle was unable to stop when it missed the falcon. Then the eagle’s feathers caught fire and his flight was ended. The the Æsir were close by and killed the giant Thjassi within the As-gates, and this killing is greatly renowned.”(11)

Depending on how well-known this story was, it is possible that this object could have been made to reference it. Yet, no matter the likelihood, there is always room for doubt. Although I personally am not as familiar with his story, it still seems more likely, and more agreed upon, that this is Völund the Smith, and not Loki. Here is an image of this object, nonetheless:


ARCHAEOLOGICAL INTERPRETATION seems to be a bit of a challenge, especially when there are not always definite physical indicators to work from. It does not help, of course, that I am not a socialist in archaeology by any means. I am far more familiar with literature. Besides, Loki’s physical appearance can vary tremendously; he is, after all, a shapeshifter. He could appear in numerous forms without us necessarily being able to recognize the subtle hints right away (even then, who decides that we are correct in our assumptions anyway?).

To answer your original question, then, there are very few historical representations of Loki with absolute proof; there is always some sort of doubt. Many of these images can, however, be used to build upon. History only provides us with what survives, but, in working with those fragments, new efforts can be made within reason. Meaning is distributed by society (and even the individual), and meanings can change over time. Being historically responsible, though, means making sure that we know the original intention behind a work of art. It would be irresponsible, historically speaking, to project a new interpretation upon an image that was never meant to have such meaning. In short, it is quite difficult work to be confident in our effort to find historical representations of Loki.

I hope my answer has been helpful, although it is definitely not my strongest. There is definitely plenty of room for more academic work in learning more about historical representations of Loki, but such an area is just not my personal destination. If you have any follow-up questions, feel free to send them my way. I would be more than happy to continue discussing this topic with you, if you’d like.

Með vinsemd og virðingu,
(With friendliness and respect,)
Fjörn


ENDNOTES:
1. H.R. Ellis Davison, Gods and Myths of Northern Europe (repr., 1964; London: Penguin Books, 1990), 176-77.
2. Ibid., 179.
Fig.1. A part of the Gosforth Cross showing, among other things a figure with a horn above a bound figure, usually interpreted to be Loki and Sigyn from Norse mythology. Reproduction by Julius Magnus Petersen, published in 1913. Wikimedia Commons. (Edited – Image has been rotated).
3. Snorri Sturluson, Edda, translated by Anthony Faulkes (repr., 1987; London: Everyman, 1995), 52. (Free version available via the Viking Society for Northern Research).
4. Knut Berg, “The Gosforth Cross,” Journal of the Warburg and Courtauld Institutes, Vol. 21, No. ½ (Jan. - Jun., 1958), 28.
5. Ibid., 29.
6.  John Mckinnell, “Norse Mythology and Northumbria: A Response,” Scandinavian Studies
Vol. 59, No. 3, Anglo-Scandínavían England (SUMMER 1987), 331.
Fig.2. Captioned as “The Bound Devil. Kirkby Stephen.” Plate before page 217. The stone features a depiction of a bound, horned figure, sometimes theorized as the Norse deity Loki. Wikimedia Commons.
7. Snorri, Edda, Faulkes trans., 97.
Fig.3. The Snaptun stone, possibly depicting Loki. Housed at the Moesgård Museum near Århus, Denmark. Wikimedia Commons. (Edited – Image turned black and white for clarity).
8. Hans Jørgen Madsen, “The god Loki from Snaptun,” in Oldtidens Ansigt: Faces of the Past (Jysk arkæologisk selskab, 1990), 180.
Fig.4. Borre-Style Silver Pendant, British Museum Online Collection.
9. Description provided by the British Museum Online Collection.
10. Michaela Helmbrecht, “A Winged Figure From Uppåkra,” Fornvännen; 2012 (107):3, 171.
11. Snorri, Edda, Faulkes trans., 60.
Fig.5. Pendant from Uppåkra, likely Völund the Smith.


DISCLAIMER | ALL ASKS | TOP ASKS

UPDATED: 29 APR 2017 @ 10:25pm EST. | NOTES: Added new information in regards to the Kirkby Stone (see section title “THE KIRKBY STEPHEN STONE” and endnote 6 to view these changes).

Heimdall IS The SOUL STONE

There has been a theory going around for quite some time about Heimdall and how he possesses the final Infinity Stone, the Soul Stone. Well, it’s a good theory and all, but after watching the Thor: Ragnarök trailer, I came up with a better Heimdall/Soul Stone theory that will most likely end up being true.

My theory is that since the Soul stone takes on a mind of its own in the comics, and since Adam Warlock now most likely won’t have it, that Heimdall IS the Soul Stone.

Like all Infinity Stones, they were scattered across the universe, but the Soul Stone developed a mind of its own, its very own soul. After some time, it created a body for itself, like, an artificial intelligence (Ultron, Vision) building its own body.The body itself is the Soul Stone, and that is Heimdall. The stone won’t appear on Earth in Black Panther or Spider-Man, it’ll appear in Thor: Ragnarök when Heimdall is on his own and discovers what he truly is.

It would explain why he’s capable of seeing every living being in the universe, why he’s so powerful, and why Odin kept him close (if Odin ever knew). It would also explain why he has Orange eyes, the Soul Stone’s color in the MCU, when no other Asgardian or alien has them. It would also be a huge twist that fans won’t see coming. It was right in front of them the whole damn time.

Adrien's role in Volpina: unpopular opinion

It’s been stewing in my mind for a while now, and I’ve been wondering why all the essays and articles and fanfic written about the episode never quite satisfied me.

This morning I realised how come that was. A lot of the things written were about Marinette
This one was one of those episodes where her defects really do come back to haunt her. What’s more, at the end she hasn’t even learned much: she still doesn’t listen to Chat and goes to hunt down Adrien despite his protests, just steamrolling his opinion on the matter.

But the thing that didn’t satisfy me most is that the fandom overlooked another guilty party in this episode who’s defects also were responsible for creating the akuma: Adrien.

Adrien really annoyed me in this episode. One thing is being innocent and sheltered. He cannot help that and he’s slowly overcoming it, I imagine, with experience and Nino’s help. But come ON you HAVE miraculous yourself!

Adrien knows very well that the first rule of owning a miraculous is telling no one; it’s practically the first thing out of Plagg’s mouth after ‘ca se mange?’, which in hindsight tells him it’s pretty important. This is something he should know intrinsically this late in the game - one assumes the timeline has ANY sense. And giving away your identity to someone you just met, especially not for a booty call, should have started ringing alarm bells in his head. Instead of looking stupefied, he should have started asking trick questions, looking suspicious, backing away. After all, they have no idea who Hawkmoth is, his gender and age. For all they know the giant face and voice on the Eiffel tower could have just been a giant illusion.

I wouldn’t have minded if he’d just been an innocent bystander, someone like Nathaniel or Theo who don’t know a first thing about the miraculous stones. But that’s not the case; he knows very well that Plagg hiding is half his existence and doesn’t get suspicious at all this girl is just telling a random stranger she has a miraculous? Because make no mistake, Lila just moved into their school, she’s a stranger.

And then later, he does it AGAIN. A girl who looks a lot like Lila shows up in the fox miraculous costume. The fox. Miraculous. Which Lila just claimed as her own. She shows up out of nowhere, starts bossing your usual team leader around - thus blowing a hole into your usual team dynamics which you suddenly seem to care nothing about - and you accept it without batting an eye. Moreover, you notice your team leader is annoyed, and instead of asking why, just sort of hint she’s being hostile to the new teammate who you’ve accepted beyond the very reasonable doubt you should have had.

Adrien was right there when Ladybug tears Lila a new one, and also deduced correctly that her lie about being a miraculous holder was just that. He put the entire team at risk by siding with the newcomer over his team leader seconds after meeting her, and he did this after he KNEW that Lila was upset and just lying about that very miraculous stone. I’m surprised that has not had lasting effects on Ladybug and Chat Noir’s team dynamics, because quite beyond Adrien knowing about Lila, which Ladybug has no way of knowing, one would think the boy constantly spouting love declarations would follow said love interest as a team leader over a newcomer they know exactly nothing about.

Of course, I’m not saying Adrien should be shamed or any sort of thing. But Marinette’s faults and defects in this episode have been picked apart and aired so often I’m just really surprising Adrien’s very sizable errors weren’t also pointed out. Mari’s errors were more of a reactive nature, where she was provoked and acted out of line. Adrien’s were more errors of omission, where he failed to do and see things he really aught to know better about at this point. But they are still mistakes he makes, and no one seems to want to speak of them.

I’ve been reading up on different types of lisps (yes, for fun), mostly because I couldn’t put a word to the way that Emma Stone talks.  I like Emma Stone (and I loved La La Land), but I just really needed a name for whatever she has going on. I’ve noticed this with others in my life - a former boss, another colleague, something with their /s/ sounds is just…off. I kept thinking it was like a lisp, but when you think of a lisp you think, “I’m tho thorry you didn’t like the prethent I got you for Chrithmith.”

So here’s what I found (taken from Wikipedia, though there were several other sources on this that provided an interesting read):

  • A frontal lisp occurs when the tongue is placed anterior of the target. Interdental lisping is produced when the tip of the tongue protrudes between the front teeth and dentalised lisping is produced when the tip of the tongue just touches the front teeth. The transcription in the International Phonetic Alphabet for interdental sibilants is [s̪͆] and [z̪͆] and for simple dental sibilants is [s̟] and [z̟]. When a fronted lisp does not have a sibilant quality, due to placing the lack of a grooved articulation, the IPA transcription would be [θ, ð] or variants thereof.
  • A lateral lisp is where the [s] and [z] sounds are produced with air-flow over the sides of the tongue. It is also called “slushy ess” or a “slushy lisp” due to its wet, spitty sound. The symbols for these lateralised sounds in the extensions to the International Phonetic Alphabet for disordered speech are [ʪ] and [ʫ].
  • A nasal lisp occurs when part or the entire air stream is directed through the nasal cavity. The transcription for sibilants with nasal frication in the extensions to the IPA is [s͋] and [z͋]; simple nasal fricatives are [s̃] and [z̃].
  • A strident lisp results in a high-frequency whistle of hissing sound caused by stream passing between the tongue and the hard surface. In the extensions to the IPA, whistled sibilants are transcribed [s͎] and [z͎].
  • A palatal lisp is where the speaker attempts to make a sibilant while the middle of the tongue is in contact with the soft palate,[1] or with a posterior articulation of the sibilant. The latter may be transcribed [s̠] and [z̠], [ʃ] and [ʒ], or the like.

Who knew there were so many types? I believe, from reading and from what I remember of IPA, Emma Stone has either a dental lisp or a palatal lisp. I can’t decide exactly where her tongue is falling. I’m leaning toward the dental lisp.  The example I gave above (the Chrithmith prethent) is the standard interdental lisp, interdental being “between the teeth” and dental being actually on the teeth.

Aaaand…that’s what’s on my mind today. Carry on, Internet.

Things that Marvel needs to do in my opinion,

even if it’s not possible:


  • Black Widow movie. Either with Hawkeye (Budapest) or about hunting the Winter Soldier in the past. It can be a short movie, like half an hour to at least TELL US WHAT HAPPENED IN BUDAPEST. It’s been 4 years!
  • More movies with badass female leads. (I’m so thrilled for Captain Marvel).
  • No more whitewashing. I love Marvel but they honestly need to cast the right actors/actresses. Well at least as good as they can.  
  • Make their villains ‘better’. Loki and Wilson Fisk are the only villains who had enough backstory. They need to focuse more on the villains, not only on the hero’s.
  • Peter Quill meeting his grandpa if he’s still alive. 
  • Peter Quill visiting earth before Infinity War.
  • Peter Quills’s dad showed.
  • One last season of Agent Carter. There are questions left unanswered!
  • Loki, Wanda Maximoff and Doctor Strange meeting and having an awesome fighting scene. Either them fighting together and against each other. 
  • Doctor Strange, Tony Stark, Hank Pym and Bruce Banner having a conversation about clever-stuff. And maybe including Fitz-Simmons.
  • Coulson catching up with the avengers and Steve Rogers beeing happy that his greatest fan is alive. 
  • Happy comes back as Tony’s friend. 
  • Scott Lang and Steve Rogers having more conversations. 
  • May and Natasha and Gamora (and Jessica Jones) fighting together.
  • Peter Parker being friends with Wanda Maximoff because they are ‘the younglings’ and still kids. 
  • Daredevil and Captain America fighting together (I don’t know. I kinda want them together on screen).
  • Loki facing Thanos.
  • Loki staying alive. 
  • Loki showing off his tricks and fighting skills. 
  • Tony and Pepper getting back together.  
  • Steve/Bucky flashbacks.
  • Domestic!Steve Rogers and him being angry at the prices. 
  • Female Frost Giants (How do they even look like?).
  • Loki meeting his real mom.
  • Thor telling Odin that Odin was a bad parent and Loki being surprised about what his brother said. 
  • Loki accepting that Thor is his ‘brother’, but still being salty about everything. Him still doing mischief and staying true to himself but with less selfhate. 
  • Flashback of Thor and Loki’s childhood. With Frigga in it. And the Warriors three and Lady Sif.
  • The warriors three and Lady Sif helping Thor in Infinity War.
  • Steve wanting to use the time stone to travel back into the past to live with Peggy. 
  • Instead of dying in infinity war, Steve leaves the 21th century after infinity war and lives with Peggy. He’s never Captain America again and no one knows he’s alive. Bucky taking his place or Bucky coming with him.
  • The other Nine Realms being showed.
  • Peter Maximoff coming back to life just because. 
  • Luke Cage meeting Rhodey and Sam Wilson. 
  • Luke Cage and Jessica Jones getting back together.
  • Wanda keeping the Aether safe while Vision has the mind stone and Doctor Strange has the time stone.  
  • Stan Lee having many cameos because I love this man so much. 
  • Darcy and Doctor Selvig just being there.
  • Bruce Banner and Natasha Romanoff having a thing or breaking up for good. 
  • Clint Barton surviving everything because he’s a family man and his death would kill me. 
  • The inhumans fighting in Infinity War.
  • Baby Groot kicking ass.
  • Tony getting drunk with Rocket. 
  • The avengers visiting Asgard. 
  • Doctor Strange showing us different dimensions.
  • Original Wasp being found in a different dimension. 
  • Bucky Barnes leading with Steve (as best friends or lovers, you decide) a normal life after all the Thanos stress.
  • Avengers and X-men universe melt together or they meet. That’d be awesome.
  • DEADPOOL. 
  • Deadpool, Spiderman and Daredevil in one room.
  • Much more information about the Infinity Stones. 


Did I forget something?