#mobiustwixt

my-lost-corner said: Well I went to the wiki and he does transform into a dragon. Also you are right the form change is limited by the creativity and inteligence of the kid, so it’s weird that more kids don’t go for fantasy shapes but that might be the church fault? after all in that universe the church rules most stuff and maybe there isn’t much information about fantasy animals

That’s a good idea... I read the Belle Sauvage which takes place when the church is starting to crack down more, and the mc’s daemon is experimenting by combining bits of different animals, so maybe non-real daemons were more common before the church started enforcing conformity.

mobiustwixt

I think I remember it being said that daemons cant settle as sentient creatures, like armoured bears (and possibly dragons?). But still, wtf wouldn’t they be dragons and gargoyles and ghasts and shit at any opportunity

You’d think kids would be all over that, even if they couldn’t settle that way. 

theorigamiphoenix said: Daemon appearances are arguably cultural based (consider witch bird ones and the frequency of dog and cat ones for normal humans) and tend towards more mundane (relatively speaking) creatures; only one person is mentioned to have a mythical beast daemon, a deceased professor in a catacomb at Oxford said to have a basilisk daemon.

If blogs were Guardians this would be one heck of a Raid… and a strange Vendor.

(i’m going to do the other thing you asked, but let’s break up the classpect monotony and do this first)

Since I failed to mention something so important, Fraymotifs are special interactable game abstractions available for purchase from Consorts, or from Dungeon Diving. When you activate them, it plays music, and you get bonuses to String by attacking in rhythm. They’re a cool gimmick in the early game, but borderline necessary in the late game.

But interestingly, you can combine Fraymotifs with other players. When you get a Fraymotif, it has Spirographs (aspect symbols) on it, dictating who can use it. And a lot of titles can combine them (except for Void. Void doesn’t get Fraymotifs).

So if a Knight of Space and a Rogue of Time were to kick up the beats so they could kick up the dirt, here’s what would happen.

1) Music plays.

2) Rogue begins laying portals everywhere.

3) Knight begins to map out a path of time loops.

4) The beat drops. The Knight is sent hurtling through Time and Space, teleporting through portals and clocks and stuff. The portals keep him mobile and hard to hit, while the Time travel ensures he’ll hit in perfect rhythm. The Rogue adds more havoc by tossing knives or somesuch through the portals, accentuating the bloodshed.

5) Grist flies in every conceivable direction and timeframe.

장마(Monsoon) by 윤흥길

During the Korean War, the main character’s two grandmothers (mother’s side and father’s side) are hostile towards each other due to the fact that each of their sons are on different sides of the war.

One of the grandmothers loses their son while the other hears from a fortune teller that her son will be coming back home soon.

The grandmother who was told her son will return prepares to welcome him, only to see a snake enter through the front gate of the house. Seeing this, she realises her son has also died and has taken the form of a snake. She falls ill due to the shock.

The other grandmother, who had already lost her son earlier, goes to the snake, moves the food that was prepared for his arrival near him and burns a lock of her own hair, saying “Your mother cooked this up herself, day and night, for you. I know you probably can’t eat it, but I suppose you could at least take in her work of love with your eyes. I’m not doing this to chase you away, that’s not it. I know you came back because you were worried for us, but we are fine. You should move on now.”

풀(Grass) by 김수영

A poem about the perseverance of the people expressed through grass.

Wind causes the grass to lie down and cry. The poem starts with showing how this is the norm. But soon, the grass lies down before the wind starts and gets back up before it stops, showing it no longer passively reacts to the wind. The grass experiences great adversaries and hardships, but in the end always gets back up with a triumphant laugh.