I'll be in my study...

“Hello. My name is Inigo Montoya. You killed my father. Prepare to die.”

False Face Fawn 2nd in my Glass Animal Mask series!

The initial design had glass antlers but they looked too bulky and didn't make sense for a fawn to have grown adult antlers so I replaced them with blue Lily of the Valley flowers. I'm particularly happy with how the white flowers on her back looks like the white fawn spots :D

Owl is up next!

As always, the hours long process videos, HD Image, and PSD file will be DMed on Patreon.com/c/Yuumei

First of my glass animal mask series! This was so fun to paint, what other animals should I try? So far I'm thinking owl and deer for a woodland theme🦊🦉🦌

This painting and more have just been added as a print to my webshop :)

And so much love to that poster, because it stuck with me, and really made me think about why I find Kel so compelling. And, in thinking about it, I've come to understand that the truth is that Kel doesn't get chosen. She chooses herself.

When Kel touches the door at the beginning of Squire, Neal tells her never to do it again, because the Chamber might kill her. And Kel proceeds to touch that fucking door every fucking year, to the point that the Chamber knows her, and remembers her, and is like, "Girl, you again??" And she's like, "Yep, it's me! Please torture me some more." She keeps coming back because she is afraid that she won't pass the Ordeal, and she keeps touching the door because when Kel can't do something, she works at it until she can. And so, she builds a relationship with the Chamber the way she does with everyone else in her story: by showing up, by being reliable, by having integrity, and by being the best version of herself she can be, every day.

I tend to believe that the purpose of the Ordeal is that the Chamber forces you to change--to realize something about yourself that needs to be faced so that you can become a better person--and that the Ordeal only ends once you've internalized that change. (This is why Joren dies).

Kel's Ordeal ends when she changes the way she thinks about the Chamber: "I thought you would be grand and terrible" she says "I thought you would make us grow up... This is just mean." She had put her faith in the Chamber to show her that she was worthy, but she was worthy from the start. This is what changes about her: she no longer seeks external validation from the Chamber; she no longer has anything to prove. She realizes was always worthy.

And the Chamber doesn't go on and on about how she's special, or the chosen one, or whatever. It just says: "You'll do."

When Blayce starts defying the laws of life and death, there is only one class of knights that the Chamber has access to, and Kel is the last candidate to enter the Chamber that year. She is the Chamber's last chance to enact any sort of will on the world outside its little room. And Kel walks in, and it knows her. She is the one who has been testing herself against it for years, and she comes back and gives it the metaphorical finger and tells it to fuck off. The entity in the Chamber is already searching for someone to do this important thing, but Kel doesn't need some elemental demi-god who exists outside of time to approve of her. She does that for herself. She chooses herself.

The Chamber didn't pick her in advance; it wasn't some mystical prophecy. It was holding a job interview, and Kel showed up and said, "It's me. I'll do it. (Also, go fuck yourself.)"

And the Chamber says: "Yeah, all right. (Thank fuck you showed up)."

What I love about Kel is that she embodies the kind of heroism that is possible for all of us. She is dedicated. She is kind. She is hard-working. She commits herself to the service of others. None of those things are superhuman. They are possible for each of us to achieve.

At the end of the day, being a hero isn't about being blessed or prophesized or having super-powers. It's about showing up every day and saying:

Instead, as the clock was approaching midnight, soft music started playing ((Non Je Ne Regrette Rein by Edith Piaf)), and a spotlight fell on Mephistopheles, who had been standing downstage for most of the scene, hidden in darkness.

He walked across the stage, where the actor playing Faust was. He was kneeling, face in hands, openly weeping, and Mephistopheles helped him to his feet. And then they started to slow dance.

Mephistopheles was clearly leading, and Faust was just kinda slumped over on him, with his face buried in his neck, not really moving as much. And it’s all like, really genuinely tender? You get the impression that Mephistopheles is trying to make Faust’s last moments at least somewhat peaceful.

And then, as the song is getting to the last part, you see this circular red outline appear under them. It starts out really dim, but as the song draws to a close, it gets brighter and brighter. And then, during the last lines of the song, Mephistopheles let’s go of Faustus and steps out of the circle. And THAT is when Faust gets dragged to hell. The red circle starts to lower down into the stage, and you see all these hands begin to reach up and grab at Faust and at the edges of the circle. And Mephistopheles just watches. Calmly.

The stage closed back up. Faust is gone. Mephistopheles just kinda saunters over to Fausts bed and sits down on it. Then after a few seconds, the scholars come in and give their whole shpeal. However, when they go to leave, Mephistopheles gets up and follows them. Just as the Second Scholar is about to exit, Mephistopheles whispers something seductively in his ear. The scholar pauses for a moment, shakes his head, and leaves.

Chorus. End. That’s it.