He Lasted About 5 More Seconds In That Room

A whole bunch of Funger doodles, some being requests made by my friends.

I’m taking pottery lessons right now… and my teacher said “the kiln gods are being kind to me right now.” And that made me stop and think. Is there a god of pottery? I tried to look it up but it’s hazy.

In Ancient Greece, Athena was apparently the goddess of crafts, which is a bit vague. Hephaestus was the god of sculpting, but that’s not right either.

In Ancient Egypt, I found Khnum who made the other gods and humankind on his potter’s wheel.

I found two gods of pottery in Southeast Asian cultures, Lianaotabi and Panthoibi.

But I wasn’t able to find anyone else. Pottery being such an important part of daily life all around the world, it seems like there would be more. Does anyone know of any other gods of pottery?

Alien girl, tome

My boyfriend was showing me his cat and I leaned over to kiss the cat on his soft little baby head and he went "meow" and scrambled away because I'd been wearing my headphones and I accidentally jabbed him with the microphone.

And I said "Damn, this is exactly like in the Iliad"

Another worldbuilding application of the "two layer rule": To create a culture while avoiding The Planet Of Hats (the thing where a people only have one thing going for them, like "everyone wears a silly hat"): You only need two hats.

Try picking two random flat culture ideas and combine them, see how they interact. Let's say taking the Proud Warrior Race - people who are all about glory in battle and feats of strength, whose songs and ballads are about heroes in battle and whose education consists of combat and military tactics. Throw in another element: Living in diaspora. Suddenly you've got a whole more interesting dynamic going on - how did a people like this end up cast out of their old native land? How do they feel about it? How do they make a living now - as guards, mercenaries? How do their non-combatants live? Were they always warrior people, or did they become fighters out of necessity to fend for themselves in the lands of strangers? How do the peoples of these lands regard them?

Like I'm not shitting, it's literally that easy. You can avoid writing an one-dimensional culture just by adding another equally flat element, and the third dimension appears on its own just like that. And while one of the features can be location/climate, you can also combine two of those with each other.

Let's take a pretty standard Fantasy Race Biome: The forest people. Their job is the forest. They live there, hunt there, forage there, they have an obnoxious amount of sayings that somehow refer to trees, woods, or forests. Very high chance of being elves. And then a second common stock Fantasy Biome People: The Grim Cold North. Everything is bleak and grim up there. People are hardy and harsh, "frostbite because the climate hates you" and "being stabbed because your neighbour hates you" are the most common causes of death. People are either completely humourless or have a horrifyingly dark, morbid sense of humour. They might find it funny that you genuinely can't tell which one.

Now combine them: Grim Cold Bleak Forest People. The summer lasts about 15 minutes and these people know every single type of berry, mushroom and herb that's edible in any fathomable way. You're not sure if they're joking about occasionally resorting to eating tree bark to survive the long dark winter. Not a warrior people, but very skilled in disappearing into the forest and picking off would-be invaders one by one. Once they fuck off into the woods you won't find them unless they want to be found.

You know, Finland.

the thing about art is that it was always supposed to be about us, about the human-ness of us, the impossible and beautiful reality that we (for centuries) have stood still, transfixed by music. that we can close our eyes and cry about the same book passage; the events of which aren't real and never happened. theatre in shakespeare's time was as real as it is now; we all laugh at the same cue (pursued by bear), separated hundreds of years apart.

three years ago my housemates were jamming outdoors, just messing around with their instruments, mostly just making noise. our neighbors - shy, cautious, a little sheepish - sat down and started playing. i don't really know how it happened; i was somehow in charge of dancing, barefoot and laughing - but i looked up, and our yard was full of people. kids stacked on the shoulders of parents. old couples holding hands. someone had brought sidewalk chalk; our front walk became a riot of color. someone ran in with a flute and played the most astounding solo i've ever heard in my life, upright and wiggling, skipping as she did so. she only paused because the violin player was kicking his heels up and she was laughing too hard to continue.

two weeks ago my friend and i met in the basement of her apartment complex so she could work out a piece of choreography. we have a language barrier - i'm not as good at ASL as i'd like to be (i'm still learning!) so we communicate mostly through the notes app and this strange secret language of dancers - we have the same movement vocabulary. the two of us cracking jokes at each other, giggling. there were kids in the basement too, who had been playing soccer until we took up the far corner of the room. one by one they made their slow way over like feral cats - they laid down, belly-flat against the floor, just watching. my friend and i were not in tutus - we were in slouchy shirts and leggings and socks. nothing fancy. but when i asked the kids would you like to dance too? they were immediately on their feet and spinning. i love when people dance with abandon, the wild and leggy fervor of childhood. i think it is gorgeous.

their adults showed up eventually, and a few of them said hey, let's not bother the nice ladies. but they weren't bothering us, they were just having fun - so. a few of the adults started dancing awkwardly along, and then most of the adults. someone brought down a better sound system. someone opened a watermelon and started handing out slices. it was 8 PM on a tuesday and nothing about that day was particularly special; we might as well party.

one time i hosted a free "paint along party" and about 20 adults worked quietly while i taught them how to paint nessie. one time i taught community dance classes and so many people showed up we had to move the whole thing outside. we used chairs and coatracks to balance. one time i showed up to a random band playing in a random location, and the whole thing got packed so quickly we had to open every door and window in the place.

i don't think i can tell you how much people want to be making art and engaging with art. they want to, desperately. so many people would be stunning artists, but they are lied to and told from a very young age that art only matters if it is planned, purposeful, beautiful. that if you have an idea, you need to be able to express it perfectly. this is not true. you don't get only 1 chance to communicate. you can spend a lifetime trying to display exactly 1 thing you can never quite language. you can just express the "!!??!!!"-ing-ness of being alive; that is something none of us really have a full grasp on creating. and even when we can't make what we want - god, it feels fucking good to try. and even just enjoying other artists - art inherently rewards the act of participating.

i wasn't raised wealthy. whenever i make a post about art, someone inevitably says something along the lines of well some of us aren't that lucky. i am not lucky; i am dedicated. i have a chronic condition, my hands are constantly in pain. i am not neurotypical, nor was i raised safe. i worked 5-7 jobs while some of these memories happened. i chose art because it mattered to me more than anything on this fucking planet - i would work 80 hours a week just so i could afford to write in 3 of them.

and i am still telling you - if you are called to make art, you are called to the part of you that is human. you do not have to be good at it. you do not have to have enormous amounts of privilege. you can just... give yourself permission. you can just say i'm going to make something now and then - go out and make it. raquel it won't be good though that is okay, i don't make good things every time either. besides. who decides what good even is?

you weren't called to make something because you wanted it to be good, you were called to make something because it is a basic instinct. you were taught to judge its worth and over-value perfection. you are doing something impossible. a god's ability: from nothing springs creation.

a few months ago i found a piece of sidewalk chalk and started drawing. within an hour i had somehow collected a small classroom of young children. their adults often brought their own chalk. i looked up and about fifteen families had joined me from around the block. we drew scrangly unicorns and messed up flowers and one girl asked me to draw charizard. i am not good at drawing. i basically drew an orb with wings. you would have thought i drew her the mona lisa. she dragged her mother over and pointed and said look! look what she drew for me and, in the moment, i admit i flinched (sorry, i don't -). but the mother just grinned at me. he's beautiful. and then she sat down and started drawing.

someone took a picture of it. it was in the local newspaper. the summary underneath said joyful and spontaneous artwork from local artists springs up in public gallery. in the picture, a little girl covered in chalk dust has her head thrown back, delighted. laughing.

I was part of the staff of an anime convention all the way through college. We held our meetings on monday nights, and every monday after the meeting, most of us went to taco bell. We would get our terrible garbage food and sit at the tables and hang out until the wee hours of the morning, and sometimes Pat Rothfuss (who lived nearby) would drop by and blow our little nerdy brains. It was a beloved tradition. 

One of our staffers was referred to as the Dapper Man, because he could frequently be found wearing a three-piece suit as he went about his daily business. A button-down and waistcoat was his casual attire, and on truly formal occasions, he would produce a tailcoat, tophat, and monocle. Somehow this worked incredibly well for him. Dapper Man was much lauded for his sartorial choices.

When Halloween rolled around, we held our meeting as usual, but with the addition of a bit of ridiculous cosplay holiday-garb. Since Halloween was not actually on a monday, only a few people were in costume. Dapper Man was.

These were the days before the rubber horse mask phenomenon went mainstream. They had just started to be available. Until Dapper Man arrived as a Formal Thoroughbred, I had never seen one. 

He was quite dashing, though, with white gloves, a black tailcoat, and a monocle on his wide, staring, rubber horse-eyes. There was a strange but alarming dignity to the look. 

We made it through the meeting with the usual chaos expected of ninety nerds left unsupervised with a twenty-thousand dollar budget, and progressed posthaste to TBell.

The local taco bell had a real problem with keeping staff on–for some reason, drug use was prolific among their employees, and they struggled to find consistent workers. But they knew we would be there every monday, and even though we were a big group we were patent and polite, and they generally liked us. So we rolled into taco bell with our usual aplomb. 

We straggled into line and started placing orders, and I watched idly as the employee in back began assembling “tacos.” He was visibly blitzed; if he’d been any higher he might have floated off entirely. 

He stuck his gloved hand into the tub of shredded lettuce, drew out a handful, looked up and caught sight of Dapper Man: the Equine Gentleman. 

He did a double-take and then froze entirely. 

You could see the whites of his eyes all the way around. It was very clear that he had absolutely no ability to comprehend what he was seeing; probably he assumed some sort of genteel victorian old god had come to wreak hoofed vengeance upon his taco-y demesne. Possibly he was just grappling with the possibility of reverse centaurs. 

Either way, he had become a lettuce-bearing statue. 

Taco production ground to a halt.  He stood, trapped by the medusan gaze of Dapper Man’s rubber horse mask, until his manager came to yell at him. 

At that point he dropped the lettuce and fled the taco bell. 

I can only assume he could hear the sound of dress-shoe shod hoofbeats thundering behind him. 

For all I know, he may still be fleeing Dapper Man’s dread fursona. We never saw him at the taco bell again. 

I couldn't afford a Vanilla plushy so I made one with leftover felt instead (and little wooden hearts I painted)

We love casting spells