Eli, 20+, she/ her. General blog for @gnbrkrs, I post non-FFXIV stuff that catches my attention very irregularly because that game is my main hyperfixation.
Going to try being as vague as possible to be spoiler-free, but do the new WuWa event dialogue options influence the main story in any way, or are they a self-contained thing? I did some of them before rushing off to work and I got some prompts about characters remembering what you said, but I didn't do the story to the end, or all of the events.
Everyone is talking about WuWa's optimization issues in Lahai-Roi, and there I am with my CachyOS - ProtonGE setup, letting my Rover circle around the Roya Frostlands on a motorcycle autopilot and taking screens with no lag or crashing whatsoever... Is this the Linux supremacy more hardline Linux nerds are talking about?
it's funny although a little exasperating how artists designing "princess" or medieval-esque gowns really do not understand how those types of clothes are constructed. We're all so used to modern day garments that are like... all sewn together in one layer of cloth, nobody seems to realize all of the bits and pieces were actually attached in layers.
So like look at this mid-1400's fit:
to get the effect of that orange gown, you've got
chemise next to the skin like a slip (not visible here) (sometimes you let a bit of this show at the neckline) (the point is not to sweat into your nice clothes and ruin them)
kirtle, or undergown. (your basic dress, acceptable to be seen by other people) this is the puffing bits visible at the elbow, cleavage, and slashed sleeve. It's a whole ass dress in there. Square neckline usually. In the left picture it's probably the mustard yellow layer on the standing figure.
coat, or gown. This is the orange diamond pattern part. It's also the bit of darker color visible in the V of the neckline.
surcoat, or sleeveless overgown. THIS is the yellow tapestry print. In the left picture it's the long printed blue dress on the standing figure
if you want to get really fancy you can add basically a kerchief or netting over the bare neck/shoulders. It can be tucked into the neckline or it can sit on top. That's called a partlet.
the best I can tell you is that they were technically in a mini-ice-age during this era. Still looks hot as balls though.
Coats and surcoats are really more for rich people though, normal folks will be wearing this look:
tbh I have a trapeze dress from target that looks exactly like that pale blue one. ye olden t-shirt dress.
so now look here:
(this is a princess btw) both pieces are made of the same blue material so it looks as if it's all one dress, but it's not. The sleeves you're seeing are part of the gown/coat, and the ermine fur lined section on top is a sideless overgown/surcoat. You can tell she's rich as fuck because she's got MORE of that fur on the inside of the surcoat hem.
okay so now look at these guys.
Left image (that's Mary Magdelene by the way) you can see the white bottom layer peeking out at the neckline. That's a white chemise (you know, underwear). The black cloth you see behind her chest lacing is a triangular panel pinned there to Look Cool tm. We can call that bit the stomacher. Over the white underwear is the kirtle (undergown) in red patterned velvet, and over the kirtle is a gown in black. Right image is the same basic idea--you can see the base kirtle layer with a red gown laced over it. She may or may not have a stomacher behind her lacing, but I'm guessing not.
I've kind of lost the plot now and I'm just showing you images, sorry. IN CONCLUSION:
you can tell she's a queen because she's got bits I don't even know the NAMES of in this thing. Is that white bit a vest? Is she wearing a vest OVER her sideless surcoat? Girl you do not need this many layers!
so you know that ballgown look that people default to when making "princess" designs
this is kind of the fashion equivalent of when an AI has been trained to approximate what art looks like without understanding what it's drawing or how physics work. A costume designer has general recollections of about how the dresses looked from art, and a lot of the art they're learning from is also romanticized revival recreations of earlier art, so things are getting pretty confused structurally.
(I have to blame Disney for a lot of the specific trends but to be clear this was already happening before Disney was born.)
You can probably recognize how the gestalt of the bodice evokes what would actually be two layers--a gown laced over an under-gown, maybe with a stomacher in the same color as the gown.
The skirt is the very distant legacy of a trend that starts around here, in the early 1500's:
deliberately slitting the skirt of your gown so that it shows a triangle of the under-gown peaking through.
You know what a farthingale is? it's this thing.
Reeds sewn into the skirt to give it that round bell shape without needing 100000 layers underneath. Unsurprisingly invented in Spain, where it's hot as fuck. This is also the era where the farthingale starts its evolution into the eventual hoop skirt. You see that wide "ballroom" shape in a lot of princess designs. Princess Peach is a classic example.
Farthingale becomes hoop skirt, and using basically the same technology (reeds sewn into the fabric for support) the under-gown/kirtle becomes stiffened and shaped.
Eventually you get to this very pronounced version of the "slashed skirt" shown in the left figure, below. You can see that the red skirt is probably part of a whole dress, because the red sleeves in the same fabric are visible under the outer gown. (you can also see the chemise at the edge of the neckline). They did have detachable sleeves back then, as a standard part of a gown, so the red sleeves could be pinned to the chemise instead of attached to the body of the gown.
>Right figure, you can see this shit is getting elaborate now. I think that's a white under-gown with a yellow gown and a burgundy overgown. The collar around her neck is actually a partlet, not connected to anything else, just tucked in and maybe pinned underneath the neckline. But they're starting to have separate skirts now, so it's also possible she's only wearing a yellow skirt with the overgown on top it.
At this point whalebone is coming into the picture in a BIG way, and that's when you start to get Tudor style boned gown/kirtles tight around the bust really taking off. Also boned sleeves, if you can believe that. The smooth flat conical bodice is the product of a boned kirtle, which will eventually become stays, which will eventually become a corset.
anyway by now we're fully out of the medieval period and into the early modern/renaissance.
look at this bad ass bitch, hat ON titties OUT, who is doing it like her
I went to the ren fair recently, which got me interested in the specific historical inspirations of common “Renaissance Festival” clothes and consequently bugged my sister about her research so hard that it made us miss our turn
One common outfit you see (thanks to Amazon) is this modern take on the kirtle
On the left: Amazon. On the right: a recreation of what people actually wore. You can see how we have the same basic concept with a very different execution. This is what you would call a kirtle.
Another common ren fair look is the outer-wear stays. Always with the un-collared billowy undershirt.
I want to draw attention to the lacing. Stands to reason that costumers now would use contemporary lacing rather than that of previous eras. But check out even the romantic depictions of clothing from the 1870’s below this. No grommets. That’s just pure fabric baby.
Very few renaissance era women ever wore anything exactly like the ren fair corsets. For one thing, cross lacing wasn’t common, and metal grommets were not accessible to normal clothing makers. For another, structured stays (or “bodies”) were underwear, not outerwear. (Apparently something more popular with English peasants than French peasants, who didn’t use them.)
Left: stays (underwear). Right: jumps (outerwear)
Stays are boned. Jumps are not. Stays/bodies were pretty expensive due to the craftsmanship, and a poor person would have budget for a single pair. You can imagine this investment was not as popular with women who did hard physical labor. Jumps got really popular in the mid-1700’s and largely replaced stays in working class fashion.
A brief history lesson: clothes are ephemeral; we lose them as they are worn out, cut down, repurposed, and thrown away. Before modern anthropology and modern record keeping, it was difficult for anyone to know what anyone else looked like in the past or even a country away. Words used to refer to one kind of garment kept being used even as that garment changed in structure and purpose over time. Even after paper became common enough for printing art, it wore out fast and art was lost. References were hard to get.
What we think of as “peasant garb” is actually the product of a game of telephone that travels back from Romantic Revival art, and many of those (urban) artists got their idea of what rural peasants wore from opera costumes. The costumers working at the opera were not going out to the country side to take notes on what farmers actually wore, nor did they want to. Opera is show biz, you want it to be evocative, but not ordinary. Their costumes would have been based on what urban folks were wearing, with extra little touches like a shepherds crook to make it look “rural”.
Below: some mid-to-late 1800’s artistic depictions of peasants wearing improbably nice fabrics/clothes (probably a reflection of opera costumes). The painting of the peasant girl on the right is wearing more-or-less jumps.
You can see how the romantic art depictions of unstructured vests eventually inspired the “medieval revival” styles of the 1960’s/1970’s which lives on in the ren fair. Not only the neckline of the vest, but the style of undershirt with an open neck and billowy sleeves.
Compare (unstructured, laced, outerwear):
Nobody wore that in the 1400’s or 1500’s, but they wore things that looked similar at a glance. When 1960’s artists went back looking for early modern/medieval styles to replicate, they mostly had a hodge podge of this art to reference and extrapolate from.
The fact that a historical laced kirtle with an over skirt looks a lot like stays worn on the outside, probably made this confusing for artists. Undershirts of the 1500’s were collared and high necked, however, with tighter sleeves.(Below, 1500’s kirtle)
One last example of 1800’s romanticism, this time depicting a contemporary girl. Looks familiar, right? We’re back at the ren fair, if you take the bonnet off.
It does look similar to what was being worn in the 1800’s. Here’s a cartoon showing a working class woman in the 1870’s.
TLDR; what we think of as “Renaissance” or even “medieval” peasant garb is actually a remix of the working class clothes from the 1800’s, with some confused memories of the kirtle from older art thrown in.
Structured stays? 1500’s. The blousy no-collar undershirt? 1700’s. The cross lacing? 1800’s.
Anyway. This image of peasants has always been costume & fantasy. That’s why I think it’s kind of fun that it reaches a terminus in the anachronism and fantasy of a Renaissance Festival.
Analysis of clothing by Kenna Libes in this painting depicting colonial women in the late 1700’s. Not really related to what I’m talking about, but an interesting spot between two eras.
for my fannish followers who want to write period stories and are overwhelmed by the glut of information above [it's all good but it's a lot]
costumersguide.com is a good cheat sheet as it seperates film costumes, with pictures, into eras, it's certainly not as detailed as perhaps Patterns of Fashion by Janet Arnold [so worth it] or The cut of women's clothes by Norah Waugh [less detailed, sometimes better] and is free
you can say oh I'm going to write a pride and prejudice AU so i want costumes from that era, you'd go to research, then regency then choose Pride and Prejudice where it explains how the mini series is 1820s but the Keira Movie is 1790s
so you can choose
and then look up dangerous liaisons which has the gold standard of costumes which were as historically accurate as they get
it gives you an easy frame of reference to work with and to understand any tight lacing scenes are complete nonsense
I can't believe that of all things to force me to bring back this blog, it had to be the sus red-eyed WuWa man who suddenly just started showing up on my YT recs and reminded me that WuWa exists
That sad moment when you see a post you consider heavily generalizing/ biased because "one person said that and I trust them" take off, then it's everywhere, and you constantly are like "is it though".
Getting dumped really puts children's cartoon villains into perspective. Like dude you're SO right, love and caring ARE disgusting and we SHOULD cast a spell to drain all human emotion into your amulet.
A few years ago, when I was living in the housing co-op and looking for a quick cookie recipe, I came across a blog post for something called “Norwegian Christmas butter squares.” I’d never found anything like it before: it created rich, buttery and chewy cookies, like a vastly superior version of the holiday sugar cookies I’d eaten growing up. About a year ago I went looking for the recipe again, and failed to find it. The blog had been taken down, and it sent me into momentary panic.
Luckily, I remembered enough to find it on the Wayback Machine, and quickly copied it into a file that I’ve saved ever since. I probably make these cookies about once a month, and they last about five days around my voracious husband - they’re fantastic with a cup of bitter coffee or tea. I’m skeptical that there is something distinctively Norwegian about these cookies, but they do seem like the perfect thing to eat on a cold day.
Norwegian Christmas Butter Squares
1 cup unsalted butter, softened
1 egg
1 cup sugar
2 cups flour
1 tsp vanilla
½ tsp salt
Turbinado/ Raw Sugar for dusting
Preheat the oven to 400 degrees. Chill a 9x13″ baking pan in the freezer. Do not grease the pan.
Using a mixer, blend the butter, egg, sugar, and salt together until it is creamy. Add the flour and vanilla and mix using your hands until the mixture holds together in large clumps. If it seems overly soft, add a little extra flour.
Using your hands, press the dough out onto the chilled and ungreased baking sheet until it is even and ¼ inch thick. Dust the top of the cookies evenly with raw sugar.
Bake at 400 degrees until the edges turn a golden brown, about 12-15 minutes. Remove from the oven. Let cool for about five minutes before cutting the cooked dough into squares. Remove the squares from the warm pan using a spatula.
It basically makes the platonic ideal of commercial sugar cookies, only in bar form. When I give them to people (which I do a lot, because this is one of those simple recipes where the results seem very impressive), I just tell them they’re sugar cookie bars.
So I finished Luuk's part of the story, which marks the end of the Lahai-Roi storyline so far. It was pretty good, though short and different from Aemeath's. Nevertheless, I really enjoyed the lore drops and the questions they set up. Also, as I had wished, someone finally comforted Rover after what happened to Aemeath, considering the heartbreaking note her quest ends on for both of them. My one nitpick was that we still don't know the full story of what exactly happened to him, with him telling stuff through the lens of his relationship with Rover, but my guess is they are saving it for the future patches.
Overall, between it and Aemeath's quest, I'd say that this is the best story WuWa produced so far, at least from what I've played so far as I skipped Rinascita. I keep hearing that in that region story takes a backseat to fanservice, which kinda turns me off, but I think at some point I'll play it if I have time, due to myself contrarian that hates trusting the opinions of people on stories if nothing else. But overall, I am looking forward to see what they are cooking, between this patch and 3.0 (hot take, but I liked Lynae and her story even if it is kinda basic in how it got resolved).
dededos
jbbartram-illu
dailybridgerton
origamiaround
areudirty
vaporwave
