Tarre meets his future master at the Dantooine Enclave - A place Revan has haunted many times before.
Excerpt:
“How old are you then, Master Raan? If I may ask.”
“You may, but you may not believe me all the same,” they said with a smile still bleeding through their voice. They blew a raspberry on a sigh as they thought, their presence undulating with something Tarre couldn’t quite identify.
“Would you believe me if I said I’d lost count? Somewhere in the range of three-thousand.”
That made Tarre sit bolt upright.
“-What?! Three- what? That’s-”
“Strange? Unheard of? Impossible? Believe me, I know.” Underneath the master’s good humor, there was a hint of bitterness as well, a long soured note. “It is as the Force wills.”
The weaving is finished! Wooo! Now there's just the everything else!
Length - 177cm on the tape measure, but the fabric is stretched out while the paper tape measure pinned to it is a bit wibbly so I expect the off-loom length to be a bit shorter, hopefully around 170cm. We will see how that turns out.
Width - 59cm at the breast beam, but the fabric is stretched which makes it narrower so the offloom length may be a bit wider, but during wet finishing it may shrink so the finished width may be a bit narrower again. We will see which force wins.
Next steps - hemstitch in waste yarn, measure warp for fringe, set up loom to preserve the rest of this warp (there's another scarf's-worth of warp on here yet, but I will weave a different design, maybe lace), cut cloth off loom, design and twist and tie fringe, unpick hemstitching, hand wash, dry, take final measurements, photograph, luxuriate in finished item for as long as I can bear, post to recipient!
Hemstitch complete (the pinkish thread to stabilise the edge of the fabric until I have made the fringe - you can use matching yarn and leave it in permanently, I just prefer to take it out afterwards), still on the loom, thinking about fringes. The hemstitch has grouped the warp threads in 3s and 4s to match up with the pattern repeat every 14 threads.
Knotting a row or two of triangles into the fringe feels like it could be a lovely continuation of the cloth pattern, but also overkill - having such an elaborate fringe with such a busy cloth might cause the designs to take away from each other, instead of adding to each other. But if I just do a straightforward twisted fringe, what width? Green (across 14 threads) might be too skinny, but purple (across 28 threads) feels really squat and there are an odd number of repeats so one edge would be irregular.
I am leaning towards the yellow option, but if I change my mind it will be much more fiddly to undo the knotted triangle layer than if I try green first instead, so I don't knowwwww.
Some months ago I saw this Jaster Mereel (Star Wars) (he's boba fett's granddad) fanart by @bojangos. It includes a cool textile texture (are those words related JEREMY DON'T GO ETYMOLOGYHUNTING NOW) which the artist kindly made available by itself...
... and I was like, that's a cool pattern! Someone should make that! ... I can make that!
Next step, how.
This is long and tries to teach a lot of maths and textiles from a starting point of "what does a loom even do", thus popping it below a cut. Please please do ask me if there are terms you don't understand or points which don't make sense and I will expain in even more detail, which may or may not help you!
Weaving on a shaft loom (like mine) is a mathematical conversation between warp and weft, within the physical constraints of the mechanisms of the loom. Each warp thread goes through a metal heddle on a shaft, all heddles moving together. This loom has eight shafts so there are eight groups that a warp thread can belong to.
Starting from a two-colour pixel art design (one colour when the the warp crosses over the weft, the other when the weft is on top of the warp) this means I must design using at most eight different columns of pixels. I can repeat them and rearrange them however I please but I can never have a ninth column. For this cloth, I had to go from two sets of curved lines between each lozenge in the original art to just one set of lines, it was not mathematically possible for me to weave the original.
The bits tagged in green are the same design, but one is a little sketch numbered shaft by shaft (so I didn't go over the 8 column limit) and the other has been made into a draft. The zigzag X's at the top represent the warp threads on their eight different shafts: one on shaft 1, one on shaft 2, shaft 3, shaft 4, 5, 6, 7, 8, 7, 6, 5, 4, 3, 2, and begin again.
Where it gets complicated is telling the warp threads what to do so that the weft creates the correct rows of the design. In the draft, dark squares represent warp threads on top, AKA the shaft with that warp thread is raised. (This is backwards from how I set it up on the loom with a white warp and dark weft. Sorry about that.)
For the long bit of the lozenges in the middle, we want to raise shafts 1 and 2 to create the central rectangle, lower shafts 3 and 4 for the blank space around it, raise shaft 5, lower 6, raise 7, lower 8. This is one shed (combination of up/down shafts so the weft can pass through the vertical space in between them). Repeat that shed 10 times for a nice long rectangle. Then as you step through the diagonal bits after the rectangle, each time a different combination of shafts is raised and lowered, creating each different shed. Then you reach the rectangle of the next lozenge and this is like a reflection of the previous lozenge: raise 8 and 7, lower 6 and 5, raise 4, lower 3, raise 2, lower 1, repeat 10 times.
Good so far. This design has 12 different rows, so you need to weave 12 different sheds: 1257 (raised 10 times), 57, 457, 347, 2367, 1256, 1458, 3478, 2367 again but including it for clarity, 256, 245, 24, 2478 (10 times). You can step through this on the draft if you want to.
Oops, I lied, you need 14 sheds because this cloth uses tabby - a thin thread matching the warp which goes over-under-over-under all the way along (so raising 1357 or 2468), in between every pattern thread of the contrast colour. That's because the very long continuous columns (up to 20 pixels!) would be incredibly unstable if those were just warp threads floating over or under the fabric for 20 consecutive rows. Tabby binds them down on every other row so the warp floats are at most 3 threads long.
I've marked some of the tabby weft threads in red, but they're often pretty hard to see - the pattern weft is thicker and tends to cover them up, on purpose. Structurally, this fabric is now like you have a "plain weave" white fabric with a blue "supplemental weft" embroidering it row by row.
Anyway! We need to raise the shafts in 14 different combinations. On some looms this is fine, you control each shaft individually and can choose any of the 254 possible combinations (there are 2^8=256 ways to raise subsets of 8 shafts, but "all shafts raised" and "all shafts lowered" are invalid because these don't create a shed as a middle vertical space between raised/lowered threads). You can do very complicated things, but also it's slow because you have to move each shaft by hand each time. Therefore...
... floor looms like this one use treadles to raise whole groups of shafts at once. Each treadle can be tied to any number of shafts and each shaft can be tied to any number of treadles. Great for simple patterns where you might want to raise shafts 1234 then 2345 then 3456 etc, but you are limited by the number of treadles available, here 10. So if I start tying treadles up to shafts 1257, 57, 457, 347, 2367, etc (one treadle per shed as you can do in most designs) I will run out before I can weave the 14 sheds I need.
Instead we could tie every treadle to just one shaft and press several treadles at once, right? Unfortunately not - this time we aren't limited by the loom's biology, we are limited by mine, as I don't have four feet to press four different treadles at once to raise the correct shafts. Thus we must find an in-between state where each treadle is tied to just a few shafts and I press at most two (mayyyybe three, if two can be placed next to each other, but this is uncomfortable) treadles per shed.
Here followed a lot of sketches and diagrams and planning. There was no guarantee when I started that this would be mathematically possible; I got lucky. There are probably multiple solutions, feel free to find your own or prove that no other solutions exist.
This is a blurry closeup of the tie-up and treadling from the draft above. The tie-up is in the top right: each X represents "this shaft (1 to 8) is raised by this treadle (1 to 10)". Treadle 1 raises shafts 2 and 7, treadle 2 raises shafts 4 and 5, treadle 3 raises shaft 7 alone, etc.. The treadling in the columns beneath the tie-up shows you what to do for each row: treadles 7+9 and 8+10 weave each tabby shed (must do one of these after each pattern shed), then the pattern starts with treadles 1+7 raising shafts 2478 and on it goes.
Great! We are nearly nearly there! The only remaining problem is to make the treadling more comfortable to weave - as written, if the treadles go 1234567890 from left to right then I would spend ages twisted so I face right to reach all those 7890 treadles for so many sheds (not just the diagonal bits of the pattern but also every tabby shed!). I worked out a better arrangement by physically cutting out the treadling+tieup in columns and rearranging them on the floor, and after some annotations this was the final version, approximately:
Treadles 5+7 and 5+0 are in big to represent that those sheds are repeated 10 times each. I honestly don't remember some of the other annotations along the way and if I made further changes after this version, if you need a clean version of this I would recommend making it yourself so that you get your head round it. There are reasons for me to label the treadles 1357908642 in that order and to prioritise keeping the tabby treadles together in neighbouring pairs but those are more on the weaving side of things, less on the maths side of things.
And then after all this, we are ready to weave. One tiny little detail... the pattern actually appears on the bottom of the fabric, because of the aforementioned "oops I drafted in opposite colours to my yarn". So here's the view through the warp to other side of the fabric.
This whole thing is a test version, if I like the finished fabric then I will make it again in custom colours for a friend. Only another metre or so to go...
An Archive of Our Own, a project of the Organization for Transformative Works
Chapters: 3/7
Fandom: Star Wars - All Media Types, Star Wars: The Clone Wars (2008) - All Media Types, Star Wars: The Book of Boba Fett (TV), Star Wars Legends: Jango Fett Open Seasons (Comics), The Mandalorian (TV)
Rating: General Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Relationships: Jaster Mereel & Tor Vizsla, Jango Fett & Jaster Mereel, Bo-Katan Kryze & Satine Kryze, Boba Fett & Jango Fett, Din Djarin & Boba Fett
Characters: Tor Vizsla, Jaster Mereel, Jango Fett, Bo-Katan Kryze, Satine Kryze, Boba Fett, Din Djarin
Additional Tags: Other Mandalorian Characters - Freeform, Mandalorian Civil War | Death Watch vs Jaster Mereel’s True Mandalorians, Mandalorian Civil War | Death Watch vs Satine Kryze’s New Mandalorians, Mandalorian Politics (Star Wars), Mandalorian Culture & Customs (Star Wars), Mand'alor Din Djarin, in which jaster and his faction is finagled back into canon
Series: Part 4 of Clean slates
Summary:
The Vizsla heir’s mind disintegrates. A nobody from Concord Dawn lays the groundwork for a Mandalore he will not live to see. His son buries his iron skin for someone worthier. A pacifist boxed in by wars foresees a collision between her ideals and their history, and wonders what it means to fight. Then it all falls apart. Her sister tries to pick up the pieces, but they are stolen before her eyes. On Concord Dawn, the son of an exile speaks to a stranger in his father’s tongue for the first time. Another nobody from the moon of Concordia takes the reins.
Seven vignettes from the Mandalorian Civil War, from its inception to its tentative conclusion; seven excerpts from the Supercommando Codex.
How much, if any, of KOTOR has been folded into canon now anyway? IIRC Darth Revan is part of official Star Wars history again in some form or another but is that about it?
revan is canon due to the rise of skywalker visual encyclopedia in which one of palpatine's armies on exegol is apparently named after them (+ some other sith lords.) and that's the only time revan has been name-dropped in disney star wars. but there are a bunch of other references to kotor + its era, some of which include
selkath in the clone wars and the acolyte
references to the mandalorian-jedi war in the clone wars (a mural during the duel between palpatine and maul, the jedi prison maul was trapped in during the final arc of the series), rebels (kanan and sabine discussing it, kanan saying "we won that war"), and the mandalorian (refers to a mandalore the great— can be interpreted to be the disney version of mandalore the ultimate
hk-series droids in the mandalorian and ahsoka
the krayt dragon sequence in season two of the mandalorian plays out a lot like what's seen in the first kotor game
infinite empire references in andor season one two: season 1 features a piece of 'sky kyber' that was valued by the ratakan empire, and season 2 discusses the ratakan empire and actually uses the legends dates for when their empire was around.
revan's imperial logo in andor season two: it's inlaid in gold on a gungan skull seen in the background of luthen rael's shop (specifically episode 10.) it could be meant to depict the symbol of the infinite empire (both logos use the shape of the star forge) but revan's empire and the infinite empire are still visually distinct, and the attention to detail with other stuff in andor makes me think it's intentionally revan's.
i know there's a shot in one of the live-action series of people playing a pazaak, but i can't remember which one
malachor exists and is visited in the season two finale of rebels (and is exclaimed as a swear by gascon in tcw), but the new lore behind the planet and the 'scourge of malachor' as it's called in disney canon is completely removed from anything that went on in kotor 1 or kotor 2, so ultimately it's a reference in name only.
in star wars resistance, they visit dantooine and there's a building that looks a lot like the jedi enclave, though it is not the jedi enclave.
additionally, revan was intended to show up in a scene of the mortis arc of the clone wars, but the scene was deleted because george lucas said sith couldn't be force ghosts. i'm glad it didn't happen because they would've appeared as a sith ghost which would've been a wild choice, but 'sith can't persist after death' is something i can quibble about forever. but there's a tcw-style 3d model of revan :)
anyway that's all i can think of from the top of my head but someone feel free to chime in with more if i missed it (especially from stuff like the newer books + comics)
How much, if any, of KOTOR has been folded into canon now anyway? IIRC Darth Revan is part of official Star Wars history again in some form or another but is that about it?
revan is canon due to the rise of skywalker visual encyclopedia in which one of palpatine's armies on exegol is apparently named after them (+ some other sith lords.) and that's the only time revan has been name-dropped in disney star wars. but there are a bunch of other references to kotor + its era, some of which include
selkath in the clone wars and the acolyte
references to the mandalorian-jedi war in the clone wars (a mural during the duel between palpatine and maul, the jedi prison maul was trapped in during the final arc of the series), rebels (kanan and sabine discussing it, kanan saying "we won that war"), and the mandalorian (refers to a mandalore the great— can be interpreted to be the disney version of mandalore the ultimate
hk-series droids in the mandalorian and ahsoka
the krayt dragon sequence in season two of the mandalorian plays out a lot like what's seen in the first kotor game
infinite empire references in andor season one two: season 1 features a piece of 'sky kyber' that was valued by the ratakan empire, and season 2 discusses the ratakan empire and actually uses the legends dates for when their empire was around.
revan's imperial logo in andor season two: it's inlaid in gold on a gungan skull seen in the background of luthen rael's shop (specifically episode 10.) it could be meant to depict the symbol of the infinite empire (both logos use the shape of the star forge) but revan's empire and the infinite empire are still visually distinct, and the attention to detail with other stuff in andor makes me think it's intentionally revan's.
i know there's a shot in one of the live-action series of people playing a pazaak, but i can't remember which one
malachor exists and is visited in the season two finale of rebels (and is exclaimed as a swear by gascon in tcw), but the new lore behind the planet and the 'scourge of malachor' as it's called in disney canon is completely removed from anything that went on in kotor 1 or kotor 2, so ultimately it's a reference in name only.
in star wars resistance, they visit dantooine and there's a building that looks a lot like the jedi enclave, though it is not the jedi enclave.
additionally, revan was intended to show up in a scene of the mortis arc of the clone wars, but the scene was deleted because george lucas said sith couldn't be force ghosts. i'm glad it didn't happen because they would've appeared as a sith ghost which would've been a wild choice, but 'sith can't persist after death' is something i can quibble about forever. but there's a tcw-style 3d model of revan :)
anyway that's all i can think of from the top of my head but someone feel free to chime in with more if i missed it (especially from stuff like the newer books + comics)
Anyone else get thrown out of the story a bit when you're reading a clone wars fic and the characters use 'ni ceta' as a casual apology?
Like, it could early be explained as linguistic drift. The most serious form of begging forgiveness in traditional mando'a becomes a much more casual expression in the clones dialect(s) but it just ruffles my mental feathers somehow.
*cracks knuckles* OKAY, I've been chatting with @theforceisstronginthegirl about this as I trolled through mandoa.org and here's what I've found. (Bare in mind that I have no language qualifications beyond speaking one, and the is intended as fun)
Besides ni ceta (I kneel), there IS a less serious form of I'm sorry! Unfortunately that is N'eparavu takisit which translates literally as 'I eat my insult' which is its own kind of dramatic. And a mouthful. Seven syllables for a simple apology? Really? This from the people with 'Oya!' in their language? Naaah, we can do better.
Languages all tend to crunch down, dropping unnecessary bits once context is ingrained. So I propose for a shorter, alternate and very low level apology;
Ni N'epar - I eat, the insult dropped in favor of speed and everyone knowing that of course your not talking about eating literally.
("Yeesh. Ni N'epar, Wolffe!" Sinker groused, pulling back and pushing his tasteless ration block to the side.)
And, just to make things more fun, an even shorter form perfect for mumbling and yelling both;
Ni n'e (nee NAY) as a phrase that's chopped down to the barest syllables, comparable to the english OK/okay (tiny history lesson, okay is derived from there being a short far for deliberately misspelling phrases slightly. In this case, Oll Korrect. Most of them fell out of use, OK is one that stayed) and intended to be one of those little words/phrases that mean utter gibberish without years and years of linguistic drift and mutation and slang and vocables to provide the context.
It's easy to say! Covers all small insults from bumping into someone, grabbing the wrong boot, waking them up from a nap, etc. To larger things even, like an accidental kick in the face during training or a close personal apology for tragedies.
("ni n'e." Cody muttered when he realized he'd grabbed the last bit of caf in the carafe. "I'll make more.")
("Ni n'e, vod." Boil murmured, pulling Jesse closer as he broke the news that Kix never reported back to base.)
( "Ni n'e! Ni n'e!" Fives called out to the brothers he'd nearly collided with in his haste to out run Echo, murder in every line of his now sparkling face, hair, and armor. Fives /loved/ glitter bombs.)
See? Nice and neat and flexible for all your needs!
If you like this reblog and spread it around! @ it at everyone! Let's see if we can get it into use on fic!
I like ni n’e. Technically it’s a tautology, because the n’ in n’eparavu is a shortened form of ni, not a negation. I don’t necessarily see it a problem though, because natural languages do it all the time too.
Something for Solofett week! Prompt was Death Threats .... this is a loose interpretation 😅
Han hires Boba Fett to help him deal with a guy who wont stop sending bounty hunters after him. Han could only afford Boba's consultation fee, actually. He's hoping to flirt for his life and charm Boba into giving him some more practical help. Its ....... almost kind of working. To Boba Fett's horror.
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