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invaderaldi

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About invaderaldi

  • Birthday July 31

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  • Discord
    may#9315
  • Minecraft Username
    invaderaldi

Profile Information

  • Gender
    Female
  • Location
    CA

Character Profile

  • Character Name
    Niamh Valfären
  • Character Race
    Wood Elf

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  1. I really like that interpretation of Kiki's Delivery Service---I guess I haven't thought about it enough because, now that you've stated it so clearly, that makes perfect sense. Her getting sick is a literal representation of artist's block/burnout, lol! I've been thinking about it, and the other thing about lack of internal dialogue that suddenly made a lot of sense to me was how true to life RP constraints seem to be; I can't read anyone's mind, so I won't ever hear anyone else's internal dialogue, so it's reflected that way in RP. I do agree that it raises the stakes when interacting with other people---isn't the whole point in communicating trying to figure out what's going on in someone else's head? I'm super stoked to explore this more on the server.
  2. Funny you ask, I'm actually in the process of learning The Theme of Marco and Gina on the piano, lol! Thoughts, though? Porco Rosso isn't my favorite Ghibli film by far (Princess Mononoke will forever be my #1), but that doesn't mean it doesn't hold a special place in my heart for nostalgic purposes. I'm a sucker for magical realism in general so you can imagine why I'm kind of a Ghibli superfan. It's particularly prevalent in both Porco Rosso and Whisper of the Heart; I like how Marco being a pig is symbolic of his survivor's guilt, but I do think it could've been taken to another level had there been some exposition at some point in the film explaining how and when he morphed into a pig---nothing too crazy, I just want to know: did he wake up one morning, changed overnight? Or was he in the sky, in his plane? I really think it could've solidified an otherwise ambiguous part of the movie that I remember, as a kid, thinking was confusing. Maybe the ambiguity was intentional---actually, it likely was. Either way, watching it once I could draw a clearer conclusion was cool, something I've experienced with each Ghibli film since I watched most of them when my brain was small and stupid, only to later rewatch them from an older perspective. I've seen criticism for the open-ending in Porco Rosso as well, and I guess I agree, though it doesn't bother me all that much. Again, I like Marco as a pig and I'm glad we never see what he looks like as a human. That was a little longwinded, sorry! Just my two cents on it!
  3. thank you!! and i also love love love whisper of the heart, it's definitely one of my comfort movies (along with the rest of the ghibli collection ofc) ^ ^ thank you for the sound advice! i was mostly referring to the structure of rp and how it's really different from writing normally---no internal dialogue etc etc. difficult to grasp initially but i'm sure i'll warm up to it!
  4. hi everyone! i'm may (you can also call me aldi if you want) and i'm a new player, just wanted to introduce myself on here. i'm really into writing, historical fashion/interior design, and reading (psychological horror has been the genre of choice recently). always looking to chat w people w similar interests! currently i'm rping as a wood elf. i have a little experience with dnd but nothing serious, so i'm kind of a noob at this whole thing but i'm excited to learn & improve! p.s. yesterday was super fun @ everyone i rped with and who helped me navigate! i feel very welcome here already~ ❤️
  5. invaderaldi

    invaderaldi

    Born a twin in winter to Gaeleath Valfären, a strong, benevolent Mali’ame, and Haciathra Valfären, an absentee wife with a deep reverence for the Wolf God Morea, Niamh lived a relatively quiet upbringing sequestered in a small area located in the outskirts of Irrinor. Her twin, Neremyn, was born weak—“cursed by the season,” Haciathra would mutter when Neremyn fell sick again, and again. Gaeleath acted both as a paternal figure and the breadwinner, foraging until the sun slipped past the forestline, only to come home and teach Niamh archery until darkness fell in completion. With an audience of one, Neremyn, too frail to participate, watched from the porch while Gaeleath gave gentle guidance to Niamh, who quickly grew proficient enough to act alone. By the time she bled, Niamh accompanied her father every full moon to kill a hare in offering to the Wolf God (a practice enforced primarily by Haciathra). As recognition of her independence, her father told her to venture alone—ame nae evareh, he said to her before she left, her feet already sinking in the snow. That night, after Niamh killed the monthly hare without struggle and stood less than the length of a young tree from the climb to her home, she stopped dead. Beyond the base of the grand oak, a pair of narrow, wolven eyes interrupted the deepest oil-black of darkness. The color of yoke, she dared not move, aware of how, in that moment, she was just as much prey as the rodent hidden in her satchel. The next morning, Haciathra was gone. Nemeryn took notice of her absence first, waking Niamh from a fitful sleep in their shared bed. She couldn’t help but believe Morea might have heeded the offerings. In the coming years, neither Gaeleath or Niamh left their home on the full moon. During the warmer seasons, when Gaeleath exploited the longer light, Niamh and Nemeryn spent afternoons with the Kellen’s malii’lari, a waife three moons older than the twins. Ecaeris was tall and pale for a Wood Elf, though Niamh privately thought her beautiful. She wondered if Ecaeris looked like the Blessed Elves, the ones her mother used to whisper of in bedtime tales. The few summers she wasted eating dripping fruit in the branches high enough to be kissed by sun, Ecaeris’s red hair falling above her, was the pinnacle of her childhood. As with most good things, the summers came to an end, the Kellen family migrating to the Principality of Aegrothond, where they sought a richer, more diverse life. Nemeryn fell too ill to function shortly after, and the silent killer who curdled his blood caught up to Niamh’s naivety all too suddenly. She spent the latter half of her pubescence helping her father forage in the surrounding lush, attempting to teach herself literacy from the prayerbooks her mother left behind, and barely touched her bow—though a deep unease settled in her gut by the time she reached eighteen. “Homesickness,” Gaeleath diagnosed, mortar and pestle in hand. “Homesickness?” Niamh repeated, aghast. “But this is my home. I—I don’t understand.” “Sometimes,” Niamh’s father began, a kind tilt to his brow, “young Mali’ame must search for what they believe they already have. When the rot in the gut becomes putrid, only a catharsis, of a sort, can expel the blight.” Gaeleath placed a large, rough hand on Niamh’s thin shoulder, and tightened his grip in comfort. “Homesickness,” he said again, “is that blight, malii’lari.” Not a month later, Niamh left on the full moon, her bow and satchel strapped to her bag and a hare at the foot of the grand oak tree, no longer her home.
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