Khaine: Other Othering

Post by **kFoyauextlH** » Sat Jul 26, 2025 5:38 am

https://youtu.be/0gAEQ06TFzE?feature=shared

Actually pretty nerve wracking and scary.

https://thepalestineproject.medium.com/ ... 343558a38f

Electronic Dance Music is a very big thing in that demonic hell hole of a parasitic colony.

https://www.reddit.com/r/psytrance/comm ... _djs_lost/

https://nationalpost.com/news/canada/i- ... l-protests

Behold the vile manipulation tactics:

"
'I believe they are fascists': French intellectual Bernard-Henri Lévy on the Canadian anti-Israel protests
'You have the right to defend the Palestinians; you have the right to be upset by their suffering … but not at the price of a new genocide,' Levy tells the National Post
"

Wow, wow, wow, absolutely RAGE inducing.

Holy sh*t.

https://m.youtube.com/watch?v=7TXdtZLrsZc?feature=share

https://youtu.be/j_dhinmj_Ag?feature=shared

"
Ancient holy wars
Dead religions, holocausts
New regimes, old ideas
That's now myth, that's now real
Original sin, genetic fate
Revolutions, spinning plates
It's important to stay informed
The commentary to comment on

Oh, and no one ever really knows you and life is brief
So I've heard, but what's that gotta do with this black hole in me?

Age-old gender roles
Infotainment, capital
Golden bows and mercury
Bohemian nightmare, dust bowl chic
This documentary's lost on me
Satirical news, free energy
Mobile lifestyle, loveless sex
Independence, happiness

Oh, and no one ever knows the real you and life is brief
So I've heard, but what's that gotta do with this atom bomb in me?

Coliseum families
The golden era of TV
Eunuch sluts, consumer slaves
A rose by any other name
Carbon footprint, incest dreams
Fuck the mother in the green
Planet cancer, sweet revenge
Isolation, online friends

Oh, and love is just an institution based on human frailty
What's your paradise gotta do with Adam and Eve?
Maybe love is just an economy based on resource scarcity
What I fail to see is what that's gotta do with you and me
"

https://en.m.wikipedia.org/wiki/Doublespeak

https://youtu.be/BzYAKDUaR18?feature=shared

Post by **kFoyauextlH** » Sat Jul 26, 2025 8:31 am

In the other forum I use, which is for now just me there mainly as the owner of that site is busy. I made my 18 threads to correspond with the 18 Daedric Princes of The Elder Scrolls, so that the themes are easy for me to keep track of under the "domains" of those literary entities.

They are:

"
The Correspondences:

1. Sad 1. Manic

1. Pale 1. Deep

1. Subhan (Nothing) S P
1. EuPanDaimon (Everything) M D

2. Weird(Passive Exp) S P
2. Our Toad (Active Cre) M D

3. Life Saver Float S P
3. Obsessions M D

4. Esenefru (Light) S P
4. Fox: Masco (Dark) M D

5. Bottle Chamber (Contained) S P
5. Fangs (Wild) M D

6. Nihilism Cemetery S P
6. Jackal: Envy (Valuing) M D

7. Long Aching S P
7. Ose Balam Leonard M D

8. Iman: Mahoshojo S P
8. Gwrdnei Lygad-Cath M D

9. Gandhar(v)a Sindhu Saraswat S P
9. Lugh Lynx M D

Daedric Prince

1. Boethiah
1. Molag Bal Lord Of The Vampire
2. Vaermina
2. Mehrunes Dagon
3. Azura
3. Mephala Mistress Of The Spider
4. Jyggalag
4. Nocturnal Of The Gray Fox's Cowl
5. Sanguine The Soaked
5. Clavicus Vile Horned & Barbas Hound
6. Namira
6. Hircine
7. Meridia
7. Hermaeus Mora
8. Peryite
8. Malacath
9. Ithelia
9. Sheogorath The Skooma Cat

Constellation

1. Cepheus, Perseus
1. Hydra, Auriga
2. Corvus, Pegasus
2. Cetus, Sagitta
3. Delphinus, Argo Navis
3. Cygnus, Orion

4. Triangulum, Ara
4. Lepus, Canis Minor
5. Aquila, Crater
5. Lupus, Piscis Austrinus
6. Equuleus, Boötes Arctophylax
6. Canis Major, Centaurus

7. Lyra, Andromeda
7. Ursa Major, Corona Borealis
8. Cassiopeia, Serpens
8. Ophouchus, Hercules
9. Draco, Eridanus,
9. Ursa Minor, Corona Australis

God

1. Subhan Allah Haqq 1. Daimon Paimon
2. Ssanoo/Thr 2. Jin/Liu HaiChan/St.Toad
3. Savitr 3. Ananse Kokuroko
4. Zeus 4. Inari/Hermes
5. Genie 5. Amon
6. Crom Cruach 6. Sutekh
7. 7. Ose Tezcatlipoca
8. Athena/AtroxFortuna 8. Gwrdni Lygdcat
9. Saraswat 9. Lugus, Lugh, Loki

Symbol

1. Assassin/Skullface 1. Anime/Disco/Bat
2. Wet Hooded Figure 2. Toad/Owl
3. Flotation Device/+ Cross 3. Spider
4. White Palace/White Bricks 4. Fox
5. Harem Lounge 5. Canine/Wolf/Fangs
6. Graves 6. Jackal
7. Longing Girl 7. Leopard/Jaguar/Ocelot
8. Magical Schoolgirl 8. Cat/Cat Eyes
9. Long Hair/Rivers 9. Lynx

Color

1. Green/Light Gold 1. BlueSilver Sparkling
2. GreenBrownish 2. Dark GreenBrownish
3. Reddish 3. Dark Red/Bluish/Purple/Pink
4. White 4. RedYellowWhiteGrayish/Black
5. Light Purple 5. Dark Purpleish Black
6. Greenish 6. Yellowish Gray/Greenish
7. Pale/Dark 7. Yellow/RedBlack/Spots
8. Navy Blue/Lines 8. Yellow/Gray/Lines
9. RedBrown 9. Purple/BlueGray/Spots

Sound

1. Uh 1. Ai (Eye)
2. We/Ueh (Ooee) 2. Our/Or/Ur
3. Oa/Oat (O) 3. Eh (Ekh, Ex, Eth)
4. En/In 4. Ah (Fahx/Mahscahv/Dahrk)
5. Boh/Moh (Bohttle/Chamboh) 5. An(g)
6. Ih (Nih/Hil/Cihm/It/Ir/Ih) 6. Ae (Jak/Val)
7. Aowih (LahnIhn/AhchIhn/MahIhc) 7. '
8. Aaoo (Imaan/Maa/Ho/Sho/Jo) 8. Aye
9. Ndha Oowa 9. Eugh (Yug/Yog/Yoog)

Boethiah MhrnsDgn MlagBal Nctrnl Mphla
ClvcsVl Sheograth Mlcth Snguin Vaermna
MhrnesDgn Boethiah Mphla Nctrnl Snguin
Vaermna Peryite ClvcusVl Brbs Sheograth
HrmsMra MolagBal
Boethiah Nctrnal Mphala Snguin Mlacath
MhrunesDgn MlagBal Vaermna ClvcusVl
HermaeusMora
MhrunesDgn MlagBal Boethiah Mlacath
Nctrnal Mphala Snguin Vaermna ClvcusVl
Sheogorath
MhrunesDgn MlagBal Boethiah Mphala
Nctrnal Mlacath Snguine Vaermna Peryite
ClavicusVile Barbas HrmaeusMra
Sheogorath
MehrunesDgn MolagBl Boethiah Mephala
Nctrnal Sheogorath Malacath Snguine
Vaermina ClavicusVl Barbas Hircine
Peryite HrmaeusMra Namira
Meridia Azura Ithelia
Jyggalag
HermaeusMora
MehrunesDgn MolagBl
Boethiah Mephala
Nocturnal Sheogorath Malacath
Sanguine Jyggalag Vaermina
ClavicusVl Barbas Hircine
Peryite Azura Ithelia
Namira Meridia

Red Blue Gray DrkPurple
DrkGray Purple B&R DrkRed
Black Green&Gray DrkGreen
Brown DrkBrown DrkBlack

1. Boethiah/Ithelia/Kynareth
2. Mehrunes Dgon/Hrmaeus Mra/Julianos
3. Molag Bal/Namira/Mara
4. Mephala/Clavicus Vile/Zenithar
5. Nocturnal/Meridia/Dibella
6. Sanguine/Peryite/Talos
7. Malacath/Jyggalag/Stendarr
8. Vaermina/Azura/Akatosh
9. Sheogorath/Hircine/Arkay

www.auricmedia.net/wp-content/uploads/2 ... fernal.pdf

1. Amon/Beelzebub
2. Raum/Shax
3. Ose/Balam
4. Paimon/Purson
5. Astaroth
6. Andras/Stolas
7. Andromalius/Marchosias/Malphas
8. Furcas/Pruflas/
9. Byleth

1J. Boethiah Molag Bal Azura Blue
2L. Hermaeus Mora Sanguine Sheogorath
3S. Clavicus Vile Barbas Hircine Meridia G
4M. Nocturnal Vaermina Ithelia Black
5V. Mephala Namira Malacath Violet
6M. Peryite Mehrunes Dagon Jyggalag R
7Sun. Jyggalag Molag Bal W&Blue
8Stars. Azura Hermaeus Mora W&Black
9Sacrifice. Meridia Sanguine Green&Red

Boethiah Molag Bal Vaermina Sheogorath
Mehrunes Dagon Mephala Nocturnal Sanguine Clavicus Vile Barbas Namira Hircine Hermaeus Mora Peryite Malacath

Boethiah Molag Bal Vaermina
Mehrunes Dagon Azura Mephala Jyggalag Nocturnal Sanguine Clavicus Vile Barbas Namira Hircine Meridia Hermaeus Mora
Peryite Malacath Ithelia Sheogorath

1. Boethiah 1. Molag Bal 2. Vaermina
2. Mehrunes Dagon 3. Azura 3. Mephala
4. Jyggalag 4. Nocturnal 5. Sanguine
5. Clavicus Vile Barbas 6.Namira 6.Hircine
7. Meridia 7. Hermaeus Mora 8. Peryite
8. Malacath 9. Ithelia 9. Sheogorath

Above are my latest notes that I stare at and meditate upon the themes each collect for me. In my notepad it makes a pattern shaped like this when upside down or as it is normally seen.

i.ytimg.com/vi/aXrqR0LpzrQ/hq720.jpg?sqp=-oaymwEhCK4FEIIDSFryq4qpAxMIARUAAAAAGAElAADIQj0AgKJD&rs=AOn4CLBscFnfDXVpvnNobZp5moZPBTebqA

Post 272 Explains A Portion Of The Threads Linked To The Zodiac:

houseofwisdom.freeforums.net/thread/2/welcome?page=1#post-272

Looks like my 18 threads are freakishly visualized in this video:

youtu.be/W5OEkveSbsc?feature=shared

"
@mattmichniuk2727
8 months ago
This isnot the same video,dont change it there was nothing wrong with it,if it aint broke dont fix it.Back to the original with the other dress the other moves please,this is WHY it went viral,youre just ruining it now???

"

Michniuk, like Milkshake and Milchik. Also two 27s!
"

"
1. The Spire (Lightning)
2. The Ewer (Water)
3. The Balance (Justice)
4. The Arrow (Travel)
5. The Bole (Life)
6. The Spear (Elimination)

01. Halone (Ice)
02. Menphina (Moon)
03. Nald'Thal (Death & Life)
04. Oschon (Fire)
05. Nophica (Life)
06. Rhalgr (Lightning)
07. Azeyma (Sun)
08. Althyk (Time)
09. Byregot (Transformation)
10. Thaliak (Wisdom)
11. Llymlaen (Navigation)
12. Nymeia (Constellations)
"

"
When the chief creator of chaos saw his son Sabaoth, and that the glory in which he dwells is more exquisite than all the authorities of chaos, he was jealous of him. And when he was angry, he conceived death from his own death. It was set up over the sixth heaven; Sabaoth had been snatched away from there. And thus the number of the six authorities of chaos was completed.

Then, since death was androgynous, he mixed with his nature and conceived seven androgynous children.

These are the names of the males:

envy,

wrath,

weeping,

sighing,

mourning,

lamenting,

tearful groaning.

And these are the names of the females:

wrath,

grief,

lust,

sighing,

cursing,

bitterness,

quarrelsomeness.

They had intercourse with one another, and each one conceived seven, so that the children total forty-nine androgynous demons.

Their names and their functions you will find in the Book of Solomon.

In the presence of these, Zoe, who dwells with Sabaoth, created seven good androgynous powers.

These are the names of the males:

not-jealous,

blessed,

joyful,

true,

not-envious,

beloved,

trustworthy.

And these are the names of the females:

peace (SLM),

gladness,

rejoicing,

blessedness,

truth,

love,

faith.

And many good and guileless spirits come from these.

Their accomplishments and their functions you will find in the Configurations of the Fate of Heaven beneath the Twelve.
"

"
So, I saw this set of pins that I'm really interested in, and the symbols correspond to the threads that I've made here, and also end up adding to the understanding of the themes in them, at least for me, by contextualizing them in relation to these tropes in general, as well as more specifically the Dungeons & Dragons versions.

m.media-amazon.com/images/I/81+Ybz1zb7L._AC_UL1500_.jpg

There are 15 listed here:

01. Dungeon Master - Hermaeus Mora
02. Ranger - Clavicus Vile & Barbas
03. Cleric - Mephala
04. Wizard - Molag Bal
05. Bard - Ithelia
06. Sorcerer - Meridia
07. Fighter - Hircine
08. Druid - Peryite
09. Barbarian - Malacath
10. Warlock - Sheogorath
11. Rogue - Nocturnal
12. Monk - Boethiah
13. Paladin - Mehrunes Dagon
14. Artificer - Jyggalag
15. Blood Hunter - Sanguine
16. Namira
17. Vaermina
18. Azura

This other image has 12:

cdn.media.amplience.net/i/hasbropulse/HAS-DUN21-Art-Cards-White_pos01_withclip?w=1240&fmt=auto

01. Paladin - Mehrunes Dagon
02. Monk - Boethiah
03. Sorcerer - Meridia
04. Barbarian - Malacath
05. Ranger - Clavicus Vile & Barbas
06. Rogue - Nocturnal
07. Fighter - Hircine
08. Cleric - Mephala
09. Wizard - Molag Bal
10. Warlock - Sheogorath
11. Bard - Ithelia
12. Druid - Peryite
"

Post by **kFoyauextlH** » Sat Jul 26, 2025 8:31 am

Post by **kFoyauextlH** » Wed Aug 06, 2025 3:12 pm

I'm going to write a little about a few things here hopefully, like about a cartoon I just saw that is popularly trending, but this line in this totally disgusting article bothered me:

https://ca.news.yahoo.com/richard-rober ... 3057.html8

"
Our foreign policy must be grounded in Canadian values and moral clarity. History will judge those of us that choose expedience over principle, sanitizing the stains of terror and placing hollow hope in an illegitimate, unworthy regime.
"

It literally made me want to puke. It made me filled with a sick, butterflies, rage.

People are being starved and killed in huge numbers on a daily basis in a clear h*l*c**st, and they are talking about "moral clarity, and basically saying that these innocent civilians have no right to exist or live.

This was alao very horrific and I tried to get any channel besides the one that showed it to also discuss it:

https://m.youtube.com/watch?v=zQUvAk6fg ... ure=shared

So in this K-Pop Demon Hunters animated film, they depict the villains in the same fashion as they depicted the villains in the largely animated Minecraft Movie, and how the P*l*stinians are also depicted, just a bunch of people standing around in ruins. The film depicts slaughtering them very liberally and without hesitation in huge numbers, and then also depicts that no reconciliation is possible and that they all must be permanently banished and eliminated from all existence and participation in society because they are irredeemable. It was a horrible message. They even could have easily made the message different since these are for younger audiences, but even after building opportunities to show that things are not like that and that these beings have feelings and are people basically, they proceed to slaughter them all anyway, despite even liking them, as a "duty", it is insane and hideous, really insidious and evil.

Another very weird aspect is that these evil being represent tradition, the past, heritage, the Korean history and ancestors, and the forces of good are hell bent on wiping out all these things of the past in favor of modern commercialism, which is also completely disgusting!

It is all so smooth and subtle that it just says and shows this all very casually, this war on traditionalism and Korean history and art and culture, by Westernized Koreans.

Anyway, luckily most people in real life ended up liking the villains anyway, despite their being made out to be worthy of being mercilessly slaughtered.

I also watched this funny thing:

https://www.dailymotion.com/video/x9kjhfs

Post by **kFoyauextlH** » Tue Aug 12, 2025 9:20 pm

To the videos which you posted as an update:

https://m.youtube.com/watch?v=l07mTvUc8 ... ure=shared

https://www.youtube.com/watch?v=AV_XilL ... ure=shared

"
This is happening so fast! Hopefully the pendulum will swing back hard against a lot, maybe even everything that has been going on. I think one of factors has aldo been how unfavorable things seem to have been for people trying to normalize that "authorities" should go unquestioned in their criminal conduct, like t*rr*rizing and abusing the general public anywhere in the world, and when people were getting "r*dicalized" by seeing other people speaking up about such things, moves were made to disrupt and make unpleasant to use the place where they were being taught it was alright to see things that were unpleasant and to speak out against them as others were.

If the propaganda and brainwashing efforts had been more successful over these platforms, they would have not put through any measures for anyone's protection, "children be damned", because very obviously they have no real concern for anyone's safety or good upbringing, only to do whatever it takes to get the least educated, most mindless, worker drones for the military industrial complex, stupid people who kill and are killed without questioning any of it, numb and dumb, like in the society where they are forced to serve in the military and if they don't conform they are put to ruin and if they dare to resist or happen to find themselves on the other side of some walls, they get even worse, worse than anyone could even dare to imagine except the most perverse writers of graphic horror.

That the State Shall Be God and Greater Than The State Shall Be Ever More Mastery (exploitation) of All Resources including the Human Being, and that "Progress" and "Improvement" should be the State's future, the Greater God, the Infinite refinement leading to complete extinction of anything known towards the unknown even if terrible, but for who?

The State is a vessel that shall be rowed off the edge of the Flat Earth into ever deeper hells for the hell of it, and the people and their hesitation and their thinking they could ever "know" anything is an impediment to the goals of our great minds, those literally enriched and thus great, so whatever they want, based on their unusual upbringings in a state of bondage to total liberty and neglect by their Saurid parents.

The flying boat runs of blood and shrieks of agony and terror, as compared to the rudderless ship without oars of empathy, but "we're all in the same boat", and even the maniacs on the upper decks and at the helm will find that they'll be getting to the same place via a much longer path, and that is nowhere, but exhausted.

Strangely enough, empathy conserves more energy in the long run than callous ambition and cutting off emotions.

(This was a test for longer writing, it would be nice also if some day even these updates and update videos and replies to them appear on the forum so that this writing appears there with it, maybe in a single thread if not separate threads for each update with their replies.)

I think that the main things that put my posts at risk of failing to post here are links and if something deletes the writing which isn't automatically saving, like accidentally clicking back or the page refreshing.
"

Also:

https://www.youtube.com/watch?v=FYr4fWE ... ure=shared

"
I’m so disgusted with a kinority of people making priorities that benefit basically no one, not even really them ultimately either. For example, they want to cake robots with makeup and prosthestics, to be so realistic that they can deceive people, like Replicants from Blade Runner, but are putting apparently no work into robots that can take care of very cumbersome and inconvenient, time consuming tasks like food preparation. That was the depressing thought I slept with, and had a dream with some ghost and felt like my body was touched and woke up with a yelp.
"

I put this writing in this thread because in Warhammer, the Dark Elves are placed on the map where North America is, and are depicted as extremely brutal and totally self-absorbed sl*ve masters obsessed with achieving their ambitions without any concern for any other lifeforms or the conditions they are made to endure or the cruelty involved with forcing them to do what they want them to do and "breaking" them. I was lamenting missing the bid for the book where they are described like that, even though it is a very disturbing thing to read or be reminded up, since it has been exposed, now repeatedly, and again, as real.

Post by **kFoyauextlH** » Fri Aug 15, 2025 4:53 am

https://youtu.be/xrU9IDhrj-Y?feature=shared

What the f*ck is going on there.

https://m.youtube.com/watch?v=_BBrDhgGz ... ure=shared

https://m.youtube.com/@slayerbabe474

https://m.youtube.com/watch?v=sJOfCS9Kt ... ure=shared

"
@rubyblu21
1 month ago
I was subjected to the negative Facebook experiment and was only told about it afterwards. It messed with me so hard, I deleted FB, withdrew off social media and in my real life and went into a dark place. the whole experience opened my eyes to how easily we can be manipulated and that they can do it without asking for consent or warning.
"

"

@RowenX-jg9xw
1 month ago
Omg, I swear to you, I am being attacked via Facebook and have been for awhile now and have been so confused about what they are doing but recognize it has been way way way off.
"

"
@mycattitude
1 month ago
@tiptapkey It's in the video, she describes what they did. Around 35 minutes, but the sections have subtitles to easily find it, over half way. I heard about them doing this.

They did a lot of other things too. Used colours to negatively affect people's moods too.

Design is so important and we've always known that.

It's why women decorate, to make their home feel cozy and inviting, or sheik and soothing.

They used to only paint hospitals and jails really drab colours, usually grey or a glum institutional green.

They they started experimenting in jails w/ colour and found when they used soft pinks and other colours, the prisoners were calmer and less fights.

They use colour in restaurant chains w/ a budget.

When they use reds and brighter earth colours like orange deftly, the people tend to eat faster and don't linger as long.

So it optimizes sales and gets more traffic through the chain.

These types of manipulations don't hurt anyone, they are win/win, but even the more subtle and innocuous methods using merely colour alone darn well work.

Imagine the effect when you have art, web design and the most highly trained psych manipulators at your disposal and you're up to no good online.
"

"
@nikkinorton8310
1 month ago
You were talking about covid. I've been a nurse for 33 years now. During covid, was the first time in my career, that I was threatened with my license for giving information (that was crucial) about what I was seeing in the vaccinated and the unvaccinated. A report from CNN actually changed from its original story about campers, who had all been vaccinated 3 months prior ended up with covid. To me......what I saw with my eyes, and what I was seeing on media, and how my voice was squashed, was absolutely the scariest thing that has happened to me in nursing. And I have been strangled with my stethoscope, punched in the face, kicked in the face etc....
"

"
@Hoppieg
1 month ago
I was raised in an environment where I was abused every single day of my life. I grew up with every kind of evil imaginable. I was locked in rooms, made to go without food, raised in animal feces and absolute filth. As I got older, if someone was even remotely nice to me, I was hooked. I didn’t have a clue about anything. I was raised feral, ignored and abused. I honestly thought all people lived how I was raised. I had no idea that this was not the case until about five years ago when I made a comment to my husband of 24 years and he just looked me. He said, “That’s not normal,” and for the first time, I started to process that what happened to me wasn’t ok.

Trauma marks a person. It marks the person abused in their own mind, but it also marks them as prey for predators.

I’m not a hunter, so I could not begin to tell you how people knew what I’d been through without me ever uttering a word, but they know. They knew me better than I knew myself. Maybe it’s the same way I know someone is a child molester before they ever even open their mouth. I can spot them across the room. When ya know—you just know. And they all knew I was an easy mark, and they took and took, when I thought I have nothing left to give—they took more.

The last five years have been an awakening from darkness to light. I’ve faced so many demons—some of my own making.

Nevertheless, I pray that everyone come to the light—its much better over here. Yahweh bless and keep you! In Yahushua’s Name, Amen!❤
"

That was a nonsensical tale, more than likely written by ChatGPT or something, weird double dashes and all.

https://youtube.com/shorts/TYS3LuMH72I?feature=shared

https://m.youtube.com/watch?v=412eIt3F_ ... ure=shared

One of the many themes of this thread is social manipulation. The Dark Elves are witches and slavers, formerly depicted as wholly irredeemable menaces, "racially" evil, as well as culturally monstrous. They are the shadow of the things that their accusers are doing themselves in a way that they present as acceptable and the norm now. They are fictional, but real, and also false, and opposite, or a hit piece, defamed, propaganda meant to "color" an enemy "dark" by the real wicked sh*ts. There is layer upon layer going on, through the language, through the convoluted way that this things emerge and are spoken about, who chooses to use them and how and why.

https://m.youtube.com/watch?v=MjgOlgklA ... ure=shared

My threads tend to be, at least these days but probably always, quite expansive in what they are meant to cover, but everything brought up, even things that are jokes or look like jokes and are funny as jokes too, is meant to combine and be cross referenced with other things brought up and in as many ways and with as many inflections and interpretations and uses that are stimulating as possible.

Like, it may seem a weird jumping around to get into the imposition of evolutionary theories with mind control efforts, but it is completely on purpose why these two things are being brought up, and in multiple ways, like how the ideas are used, what they refer to, and how social manipulation plays a role, has played a role, what it is saying, if it is true as it is accepted by most to be then also how social manipulation factors were involved in that process as well.

My threads and the content in them may seem to people approaching the material in a very narrow or specific way or with some expectation, may miss out on the adventure for the mind that viewing them in the broader, conspiratorial, paranoid, psychedelic way that they are meant to connect and intertwine and bring in numerous layers of diverse seeming topics meant to be connected repeatedly through each variant angle it could be taken as or brought up with. I was very impressed with Parrhesia seeming to pick up on more than the usual angles that the general populace may approach anything with, because of what might be a tendency for them to be exposed to and thus accept everything as what they are calling today "slop", and which in other cases is just vacuous "content" which says nothing much at all or the most mundane colloquialisms and truisms, to the point of being intolerable, but numbing them to even waste their time thinking that anything could be out there saying ir trying to say something more or more interesting.

They also don't tend to be used to going on these "thought adventures" and journeying through the weird themselves, but want it to be spelled out and post-processed and regurgitated into their mouths.

Post by **kFoyauextlH** » Wed Aug 27, 2025 8:17 am

Post by **kFoyauextlH** » Sat Aug 30, 2025 7:34 am

Someone there mentioned the series that this comes from due to a similarity they perceived in the art style and general aesthetic and tropes, but this seems even more extreme:

He shows 78 cards and the other art like what is on and in the box.

Just like the Goetic Demons with the usual popular illustrations that appeared in the Infernal Dictionary, the numbers reaching 70 and 80 are way too cumbersome and a lot seem to become redundant and not very attention grabbing or useful for inspiration. Out of the 72, only a certain number of any significance to me also, just like ancient cultures and constellations, only a few can stand out to anyone and entire lists become annoying to handle when they are very long in any way, even long lists of epithets for a single identity or domain, like "yeah yeah, we get it", and people can't possibly hold in their mind or use large groups while giving each idea much "respect", many will necessarily fall back and others will be more dominant and prominent in the mind, some even totally being barely attractive or interesting to people. So those which a person really prefers for whatever reason should be noted, and then the rest ranked from those one likes most to least, the last being those they could happily meld together as a reference to one entity or domain and set of ideas rather than strictly separating them.

In that case, 72 can be divided into 8 sets of 9 and also 10 sets of 7 with 2 extra.

78 can be divided into 13 groups of 6 or 11 groups of 7 with 1 extra.

Both this Tarot Deck with the art of Wizard Of Barge and the art of the demons that is popular, as well as this game I posted from, are all "camp" and "campy":

https://en.m.wikipedia.org/wiki/Pop_art

https://en.m.wikipedia.org/wiki/Camp_(style)

"
Camp is an aesthetic and sensibility that regards something as appealing or amusing because of its heightened level of artifice, affectation and exaggeration,[1][2][3] especially when there is also a playful or ironic element.[4][5] Camp is historically associated with LGBTQ culture and especially gay men.[2][6][7][8] Camp aesthetics disrupt modernist understandings of high art by inverting traditional aesthetic judgements of beauty, value, and taste, and inviting a different kind of aesthetic engagement.[6]

Camp art is distinct from but often confused with kitsch. The big difference between camp and kitsch is mainly that camp is aware of its artificiality and pretense.[9]

The American writer Susan Sontag emphasized camp's key elements as embracing frivolity, excess and artifice.[10] Art historian David Carrier notes that, despite these qualities, it is also subversive and political.[11] Camp may be sophisticated,[12] but subjects deemed camp may also be perceived as being dated, offensive or in bad taste.[13][5] Camp may also be divided into high and low camp (i.e., camp arising from serious versus unserious matters), or alternatively into naive and deliberate camp (i.e., accidental versus intentional camp).[3][12][14][15] While author and academic Moe Meyer defines camp as a form of "queer parody",[7][8] journalist Jack Babuscio argues it is a specific "gay sensibility" which has often been "misused to signify the trivial, superficial and 'queer'".[16]

Camp, as a particular style or set of mannerisms, may serve as a marker of identity, such as in camp talk, which expresses a gay male identity.[17] This camp style is associated with incongruity or juxtaposition, theatricality, and humour,[18] and has appeared in film, cabaret, and pantomime.[19][20][21] Both high and low forms of culture may be camp,[3][22][8] but where high art incorporates beauty and value, camp often strives to be lively, audacious and dynamic.[6] Camp can also be tragic, sentimental and ironic, finding beauty or black comedy even in suffering.[19] The humour of camp, as well as its frivolity, may serve as a coping mechanism to deal with intolerance and marginalization in society.[5][23]
"

https://en.m.wikipedia.org/wiki/Kitsch

"
The modern avant-garde traditionally opposed kitsch for its melodramatic tendencies, its superficial relationship with the human condition and its naturalistic standards of beauty. In the first half of the 20th century, kitsch was used in reference to mass-produced, pop-cultural products that lacked the conceptual depth of fine art. However, since the emergence of Pop Art in the 1950s, kitsch has taken on newfound highbrow appeal, often wielded in knowingly ironic, humorous or earnest manners.

To brand visual art as "kitsch" is often still pejorative, though not exclusively. Art deemed kitsch may be enjoyed in an entirely positive and sincere manner. For example, it carries the ability to be quaint or "quirky" without being offensive on the surface, as in the Dogs Playing Poker paintings.

Along with visual art, the quality of kitsch can be used to describe works of music, literature or any other creative medium. Kitsch relates to camp, as they both incorporate irony and extravagance.[4]
"

https://en.m.wikipedia.org/wiki/Irony

"
Postmodern irony rejects the possibility of an authoritative viewpoint such as could discern true meaning behind contradictory appearances. Instead, it operates within a framework where all positions are understood as contextual and contingent. This, however, produces a contradiction: the postmodern theorist who declares the end of all master-narratives, just by making such a declaration, claims an authoritative stance. Rather than resolving this contradiction, postmodern irony embraces it as fundamental to the human condition of speech and meaning-making, in which every act of communication adopts a position necessarily of a limited and constructed nature.[79]

For instance, the neopragmatist philosopher Richard Rorty advances a concept of irony centered on the "liberal ironist", whom he contrasts with "the metaphysician". The ironist, according to this theory, is someone who maintains radical doubts about their own "final vocabulary" (the fundamental concepts used to justify their beliefs and actions), recognizes that rational argument cannot resolve these doubts, and doesn't believe their vocabulary is closer to ultimate reality than others. This postmodern position is a consequence of acknowledging the historical contingency and plurality of vocabularies, where no neutral standards exist for choosing definitively between different ways of describing the world. On this theory, irony functions as both a philosophical method and way of life that disrupts entrenched vocabularies through redescription, metaphor, and narrative rather than traditional argument.[80][81]
"

https://characterdesignreferences.com/a ... nture-time

https://movieweb.com/adventure-time-changed-cartoons/

https://www.lambiek.net/artists/p/peck_everett.htm

"
Everett Peck was an American alternative comic artist, painter, illustrator and animator. His comic career was brief and consisted mostly of the one-shot comic book 'Duckman' (Dark Horse, 1990), which was adapted into a critically acclaimed animated TV series (1994-1997). 'Duckman' aimed at an adult audience and featured clever, sophisticated socio-political satire. At the time it was often cited as one of the few animated sitcoms that could equal 'The Simpsons' in that field. 'Duckman' inspired a comic book spin-off (1994-1997), published by Topps, as well as a 1997 video game. Unfortunately, it always remained a cult show and was canceled after only four seasons. Peck remained active in animation, but his other projects were mostly TV adaptations of popular blockbuster films ('Jumanji', 'Ghostbusters', 'Men in Black', 'Godzilla'), save for his children's series 'Squirrel Boy' (2006-2007). None of his later animated shows ever had the same critical praise and legacy as his signature work 'Duckman'.
"

Topps must have been cards with art on them.

"
Peck grew up reading Mad Magazine and loved the work of Jack Davis, Mort Drucker, Basil Wolverton and Don Martin. Other comic authors who shaped his style were Joe Kubert, Floyd Gottfredson, Carl Barks, Virgil Partch, Gahan Wilson, Robert Crumb, Rick Griffin and Victor Moscoso. In terms of animation, he was influenced by Walt Disney, Max and Dave Fleischer, Tex Avery, Looney Tunes and the UPA studio. Among his other graphic influences were John Tenniel, Heinrich Kley, Ed "Big Daddy" Roth, Von Dutch, Heinz Edelmann, Philip Guston, Jeff Koons, Julian Schnabel, Jean-Michel Basquiat and Ronald Searle.
"

"
Peck's biggest passion was animation. After leaving college, he met up with several former Disney animators, among them Ward Kimball. In the 1980s, he worked as a character designer for the popular animated TV series 'The Real Ghostbusters' (1986-1988), based on the success of the live-action film 'Ghostbusters' (1984).
"

I grew up watching that and heavily influenced by all things Ghostbusters since I was born.

"
Everett Peck spent his final years in California, where he was mostly active as a painter. Peck had a part-time residence in Santa Fe, New Mexico. He passed away in 2022 in Solana Beach, California from pancreatic cancer, at age 71. His passing was mourned by Jason Alexander (voice of 'Duckman') on his Twitter account.
"

"
For those interested in Peck's life and work, the book 'It's Not My Fault' (Dark Horse Comics, 2006) is highly recommended. It collects his paintings, illustrations, cartoons, sketches and comics.
"

https://en.m.wikipedia.org/wiki/Superjail!

https://en.m.wikipedia.org/wiki/Liquid_Television

https://www.youtube.com/watch%3Fv%3DFhd ... ure=shared

https://en.m.wikipedia.org/wiki/Primitivism

https://en.m.wikipedia.org/wiki/Na%C3%AFve_art

https://en.m.wikipedia.org/wiki/Folk_art

https://en.m.wikipedia.org/wiki/Corporate_Memphis

https://en.m.wikipedia.org/wiki/Outsider_art

"
The term outsider art was coined in 1972 as the title of a book by art critic Roger Cardinal.[1] It is an English equivalent for art brut (French: [aʁ bʁyt], "raw art" or "rough art"), a label created in the 1940s by French artist Jean Dubuffet to describe art created outside the boundaries of official culture. Dubuffet focused particularly on art by those on the outside of the established art scene, using as examples psychiatric hospital patients, hermits, and spiritualists.[2][3]
"

https://en.m.wikipedia.org/wiki/Degenerate_art

https://en.m.wikipedia.org/wiki/Violence_in_art

https://en.m.wikipedia.org/wiki/Shock_art

https://www.juxtapoz.com/news/magazine/ ... ota-cates/

"
I got into art from skateboarding, so you were actually a big influence on me early on, along with people like Ed Templeton and Neckface. I also fell in love with a ton of fantasy artists like Skinner, Moebius, Frazetta, and really anyone drawing wacky creatures.
"

https://www.confuzine.com/2012/02/09/th ... interview/

https://www.danzigergallery.com/artists/ed-templeton

Wow, there is no denying it with this piece:

https://www.confuzine.com/wp-content/up ... s-scan.jpg

Totally:

https://www.newimageartgallery.com/neck-face

For the Goetic stuff:

Oh man, this guy is great lol:

I noticed that the people linking to certain ideologies make certain choices in how they present themselves as do those who like to think of themselves is diametrically opposed to those groups, so like things which hearken to certain traditions or ideas of orderliness or militarism and power, others going for unbalanced, asymmetrical, unnatural, boundary breaking, attention grabbing styles that appear "out of order" and contrary to many standards and traditions, but at times trying to go for "tribal" looks too.

https://en.m.wikipedia.org/wiki/Sumptuary_law

https://www.battlemerchant.com/en/blog/ ... iddle-ages

"

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Clothing as a Mirror of Society in the Middle Ages
From: Hendrik Pahl
05/12/2024
From epic battles to crafting fun – I write about history, the Middle Ages, LARP, fantasy & DIY
Kleidung-als-Spiegel-der-Gesellschaft-im-Mittelalter
The Significance of Clothing in Medieval Europe
The Middle Ages were an era in which clothing held profound significance, extending far beyond mere protection from the elements. It functioned as a mirror of society and an expression of status and power. The choice of fabrics, colors, and cuts was by no means left to chance or personal taste, but followed strict rules and conventions that reflected and maintained the hierarchical structure of medieval society.

Clothing as a Key to Medieval Society
Clothing indicated social rank
Materials and colors were strictly regulated
Sumptuary laws dictated who could wear what
Clothing was an important status symbol
Introduction
Significance of Clothing in the Middle Ages
In medieval Europe, clothing was a complex system of signs and symbols that reflected and maintained the social order. It served as an immediate visual indicator of a person's social status, profession, marital status, and even regional origin. As a means of non-verbal communication, it provided at a glance information about the wearer's position in the hierarchically structured medieval society. From the simple peasant to the high nobility, each class had its own clearly defined dress code.

Particularly luxurious materials such as silk, velvet, and furs were reserved for the upper classes. Their use was often regulated by laws, known as sumptuary laws, which stipulated which fabrics and colors could be worn by whom. These laws served not only to preserve the social order but also to curb excessive luxury and waste. However, the significance of clothing went beyond mere status indication. It was also an important instrument of self-presentation and political expression. Rulers used magnificent garments to demonstrate and legitimize their power. Religious orders used specific attire to show their affiliation and spiritual orientation. Even in diplomacy, clothing played an important role, as the choice of attire was carefully considered in negotiations and state visits to convey the right impression.

Clothing as an Expression of Social Standing
Clothing in the Middle Ages was an immediate and unmistakable expression of its wearer's social standing. It functioned as a kind of visual code that made it possible to recognize a person's social rank at first glance. This function of clothing was of immense importance in a time when society was strictly hierarchically structured. At the top of the social pyramid were the nobility and clergy, whose clothing was distinguished by particular splendor and quality. High-quality fabrics such as silk, velvet, and fine wool, often interwoven with gold and silver threads, were reserved for them. The use of certain colors, especially purple, was a privilege of the highest ranks. The length of garments was also a status marker – the longer, the higher the rank, as long clothing was impractical for physical labor and thus symbolized leisure.

In contrast, peasants and simple craftsmen wore plain, functional clothing made of coarse fabrics such as linen and wool in muted colors. Their clothing was designed for durability and practicality, often self-made and dyed. The length of their garments was shorter to avoid restricting movement during work. Between these extremes, there was a multitude of gradations corresponding to the complex social structures of the Middle Ages. Wealthy citizens in the towns often tried to imitate the nobility through their clothing, which led to numerous sumptuary laws aimed at preventing such transgressions of class boundaries.

Clothing also served to indicate professional affiliations. Craftsmen often wore specific attire that represented their guild. Scholars and university members were recognizable by their long robes, while merchants stood out for their practical but often high-quality clothing. Even within individual classes, there were subtle differences in clothing that indicated a person's exact rank within their social group. For example, the cut and decorations of a noble's garment could reveal whether the wearer belonged to the lower or high nobility. Clothing as an expression of social standing was not just a passive reflection of the social order, but actively contributed to its maintenance. It made social differences visible and thus reinforced existing hierarchies. At the same time, it offered opportunities for social advancement by allowing one to feign or aspire to a higher status through appropriate clothing – a circumstance that often prompted the authorities to impose strict regulations.

Nobility and Rulers
Materials: Silk, Velvet, Furs
The clothing of the nobility and rulers in the Middle Ages was characterized by the use of the most precious and exclusive materials. Silk, velvet, and furs were the preferred fabrics that not only symbolized luxury and wealth but also underscored the power and influence of their wearers. Silk was one of the most coveted materials and was mainly imported from the Far East. The long and dangerous transport route along the Silk Road made it an extremely costly commodity. Silk garments were soft, shiny, and pleasant to wear, making them a symbol of sophistication and worldliness. Silk fabrics were often interwoven with gold or silver threads, further increasing their value and visual impact. Particularly popular were silk damasks with complex woven patterns that showcased the craftsmanship of their makers.

Velvet, a fabric with a short, upright pile, was another luxury material reserved for the nobility. Its production was elaborate and required large quantities of silk or fine wool. Velvet was characterized by its soft, plush surface and reflected light in a way that gave it a special depth and vibrancy. The rich texture and sheen of velvet made it a preferred material for ceremonial garments and robes of state. Furs were valued not only for their warming properties but primarily for their luxury character. The most valuable furs came from animals such as ermine, sable, and marten. Ermine, with its characteristic white fur and black tail tips, was particularly sought after and often reserved for royalty. Furs were used both as lining for coats and cloaks and as trim on sleeves, collars, and hems. The quantity and quality of fur used was a direct indicator of the wearer's wealth and status.

The use of these exclusive materials was often regulated by strict laws. Sumptuary laws stipulated which classes could wear which fabrics and furs. These regulations served to maintain the social hierarchy and curb excessive luxury. Despite these restrictions, wealthy citizens and aspiring merchants often found ways to incorporate these precious materials into their wardrobes, leading to a constant arms race in fashion. The processing of these noble materials required the highest craftsmanship. Tailors and seamstresses who worked for the nobility were highly specialized craftsmen whose skills were often passed down through generations. The production of a single ceremonial garment could take months and often required the collaboration of several specialists such as weavers, embroiderers, and furriers. The use of silk, velvet, and furs in the clothing of the nobility also had an important political and diplomatic function. At state visits and important ceremonies, the magnificent clothing served to demonstrate the power and wealth of one's own court. The choice of materials and their processing were carefully considered to achieve the desired impression and strengthen one's own position in the complex power structures of medieval Europe.

Colors: Purple, Gold, Intense Hues
The choice of colors in the clothing of the nobility and rulers in the Middle Ages was of great symbolic significance, reflecting not only personal taste but also power, wealth, and social status. Particularly striking were the colors purple, gold, and other intense hues, which, due to their rarity and costliness in production, were reserved for the highest ranks. Purple held a special position among colors. Since antiquity, it had been considered the royal color par excellence and was exclusively reserved for the ruling house in many regions of Europe. The production of true purple was extremely laborious and expensive. The dye was extracted from the purple snail, with thousands of snails needed for a single gram of dye. This exclusivity made purple a symbol of absolute power and divine right. In Byzantium, wearing purple was even forbidden under penalty of death for those not belonging to the imperial family.

Gold was another color closely associated with nobility and rulership. Whether woven into fabrics as real gold threads or used in golden embroideries and appliqués – the use of gold in clothing symbolized not only wealth but also divine favor and legitimacy of rule. Golden garments were often reserved for religious ceremonies and the highest secular occasions. The use of gold in clothing ranged from subtle accents to fully golden garments worn on special occasions. Besides purple and gold, other intense hues also played an important role in the wardrobe of the upper class. Strong shades of blue, red, and green were particularly popular. These colors were obtained from expensive dyes that often had to be imported from far away. For example, the coveted crimson red was made from dried cochineal insects originating from Central and South America. The bright ultramarine blue was extracted from the semi-precious stone lapis lazuli, mainly imported from Afghanistan.

The use of these intense colors was not just a matter of aesthetics but also a means of demonstrating power. The ability to dress in such vibrant colors showed that one had the resources to acquire rare and expensive dyes. In an era when most people wore clothing in muted, natural hues, intense colors were an immediate eye-catcher and a clear sign of high social status. The symbolism of colors often went beyond mere status indication. Certain colors were associated with specific virtues or qualities. Red, for example, often stood for courage and passion, while blue was associated with loyalty and constancy. Green could symbolize youth and hope or, depending on the context, inconstancy. The choice of colors in clothing could therefore also be a form of non-verbal communication, conveying certain messages or claims. It is important to note that the meaning and use of colors in the Middle Ages could vary regionally and temporally. What was considered exclusive in one kingdom might be less strictly regulated in another. Moreover, fashions and color preferences changed over the centuries, influenced by cultural exchanges, technological advances in color production, and changing aesthetic ideas.

Jewelry and Accessories
Jewelry and accessories played a central role

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Middle Class and Urban Population in the Middle Ages
The medieval middle class and urban population formed a diverse and dynamic social stratum that differed significantly from the nobility and peasants. Their clothing reflected not only their social status but also their economic importance and the growing prosperity of the cities. Wealthy citizens, often merchants or successful master craftsmen, oriented their clothing towards the nobility. They wore high-quality fabrics such as fine wool, silk, and imported cotton. The garments were often in bold colors achieved through expensive dyes. Men wore long overcoats, called houppelandes, trimmed with fur. Women preferred form-fitting dresses with wide sleeves and long trains. Headwear such as hoods for women and wide-brimmed hats for men were also popular. The jewelry was elaborate but less ostentatious than that of the nobility. Gold and silver chains, rings, and brooches showed the wealth of their wearers. Despite this imitation, there were often sumptuary laws that prohibited citizens from wearing certain noble garments or materials.

Craftsmen and Their Guild Clothing
The craftsmen formed the backbone of the urban economy and had their own characteristic clothing. Each guild often had specific colors or badges worn by its members. The clothing was functional and robust, mostly made of wool or linen. Men frequently wore short jackets, called doublets, along with tight trousers or leggings. Aprons were typical for many craftsmen and served both as protection and as an identifying feature. Women wore simple dresses with aprons. The colors were less bright than those of wealthy citizens but by no means dull. Headwear such as caps or scarves was common and often a sign of the craftsman's status. Jewelry was sparse but not uncommon - simple rings or brooches were widespread. Merchants occupied an intermediate position between wealthy citizens and craftsmen. Their clothing had to exude both wealth and respectability. Men preferred long overcoats made of fine wool, often in muted colors such as brown, dark blue, or black. Fur trimmings on collars and sleeves were popular. Women wore high-necked dresses with moderate embellishments. Characteristic of merchants were often belts with money pouches and seals, symbolizing their business activities. Headwear such as berets for men and hoods for women was common. The jewelry was discreet but of high quality - signet rings and chains with pendants were widespread. The clothing of merchants was meant to radiate trustworthiness and success without appearing too ostentatious.

City-Specific Fashions
Each medieval city developed its own fashion trends, often influenced by local traditions, available materials, and economic focuses. In trading centers like Venice or Antwerp, exotic fabrics and cuts were more common, while in cities with strong textile industries like Florence or Ghent, local woolen fabrics dominated. Regional differences were also evident in headwear, shoe shapes, and accessories. In some cities, certain colors or patterns were associated with particular quarters or professional groups. These local peculiarities contributed to the identity of the cities and were often a source of pride for the citizens. Travelers could often recognize which city someone came from by their clothing. Despite these differences, there were interregional trends that spread through trade and travel, contributing to a certain uniformity in urban fashion.

Peasants and Rural Folk: Functional Clothing in the Middle Ages
The clothing of peasants and rural folk in the Middle Ages differed significantly from that of the urban population. It was primarily characterized by functionality and the availability of local materials. Nevertheless, there were variations and developments that differed from region to region and over time. The clothing of the rural population was primarily geared towards practicality. It had to withstand the harsh working conditions in the fields and in animal husbandry. Men typically wore simple shirts made of coarse linen, over which they wore a kind of vest or jacket made of wool. The legs were covered by knee-length or long trousers, often made of wool or leather. Women wore long, simple dresses or skirts with blouses, also made of linen or wool. An apron was often seen over the dress, serving both as protection and as an additional pocket. The clothing was usually in muted, natural colors, as expensive dyes were unaffordable for most peasants. Brown, gray, and natural white were predominant. Shoes were often homemade, from leather or wood, and had to be robust enough to withstand the rough ground conditions. Headgear was widespread, both for protection from the sun and as a traditional element of costume. Men often wore simple caps or hats, while women preferred headscarves or simple bonnets.

Materials Used: Linen, Wool
The main materials for the clothing of the rural population were linen and wool, both locally produced and processed. Linen, made from flax, was particularly popular for undergarments and summer costumes. It was relatively easy to care for, breathable, and cool in warm temperatures. Wool, obtained from sheep, was the preferred material for outerwear and winter clothing. It offered good protection against cold and wet conditions and was relatively easy to dye. The quality of the fabrics used varied depending on the wearer's wealth but was generally coarser than the materials used in urban areas. In some regions, hemp was also used as an alternative to linen, especially for robust work clothing. Leather, usually from locally raised animals, was used for shoes, belts, and sometimes for trousers or jackets. The processing of these materials was often a domestic affair, with spinning, weaving, and sewing being typical tasks for women. In some areas, there were also specialized weavers or tailors who worked for the community.

Work Clothes vs. Festive Attire
Despite the general simplicity of peasant clothing, there was a clear distinction between everyday and festive clothing. Work clothes were robust and functional, often patched and mended to ensure a long lifespan. They were designed to withstand dirt and wear. In contrast, festive attire, reserved for church visits, weddings, and other special occasions, was of better quality and often adorned with simple decorations. These garments were carefully preserved and often passed down through generations. Festive dresses could feature finer fabrics, brighter colors, and a bit more ornamentation. Women often wore special bonnets or headgear on such occasions, while men donned their best hats. In some regions, festive attire also included special accessories such as brooches, belt buckles, or embroidered aprons. This distinction between everyday and festive clothing was an important aspect of peasant culture and showed that even in simple circumstances, value was placed on aesthetics and tradition.

Regional Differences in Peasant Costume
Peasant costume was by no means uniform across Europe. Rather, distinct regional differences developed, which are often still visible in traditional costumes today. These variations were influenced by climatic conditions, available materials, cultural traditions, and historical developments. In colder regions such as Scandinavia or the Alps, clothing was often thicker and warmer, with multiple layers and heavy woolen fabrics. In warmer areas like the Mediterranean, lighter fabrics and brighter colors were more common. The shape of headgear varied greatly: from simple scarves to elaborate bonnets or hats, which often indicated the wearer's marital status or origin. The cuts of clothing also differed: in some regions, wide, pleated skirts were common, in others, more form-fitting dresses. Particularly striking were often the regional differences in the patterns and decorations of festive costumes. These could range from simple stripes to complex embroideries and were often symbolically charged, with motifs referring to local traditions or religious beliefs. The regional diversity of peasant costumes was an expression of cultural identity and showed the creativity and adaptability of the rural population in the Middle Ages.

Gender-Specific Differences in Medieval Clothing
Clothing in the Middle Ages reflected not only social status but also the gender roles of the time. Men and women wore distinctly different garments that expressed their respective positions in society and their duties.

Men's Clothing in Various Classes
Men's clothing in the Middle Ages varied greatly depending on social status and profession. Noble men often wore magnificent, colorful garments made of fine fabrics such as silk and velvet. Their clothing was richly decorated and adorned with precious embroideries or fur trimmings. A typical garment was the knee-length surcot, worn over an undergarment. This was accompanied by tight-fitting leggings and pointed shoes. Men from the bourgeoisie wore simpler but still high-quality clothing. Their garments were often made of wool or linen and kept in more subdued colors. A characteristic garment was the kirtle, a knee-length overgarment worn with a belt. Peasants and simple craftsmen wore practical, robust clothing made of coarse fabrics such as linen or hemp. Their garments were usually in natural, unbleached colors and often consisted of a simple tunic and trousers.

Women's Clothing in Various Classes
There were also clear differences in clothing among women depending on social status. Noble ladies wore long, floor-length dresses made of precious fabrics such as silk or fine wool. These dresses were often tightly fitted at the waist and had wide sleeves. Particularly popular were overskirts that were open at the front, revealing the dress underneath. Headgear such as the hennin, a tall, pointed bonnet, was a status symbol of the upper class. Bourgeois women also wore long dresses, but made of simpler fabrics such as wool or linen. Their garments were less elaborately decorated but still of good quality. A typical garment was the cotte, a tight-fitting underdress over which a surcot was worn. Peasant women and women of the lower classes wore practical, robust clothing that facilitated their daily work. Their dresses were often shorter to allow more freedom of movement and were made of coarse fabrics such as hemp or wool. An apron was an important garment that served both as protection and as an additional pocket.

Children's Clothing
Children's clothing in the Middle Ages was often a simplified version of adult clothing. Until about seven years of age, boys and girls wore similar clothing, usually simple tunics or dresses. From this age, children began to wear clothing that resembled that of their adult counterparts. Children from wealthy families wore miniature versions of adult clothing, often made from the same precious fabrics. Children of the lower classes wore simple, practical clothing that was often reworked from discarded adult clothes.

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Sumptuary Laws and Luxury Regulations in the Middle Ages
Throughout the Middle Ages, sumptuary laws and luxury regulations were enacted in many European cities and regions. These ordinances had far-reaching effects on society and the way people dressed. The main purpose of these laws was to maintain and make visible the existing social order. They were intended to prevent people from lower ranks from pretending to a higher social status through their clothing. At the same time, they served to curb excessive luxury and waste. The enforcement of these laws was carried out by city authorities or feudal rulers. Violations could be punished with fines, the loss of the clothing items in question, or in severe cases, even imprisonment.

A well-known example of a sumptuary law is the Nuremberg Dress Code of 1485. It precisely specified which materials, colors, and jewelry could be worn by the various ranks. For instance, only the nobility was allowed to wear clothing made of velvet or silk. Citizens were not permitted to wear gold chains heavier than a certain ounce. In Venice, there were strict regulations for the clothing of prostitutes. They had to wear yellow veils to distinguish them from respectable women. In England, a law from 1363 prohibited craftsmen and peasants from wearing clothing made of expensive fabrics such as silk or silver jewelry.

The sumptuary laws and luxury regulations had profound effects on medieval society. They reinforced the visible differences between social classes and made a person's status recognizable at first glance. This led to a solidification of social hierarchies. At the same time, these laws also fostered creativity and innovation in clothing production. People sought ways to circumvent the laws or to be fashionable within the limits of what was allowed. This led to the development of new fabrics, cuts, and decorations. The luxury laws also had economic impacts. They influenced the trade in luxury goods and the development of local crafts. In some cases, they promoted the domestic textile industry by restricting the import of expensive foreign fabrics.

Evolution of Clothing Throughout the Middle Ages
Clothing in the Middle Ages underwent a remarkable evolution, closely linked to the social, economic, and cultural changes of the time. From the simple garments of the Early Middle Ages to the complex and highly differentiated clothing of the Late Middle Ages, a fascinating evolution can be observed. In the Early Middle Ages, from about the 5th to the 10th century, clothing was relatively simple and functional. The basic form of clothing for men and women was the tunic, a loose, shirt-like garment that reached to the knees or ankles. Over this, a cloak was often worn, held together with a fibula (a type of brooch). The clothing of this time was heavily influenced by Roman and Germanic styles. The fabrics were mostly wool or linen, with linen primarily used for undergarments. Colors were generally natural and muted, as artificial dyes were rare and expensive. Social differences in clothing were less pronounced than in later epochs but were evident in the quality of fabrics and jewelry. Nobles wore finer garments and more jewelry, while the clothing of the common people was practical and sturdy.

In the High Middle Ages, from the 11th to the 13th century, clothing became increasingly differentiated and complex. The Crusades brought new fabrics and fashions from the Orient to Europe. Silk became more popular but remained a luxury item. The tunic evolved, becoming shorter for men while remaining floor-length for women. Men began to wear tight-fitting leggings, the precursors of trousers. For women, the dress became more fitted and emphasized the figure more. This period also saw the emergence of the first heraldic surcoats, worn by knights over their armor to show their family affiliation. Clothing increasingly became a means of demonstrating social status and wealth.

The Late Middle Ages, from the 14th to the 15th century, brought the greatest changes in medieval clothing. Fashion became more extravagant and diverse. New cutting techniques allowed for tight-fitting clothing that emphasized body shapes. For men, the short doublet became popular, often combined with tight-fitting hose. Shoes became more pointed and longer, leading to the famous poulaines. Women wore tight-fitting dresses with low necklines and long, wide sleeves. Headgear became increasingly elaborate. For women, tall, conical hennins came into fashion, while men wore various types of hats and caps. During this time, sumptuary laws also reached their peak, in response to the increasing extravagance of fashion and the blurring of class boundaries through clothing. Overall, the evolution of clothing in the Middle Ages shows increasing complexity and differentiation, closely tied to the social and economic changes of the time. From the simple, functional garments of the Early Middle Ages to the elaborate and highly differentiated clothing of the Late Middle Ages, fashion reflects the development of medieval society.

Special Garments and Their Social Significance
In medieval Europe, certain garments played a prominent role in displaying social status. These elements of the wardrobe were often more than just functional - they served as visible signs of rank, wealth, and social position. A closer look at these significant pieces of clothing reveals the complex social structures of the time.

Headgear
Headgear in the Middle Ages was much more than just protection from the elements. It functioned as a clear indicator of a person's social status. Nobles often wore elaborately decorated hats or hoods adorned with precious materials such as silk, velvet, or fur. Crowns and diadems were, of course, reserved for the highest ranks. Middle-class women usually wore simpler hoods or veils, while peasant women often had to make do with plain headscarves. For men, the shape of the headgear often indicated their profession - scholars, for example, wore characteristic berets. The complexity and material value of the headgear directly reflected the wearer's social and economic status. This visual hierarchy allowed people in the Middle Ages to recognize a person's rank at a glance and interact accordingly.

Shoes
Shoes also served as clear status symbols in medieval society. Nobles and wealthy citizens often wore pointed poulaines, whose length increased with social rank. These extravagant shoes, sometimes so long that they had to be fastened at the knees, were a clear symbol of wealth and leisure, as they made practical work nearly impossible. In contrast, peasants and craftsmen wore sturdy, functional shoes made of coarse leather. The use of fine leather, elaborate decorations, or even precious stones on shoes was a clear sign of luxury and high status. In some regions and periods, there were even laws that prohibited the lower classes from wearing certain types of shoes to maintain the social hierarchy. This strict regulation of footwear underscores the importance placed on outward appearance in medieval society.

Belts and Pouches
In the Middle Ages, belts were not only functional clothing items but also important status symbols. Nobles and wealthy citizens often wore wide, elaborately decorated belts made of fine leather or precious fabrics, set with precious metals and gemstones. Pouches, purses, or daggers were often attached to these belts, with the quality and decoration of these accessories also reflecting the wearer's status. Common people, on the other hand, had to make do with plain leather belts. The positioning of the belt was also significant: while men usually wore it at the waist, it was fashionable for women of higher status to place the belt low on the hips, which was considered particularly elegant. Pouches worn on the belt served not only practical purposes but could also be artistically designed to display the wealth of their owner. This combination of functionality and status symbolism made belts and pouches particularly expressive elements of medieval attire.

Cloaks and Mantles
Cloaks and mantles were particularly expressive garments in terms of social status. Nobles often wore long, flowing cloaks made of precious fabrics such as silk or fine wool, often lined or trimmed with fur. The length of the cloak was an important indicator: the longer the cloak, the higher the rank. Kings and high nobles wore cloaks that reached the ground and often had a train. Color also played an important role, with purple long reserved for nobility. Citizens wore shorter, less elaborate cloaks, while the poorer classes had to make do with simple, functional cloaks made of coarse wool. Especially in the colder regions of Europe, fur-lined coats were a clear sign of wealth and power. The choice of cloak or mantle was thus a conscious decision that not only served practical purposes but also conveyed a clear message about the wearer's social and economic status.
"

https://en.m.wikipedia.org/wiki/Clothin ... cient_Rome

"
Clothing in ancient Rome generally comprised a short-sleeved or sleeveless, knee-length tunic for men and boys, and a longer, usually sleeved tunic for women and girls. On formal occasions, adult male citizens could wear a woolen toga, draped over their tunic, and married citizen women wore a woolen mantle, known as a palla, over a stola, a simple, long-sleeved, voluminous garment that modestly hung to cover the feet. Clothing, footwear and accoutrements identified gender, status, rank and social class. This was especially apparent in the distinctive, privileged official dress of magistrates, priesthoods and the military.
"

Post by **kFoyauextlH** » Sat Aug 30, 2025 9:26 am

Key:
H: I Hate It/Opposed To What It Seems To Too Strongly Link To
D: Disturbing/The Unpleasantness Detracts Too Much
B: Bad/Useless
G-: Verging On Bad/Barely Useful
G: Good/Some Use
G+: Better Than Good/More Use
VG: Very Good/Very Useful & Available For Good Meanings

78 Cards Of The Wizard Tarot Of The Wizard Of Barge

Cover. G
Inside. G
Cardback. G

Trumps
0.01. B
1.02. G
2.03. VG
3.04. G+
4.05. G-
5.06. G-
6.07. G-
7.08. G
8.09. VG
9.10. B
10.11. B
11.12. VG
12.13. G
13.14. G+
14.15. G+
15.16. G
16.17. B
17.18. G+
18.19. G+
19.20. VG
20.21. G
21.22. G-
22.23. G+

Wands/Beasts
1.23.24. G+
2.24.25. D
3.25.26. G
4.26.27. B
5.27.28. G
6.28.29. G-
7.29.30. B
8.30.31. B
9.31.32. D
10.32.33. B
11.33.34. G
12.34.35. G-
13.35.36. G+
14.36.37. VG

Curses/Cups
1.37.38. G
2.38.39. G-
3.39.40. G+
4.40.41. G-
5.41.42. B
6.42.43. H
7.43.44. VG
8.44.45. G+
9.45.46. G
10.46.47. VG
11.47.48. G+
12.48.49. B
13.49.50. VG
14.50.51. B

Pentacles/Cults
1.51.52. G
2.52.53. G
3.53.54. G+
4.54.55. D
5.55.56. G+
6.56.57. G-
7.57.58. B
8.58.59. G-
9.59.60. G
10.60.61. G
11.61.62. G
12.62.63. G
13.63.64. G+
14.64.65. B

Swords/Swords
1.65.66. H
2.66.67. G+
3.67.68. H
4.68.69. G-
5.69.70. D
6.70.71. G-
7.71.72. D
8.72.73. G-
9.73.74. D
10.74.75. G
11.75.76. G+
12.76.77. G+
13.77.78. G+
14.78.79. VG

Where did the freaking numbering go wrong? I'm not going through that again! I did go through it again, and corrected the numbering which was a hellish process of finding the error and then renumbering the two numbered lists that are next to each other. Still not entirely sure if I've gotten it right, because the *ssh*les say it is 78 cards but start the numbering at 0, so shouldn't it be 79? Why is the final one 78 on the list that starts at 0?

"
A standard tarot deck contains 78 cards, divided into 22 Major Arcana cards and 56 Minor Arcana cards.
"

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7 mo. ago
Iamawitchimabitch
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79 cards in a deck?
Discussion
Just BOIGHT my frost deck and was recommended to go through all 78 I realised there was 79 after counting a few times, I can’t see any doubles but maybe I’m not looking hard enough? I googled it and Google says there should only be 78 cards? Am I missing something?

Iamawitchimabitch
OP
•
7mo ago
It’s an artwork card I just found it!! It was a second hand deck so it was all shuffled in and I sorted out the whole deck to find it!!! I assume it’s just for decoration and you don’t include it when you work with the deck!!

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Spirited-Car86
•
7mo ago
Many decks have extra cards, often extra major arcana cards. In the standard 78 there are:

22 majors (1-21 plus card 0 the Fool), 14 cards in each of the 4 suits( Ace thru 10 and 4 court cards).

Is there an additional major arcana card? What is the deck?

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Iamawitchimabitch
OP
•
7mo ago
The deck is “smith Waite” I’m very new to tart it’s but I will sort them out now!!

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Spirited-Car86
•
7mo ago
The Smith-Waite should have a standard 78.

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Iamawitchimabitch
OP
•
7mo ago
Update!! Sorted through the whole deck and found an artwork card!! I’m new to tarot, (this is my first deck and I bought it second hand) so I had no idea there would be an artwork card I assume I don’t put it in the deck and work with it!!

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ToastyJunebugs
•
7mo ago
Sometimes there's a 79th card of other art the artist of the deck made (that isn't part of the actual tarot deck). I have the Smith Waite Centennial deck and there's an extra card of the artist's work in it.
"

Whatever, who cares, fricken annoying.

It is probably something among the Major Arcana since now I numbered all the extra sections as 14 each, so one of those cards is extra, but I rated them based on how they are pulled in the video.

I'll do the pain in the ass ranking of the Goetia stuff next.

Added in 1 day 14 hours 28 minutes 41 seconds:
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