Vera "Eat the Rich" Lycaon @[email protected]

anyway now that I'm on this site, time for a new #introductions post

hi! I'm Vera Lycaon (nevermind the handle), a 28 year old werewolf girl from the Netherlands
★ what -is- this whole gender thing, anyhow
★ I draw and make music every once in a blue moon
★ very pansexual, very trans, vaguely mixed with Black and white passing as hell
★ expect more of the same bullshit I posted on my old account

meet Mira, a spooky-yet-charming (some would say *too* charming) oathbreaker paladin that I play in a friend's D&D campaign

banged this out shortly before I went to sleep, heyo

before you ask, no I'm not receptive to contrary opinions on this and I *will* block your ass if you come to me defending this bullshit

hi, as someone who was fucking groomed by some creep at age 16? never, ever, ever, EVER let kids have sexual interactions with fully grown adults, holy shit what the fuck is wrong with you

teens among each other? sure! they're gonna need to learn it somehow and people don't magically TF into grown ups overnight but fucking

no, fuck you

awake, but at what cost

not like I post a whole lot else these days but I was feeling how I looked today

... yeah I think I'm just going to unfollow this person, I'm done here.

another day, another occasion of what's essentially no more than a vaguely horny support group for trans folks being ran through the mud as Actually Evil And Also Engaging In Actual Mind Control For Realsies or w/e

please kill the fucking TERF in your head, please

*rubs temples*

looking at their relatives, spiders are just another example of carcinization when you think about it aren't they

anyway, pov: weird goth girl sniffs the air when you pass by and tells you you'd make a good snack, wyd

now, I could go into Big Theoretical Talk about tuning out commas and shit here, but basically taking these numerical near-coincidences and running with them mostly determines what musical movements make sense, so to speak - most chord progressions use that 9:8/10:9 equivalency, and the Coltrane changes use the (5:4)³=2 equivalency - both of these would slowly drift off to different keys in just intonation and other tuning systems that don't work that way, so to speak

also since I completely forgot to address the 'more on that later' bit here thanks to horrible ADHD; basically, musical math doesn't *quite* work and as a result, you kinda have to squish things together to make things work out - our own 12 equal tones do some of this too, squishing 9:8 and 10:9 into one interval and also equating three 5:4s and four 6:5s respectively to one octave - that first one has been a feature of western music since the renaissance, thereabouts

after that, it was... pretty much a matter of finding a good substitute for the diatonic scale (for which you have two options - either a seven note scale with six whole tones with one semitone jump inbetween, or an octatonic scale five whole tones and three semitones inbetween, distributed as evenly as possible)

I went with the latter, went for something that sounded close to familiar chord progressions, (basically mutated versions of the ol' V-vi-IV-I and vi-IV-V) and there you go

shit, Wendy Carlos once called it 'uniquely terrible' when she was experimenting with this sort of thing herself back in the '80s - of the tones that you could use for that interval, one is way sharp and the other is way flat

stack them on top of each other though, and those errors kinda cancel each other out - the major ninth sounds pretty nice, so I ran with that and the inversion of what you get when you lop off an octave (the minor 7th - also good) to build chords alongside the usual thirds