The Pathologic Kin Is Largely Fictionalized With A Created Language That Takes From Multiple Sources

the pathologic Kin is largely fictionalized with a created language that takes from multiple sources to be its own, a cosmogony & spirituality that does not correlate to the faiths (mostly Tengrist & Buddhist) practiced by the peoples it takes inspirations from, has customs, mores and roles invented for the purposes of the game, and even just a style of dress that does not resemble any of these peoples', but it is fascinating looking into specifically to me the sigils and see where they come from... watch this:

P2 Layers glyphs take from the mongolian script:

while the in-game words for Blood, Bones and Nerves are mongolian directly, it is interesting to note that their glyphs do not have a phonetic affiliation to the words (ex. the "Yas" layer of Bones having for glyph the equivalent of the letter F, the "Medrel" layer of Nerves having a glyph the equivalent of the letter È,...)

the leatherworks on the Kayura models', with their uses of angles and extending lines, remind me of the Phags Pa Script (used for Tibetan, Mongolian, Chineses, Uyghur language, and others)

some of the sigils also look either in part or fully inspired by Phags Pa script letters...

some look closer to the mongolian or vagindra (buryat) script

looking at the Herb Brides & their concept art, we can see bodypainting that looks like vertical buryat or mongolian script (oh hi (crossed out: Mark) Phags Pa script):

shaped and reshaped...

More Posts from Volcanicpeachy and Others

volcanicpeachy

8 months ago

Dad

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volcanicpeachy

1 year ago

making this post as a reference for dances/gestures/performances/[...] i find relate to Herb Brides' dances In My Mind, as i do not think the soft swaying they do in canon really warrants clothes torn from their chests (but i also know how hard animating characters is, period, so i won't comment on that further.) takes this more as a long Herb Brides Dances Headcanon post (and also as a collection of poses reference...)

Pina Bausch's works, especially her choreography for Rites of Spring (done on a stage covered in dirt).

the dancers have very loose light clothing, so mind the toplessness.

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Damien Jalet's works, especially his works for Les Médusés performance in the Louvre, particularly his "L'Évocation" and "Les Médusées" pieces.

L'Évocation:

it picks up from 2:20 and stays consistently powerful and strong until the end. this is the performance that's the most Herb Brides to me. everything, from the frantic dancing, throwing self on the ground multiple times, the slapping of the chest, the throwing of the hair, the heavy breathing, fits them so, so well to me. this is what i think they do.

Les Médusées (nonsexual nudity in images and video from the costumes):

you might have noticed from the similarities with above, Damien Jalet was the one who choreographied the dances of Suspiria (2018). These dances also fit into the Herb Brides dances of my mind (but since it's a horror movie, I won't put videos as most of them contain spoilers).

last thing from Jalet (for now): his choreography Yama (1:20 and onward)

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Ryan Heffington's choreographic work for the background dancers in Florence + The Machine's "King"

and "Heaven is Here"

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Akram Khan's choreographic work for the background dancers in Florence + The Machine's "Big God"

and for "Giselle" (0:48 and onward)

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Isidora Duncan's body of work and legacy, both as formal inspiration for the dance itself and for the beliefs she put into her art (spirituality, freedom of the body and of movement, sublimation or the body and its holiness through dance)

in that order: Isidora Duncan, Isidora Duncan draw by José Clara, one of her student's Maria-Theresa Duncan, and one of her students' student Madeleine Lytton.

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more to add as i discover new things, new performances and choreographers :3

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volcanicpeachy

1 year ago