For Highguard at Empire LRP!
That’s 17 machine embroidered compass designs in total, the design around the hem goes all the way around to the back.
Unfortunately Ikea LENDA fabric doesn’t seem to allow stain removal, so it’s rather grubby and brown in places despite multiple washes.
We went to Gloucester Cathedral today and I took some time to be inspired by the beautiful medieval architecture and decoration. Now the question is how to integrate these inspirations into the costume?
I don’t enter my pictures into the LARP Awards. This isn’t the post to go into detail about why I don’t, but I thought I’d kind of ‘play along’ and select some of my favourite images from the last year that I’ve shot.
But I’m also going to explain some of my reasoning – because I know photographers are interested in that shit. Sometimes. Well, mostly I know Tom is interested in that shit. So Tom, this one is for you. 😉
In no particular order and with no favouritism:
A technically difficult photograph to pull off. Shot late in the evening within the ritual circle created by Mandala Studios.
I’m not really big into EXIF data, but I’m going to post it a few times in this post. It helps me remember what I did in order to get the shot.
So this one was using the 25-105mm f4 lens, which is a pretty unforgiving lens in low light. It’s ability to focus in low light is… almost non-existant. So this would have been a manually focussed shot from a tripod, which means I planned the shot, prepared myself, and waited for the right moment to catch it. Which makes me very pleased. Much more pleased than a random snap of something just happening.
It’s also pretty in focus too – which is always nice. And unusual for me photographing at night. (I can’t photograph at night. It’s not me. Don’t make me do it.)
But mostly I like the composition here, and the colours. The composition really makes the shot I think.
This one is from the same Empire event as the one above.
It’s proof that you don’t need great gear to photograph with. The lens I’m using above is the Canon 100-400mm MkI, which I picked up second hand for about £600 some years ago. It’s been my workhorse over the past three years, and I’m only now really considering changing it.
I like the composition here. The framing of the Orc between other people is really nice. Mind you, this is mostly how I see people at LARP – I am only short. The rain adds something in the background too. My only irritant is that the mask sags round his mouth so I’m unable to photoshop it in order to make it into a competition entry shot. But that’s my problem – obviously – not the players problem.
Just to see the kind of results I’m getting with that lens – here’s the close up.
There are flaws with this lens. The details are rarely sharp and I don’t like the bokeh that you get in images with backlighting. But it’s a good budget option.
Shadow Wars this time. At the Gaol.
I just love the composition here. It really works for me with the dark figure agains the light background and the dark background on the other side of the image. The crispness of the vape on a cold (but sunny) day finishes the image off for me and makes it one of my favourites from this year.
I don’t particularly ‘like’ this photo, but it did feel like a bit of a technical achievement. The gas coming out of the gun was a capture I couldn’t have predicted – now I just need to get this effect on an image I love compositionally…
Forsaken LRP now. If I had my way I wouldn’t release any photo of mine that wasn’t this sharp. I think I’d quickly become even less popular than I already am though because not many of my pictures would make it out to the internet.
So this was one of those events where I borrowed Simon’s Canon 70-20mm f2.8 MkII, and it was THE shot that convinced me that I need to buy one for myself – which I really need to sort out this afternoon.
This lens is just beautiful. I mean, it’s really hard to make people understand why some lenses are lovely and some are not. And it’s not a price thing either – it’s not about ‘whoever spends the most money wins’.
It’s about the positively creamy background here. And the fact that his back shoulder is thrown out of focus which pulls your attention back to his face. The superb rendering of detail – as you can see in the close up above. And of course it’s the fact that this lens has a fantastic auto-focus mechanism. I do not shoot LARP with manual focus. I am not good enough to do that. I need a lens that will help me with the bits of photography I’m not very good at.
And of course – the guy in the photo is pretty good too. It was great timing to capture that moment of intense emotion playing out through his character. A++ would photograph him again.
Possibly my favourite LARP photo from 2015.
So, I’m picking this one. The World Went Dark is probably the first time that I’ve really thought about what imaging technology might actually look like in the setting of a game. Here I went back to inspiration taken from Daguerreotypes. Now they’re not a faithful reproduction of that style, but they are ‘inspired by’ in the coolthentic way that LARP loves.
I shot alot of good images at The World Went Dark. Far more than I normally would at an event. But still not enough ‘great’ images.
I’m going to count this as a LARP image. Cazz and I met at LARP, he’s wearing his LARP costume, the portraits were created for a future LARP, the only thing not LARP is the weapon. Would the UK LARP Awards count this as a LARP picture? Fuck knows.
I’ve been out of practice at shooting portraits and retouching them recently. Well, for a few years now. I’ve just not really made many opportunities to do it. But Cazz kept asking (a bit like an overenthusiastic puppy) and so eventually he made it to my studio and we shot stuff.
It’s good, I like the composition here. The hands are nice and tidy – in shot but out of the way (hands are really hard to deal with in portraits) and the light is good. There’s about six hours of retouching in there – believe it or not. Not because Cazz is ugly and has awful skin or anything, but because I really wanted to produce a show piece image that I could be really proud of. And here it is – understated and subtle.
And check that focus out… shot with the Canon 100mm f2.8 Macro MkI. I had to blur the image very slightly because I felt it was actually slightly *too* sharp.
Here’s a second picture of Cazz, this time having a cuddle with Russ. At the start of the year I decided that I wanted to produce a documentary project focussing on the people who make LARP events happen, rather than the players who play the events. I try to photograph people either midway through an event or just afterwards, taking them away from the hustle of the event for just a couple of minutes in order to make their portrait. I try to shoot each Gamesmaker portrait within five or so shots.
It’s also important to me to let people pose how they want to be seen. Most event organisers I know, and those who are heavily involved in running events, have a very strong sense of ‘self’. They know who they are, they know how they want to be perceived, and I like to let them show that. I suspect that I need to learn a bit more about posing this year so that I can pose people without losing their sense of self, but I’m not quite sure how to approach that, I’m sure I will.
This is one of the images that I let some photographic judges tear to pieces at the weekend. Cazz’s dark eyes need lightning in photoshop (that’s a symptom of the light and my photography rather than his tiredness…), both pairs of dark trousers need lightning slightly and possibly need a bit more saturation, and most crucially the focus is out. Russ’ arm is more in focus than their faces – which is a serious problem (although possibly correctable in Photoshop to an extent).
But, I’m still really pleased with it as a shot. The fog rolling in that morning was fantastic. And the sense of relief on their faces is really what the entire project is about.
I think this might be my overall favourite LARP shot that I took last year. Unfortunately it’s terminally out of focus and I don’t think I can save it.
But anyway. The aim was to document those in the UK who make LARP what it is. Matt might be a friend, but he also does an awful lot behind the scenes. Obviously.
The colours, the composition, they both work well here. I’m pleased with how it came out – and it really started to set the standard for how I would style my Gamesmaker portraits. I’ve tried a few different things since, but they’ve not worked quite as well. I just keep coming back to this off-centre composition and environmental setting. Objectively – I need to bring a bit more light into his eyes in Photoshop. But that’s pretty minor.
The biggest compliment though was when an event or two later Matt told me that although he hated having his picture taken, he didn’t mind sitting for me at all. And actually, he really liked the way he looked in this photo.
And that’s probably one of the biggest compliments you can pay me if I make your portrait.
So, Simon is hoping to play Heretic LRP late this year. And I went OMG YES I WOULD LIKE TO MAKE U COSTUME PLS THANK U. So I’m making costume.
This is the first post in what I suspect will be a series of many. There is already a Pinterest ideas board.
Follow Charlotte’s board Costume : Simon’s Medieval on Pinterest.
This is where we’ve got to so far.
A colour scheme:
Which coincides with this years Pantone colours of 2016 (not planed – just pleased it happened!):
Some fabric got dyed:
And we went to the reenactors market and I bought wool and belts:
And that’s basically the material stash as it is for the moment.
So, I got this drawing sent to me recently:
The artist is Gustavo Mendonca and you should absolutely go and look at his incredible work.
I guess it’s the concept drawing for the new Star Wars film, but to be honest I’m just not into Star Wars so I dunno. That’s not important anyway.
Whenever people approach me to make their costume I always say ‘catch my imagination’. Since none of my friends could afford my rates for making things (because I’d have to make as much as my ‘day job’) I prefer to collaborate on things that require some imagination rather than just making to order. This outfit is cool. And has certainly caught my imagination.
I’m not particularly into Cosplay. I mean, there’s some incredible Cosplay stuff out there, but copying stuff isn’t really my thing. It’s ok as a technical challenge, but I’d rather be a bit more creative in what I do. I’d rather take inspiration from something and use it as a base to create something new – which I know lots of Cosplayers do when they do gender play, or when they do steampunk Jessica Rabbit, or whatever. That’s more my thing.
Of course the added difficulty of a LARP costume is that it needs to stand up to more than just standing around at Cosplay conventions. This Bobba Fett inspired outfit is going to have to stand up to repeated use at airsoft games. So that’s long weekends full of running around, getting shot at, rolling around on the floor, crashing through doors, jumping on cars… well… you get the idea. It has to work as a practical set of clothing. And it has to do the things that clothing should do – it has to keep the wearer warm and dry, it has to breath naturally because the person inside it is going to be pretty active, it has to move with the wearers body. There’s no point in having a LARP costume for a soldier that can’t do those things (unless of course, that’s the point of the costume – to be restrictive).
With that in mind, I started to deconstruct the costume in the artwork above. The most important bit at the moment is the plate carrier – since the rest of the costume can come later. The plates of the armour are distinctive and absolutely key to the look. They have to be the first bit of the costume to be made, just in case the rest doesn’t get made in time. But the costume is more complicated than it looks, and although for Cosplay you might just get away with attaching the plates to a blue jumpsuit, it’s not going to work here.
I wrote a while ago about how layers are often key for making a costume seem realistic, and this isn’t an exception. Once you start to pull apart the layers you can see how they’ll move together. Layers slide over each other, meaning that the armour will cover the right parts without being restrictive.
So here’s where I pulled the layers apart in my sketch book:
As far as I can tell, there are six distinct items of clothing in the drawing that cover the torso (I’ve not counted combat trousers here). And the benefit of using high quality concept art is that the artist is really experienced in drawing figure and will have a fundamental understanding of how layers interact with each other and the human body.
So… thats awkward. What I originally figured was two layers – at a quick glance – turns out to be six.
First off – I’m not going to illustrate this post with any of my photographs. I don’t think it’s fair to do that for many of the things I’m discussing.
Secondly – this is me speaking from my own experience and thoughts. Not as a representative of anyone I photograph or write for.
When I first joined the LARP community, a few people gave me some helpful tips. Several of these revolved around the way that LARP is interpreted by the outside world. This advice was generally along the lines of:
So lets get these points broken down.
I tried to make LARP look cool. I think I managed. I often get told that my photographs feel cinematic and I hope that most people feel that way. I aim to make my photographs feel like a still from a film. It’s a different approach from most other photographers shooting LARP, but I feel like it works for me. It’s not to everyone’s taste, but I certainly feel like I make the hobby look cool. Even MattP said it:
But LRP has come of age. It’s as fun as it ever was – but now it’s fucking cool.
I get alot of people looking at my photographs who aren’t LARPers. I guess it’s because I write for photography magazines so people look me up on Facebook and they find my pictures. I guess I get on average two enquiries a week about what LARP is all about and how someone might go about playing. I don’t know what my conversion rate is, but I guess I’m actually quite high up in the rankings for the amount of people that stumble across LARP accidentally and enquire about it.
You see, LARP does look cool. Even my Dad thinks that LARP looks cool and fancies a go at playing it. Actually he’s just amazed that you can get a whole weekend’s worth of entertainment – including potentially food and drink via bartering – for about £70 per person. But you know, whatever floats your boat.
So when shown images of LARP that are good quality, people are interested in LARP. And they don’t think it’s stupid. They’re interested. Especially because of all the fantasy films that have come out in the last decade or two. LARP looks cool. Mostly.
I generally don’t really think that this is a valid concern in most cases, however that’s because I’m quite happy to stand up for myself at work and tell my employer that they’re incorrect (I did that when it came to my poly relationship when I was called into HR once, they soon backed off). I would rather lose a job than work for a company that is narrow minded or even bigoted. However I understand that not everybody has that choice and sometimes people just have to toe the line at work, not discuss their personal life and hope that their employers don’t find out what they get up to at the weekends.
The fact that people are concerned is enough for me. I might hold the opinion that your employer is a dickbag and you should look for another job, but I understand that you are frightened about being found out. Your concern is enough for me to also be concerned about the damage that my photographs can do to your life. Sure it irritates me when I have to take down a photo for these reasons – but my irritation isn’t at you, it’s at your dickbag employer.
I learned very early on that takedown policies are really important to many LARPers. It’s important for many people to be able to say “Hey, I don’t like that photo for X, Y, or Z reason. Can you take it down please?” and I always oblige. I’m really proud of the fact that I’ve only been asked twice to remove pictures because someone thought they looked stupid. Twice in seventeen events. I’ve had a couple more for work related takedowns, but less than I can count on one hand. But anyway, that’s beside the point.
One of the problems with photographs of LARP is that they lack the context of the game. So when outsiders view my photographs – which they do, the stats on my pages clearly demonstrate this – they don’t understand the roleplay that is happening. Nor can they see your carefully crafted character background. An awful lot of the time they don’t even come from a background where they’ve ever read one of the fantasy novels that LARP has often grown out of. Come to think of it, nor have I.
This means people looking at my photographs will be overlaying their own cultural context and making assumptions about what’s going on based on their own lived experiences. I can’t control who looks at my photographs, they’re accessible by anyone in the world who has an internet connection and access to Facebook or my website.
Peoples lived experiences can really affect the way that they view certain classic LARP images. Like – dare I say it – Drow. If you’re in any way plugged in to the LARP community in the UK, you’ll have seen the fall-out on Facebook about the Drow/racism debate.
The fact is, we can’t control who sees our photographs and how they interpret them. We also can’t control who comes to a LARP event smaller than a little local system, and you can’t control how they will react to various situations that they didn’t expect to see. It’s all well and good to expect military violence at a LARP – if you are a soldier suffering PTSD then perhaps an Airsoft LARP isn’t for you, for example – but why would you expect racism to be part of a fantasy LARP?
I mean this is fantasy. This is supposed to be escapism from every day life. We went through all this when the UK LARP scene debated sexism in fantasy game settings. Lots of people (mostly white men, I’ll note) argued that they have to be ‘politically correct’ in their Monday-Friday lives, so why should they have to bother to be so during their escapism at the weekend? The answer was, quite clearly, because women want escapism from real life too. Including the sexism we have to endure frequently. Sorry bro, you don’t get to have your escapism if I don’t get to have mine too.
To me, racism falls into the same camp. Lots of people find casual racism funny – plenty of people were admitting that openly on the UK LARP Facebook group. “Wait, are you saying we can’t make racist jokes anymore even if we’re not *actually* racist?” The answer to that question is, of course, No. And also you’re a dickweed. Bro. Because to be honest if you’re making racist jokes, you’re probably racist. You just don’t want to be called racist because that’s like, some kind of insult or something. In fact I’m going to post a quote here from an EverydayFeminism blog about political correctness that I really like:
If you feel that you have to walk on eggshells to avoid being labeled a bigot, you might be in the habit of saying things that are bigoted.
I mean, given that even KKK groups deny being racist, it’s entirely possible to do and say clearly oppressive things without seeing that they’re oppressive.
So I’ll just say this: If the worst thing you could be called is sexist, racist, homophobic, a bigot, ableist, or the like, you have it pretty good.
I’d like to write a few words specifically about this Drow business. I find this very difficult because I’m writing from a privileged position of being a white person, who grew up in a very white area, went to a predominantly white school, who has generally worked in quite white/European environments, and who is studying a very white course. I am loaded up on privilege here. But I’m trying not to be a dickweed about it. Mea culpa, I’m doing my best. Since part of my dissertation is discussing black theory in art history I’ve started to read up on it, but I’m not entirely there yet.
I am ultra rational. I try to run everything through my logic filter and I try to view all situations the same way that I would those that I’ve actually experienced. I’ve never experienced racism. But I have experienced sexism and queer/homophobia, so I try my best to extrapolate those experiences onto racism issues and attempt to find some empathy with the affected groups.
A few months ago I was reminded by a particular photograph (not one of mine) of a player at Empire who was wearing what appeared to be matte black makeup across their face. Nothing else done with it, just matte black, rubbed off around his lips where he’d clearly been wearing it a while (perhaps eating) and not covering the inside of the skin on his eyes just behind his eyelashes (you can run some eyeliner around that bit to stop it looking pink). I commented to my partner that for me it was uncomfortably close to historical blackface. He told me that it was just Drow inspired makeup and it’s very common in LARP to wear black makeup. I looked into the history of the Drow and the historical myths and legends that inspired them and it did little to put my mind at rest. This bothered me. Then I looked through my photographs and realised I’d never published any photographs of this person even though I’d taken a few decent ones. It had apparently always made me uncomfortable.
A couple of weeks ago I started to sit down and try to articulate to myself why. The answer was that many Drow at LARP look really quite close to historical blackface makeup – especially once they’ve been wearing the makeup for a few hours at an event.
Institutional white favouritism harms us all. And silence and complicity in the status quo is as bad as being openly racist. Just as with sexism, if you do not speak up about injustices then you are part of the problem. Simply not being aware of how your hobbies actions could be interpreted by outsiders can also be part of the problem.
There’s a cost/benefit discussion to be had about black makeup to represent Drow. The benefit to black makeup in LARP seems to step from the fact that some Dungeons & Dragons literature portrayed Drow as having ‘inky’ black skin (you know, that black skinned race from a different (underground) part of the world who are all inherently evil… *sigh*). Go back to the faerietales that the Drow seem to be drawn from though and there don’t seem to be much races. So I don’t really consider it much of a benefit to be slavishly sticking to a look promoted by an author somewhere in the mid-70s. The cost is that many outsiders (and insiders) find it to be quite similar to the very racist blackface.
What’s the solution though? The obvious solution to me seems to be for future games (and perhaps current games too) to encourage players to use a different colour makeup to represent evil races from unknown parts of the world. Perhaps purple would be cool, for example. It doesn’t seem like much of a change to buy a set of purple elf ears and a pot of purple makeup. Less than £30 in all. I spent than on a pair of LARP trousers the other week and my trousers weren’t problematic for anyone at all.
I’ve had quite a few discussions over the past 24 hours with persons of colour (POC) and many said that they personally found blackface to be quite triggering – reminding them of past racism directed at them. You have to remember that although Britain is painted as a multicultural society, in most places it isn’t as multicultural as we might like to think. I think that in my year at school – 160 girls – there was only one or two POC. I didn’t grow up in a town where POC were an everyday part of my life. It wasn’t until I started working in London (Camden, in fact) when I was about 25 that I even really got to known any POC. I did have some profound experiences though as an outdoor pursuits instructor when I was 21 – we primarily taught school groups from inner city London schools (predominantly made up of children who were POC) and youth offenders who also had a high percentage of POC. Talking to these young people was sobering and changed my outlook on the battles that many of them were having to fight on a daily basis – and it made me profoundly consider my life as a very lucky white person – way before I’d even heard the term ‘privilege’. I enjoyed that job. I suspect that I learned as much from the people I taught as they learned from me.
There’s one thing that bothered me though during the discussions on UK LARP. As a white woman, I’ve always been told to let POC speak up on their own issues. It’s a sentiment I completely agree with. However what do you do when you believe that someone with lived experiences are not the correct way forward? It’s very difficult to negotiate that path.
The topic of colour-blindness came up. The idea that we shouldn’t be bothered by black drow makeup because we now live in a society that should be striving to be colour-blind. (I.e. we should pretend that someones race does not exist and treat everyone identically.) I’m not actually ok with that approach. If we pretend that someone isn’t a POC then we ignore their lived experience. Many POC will have a different world view to me due to the fact that they have endured challenges that I have not and many of those challenges will be directly related to the colour of their skin. To pretend that someone doesn’t have different colour skin is to say that we have all had the same experience in life. We have not.
For that reason I don’t agree with aiming for gender-blind society either at this point in time. I have lived my life as a woman. If you ignore the fact that I am a woman and you treat me like everyone else (or more likely – you treat me as societies default which is most likely ‘white male’) then you are ignoring my struggle and my experiences as a woman. And boy, there have been some struggles. Gender still matters. Race still matters. Sexuality still matters. Because we have all lived our life differently due to those things that make us different from each other.
Well yes, that is the goal. I assume it’s the goal for most LARPers anyway. But in order to all get along we have to acknowledge what makes us different. That could be checking in on someones personal pronoun, that could be deciding not to play a misogynistic character, that could be not making rape jokes in the bar, it could even be deciding that your Drow is going to be dark purple instead of black. These things might feel like tokenistic gestures sometimes, but they’re part of saying to new people and outsiders ‘I want you to feel welcome in my hobby’.
Because like it or not, LARP is still dominated by straight, white dudes who are into science-stuff. The rest of us really still are a minority at most games here in the UK. If we want new people to come into the hobby – who don’t come at it from a strict fantasy/D&D point of view – then we need to consider how our actions might be interpreted by people both inside and outside of the hobby. And most of these people will be going on visual clues to form their initial opinions – like photographs.
And there’s only so much I can do with a photograph of you wearing what appears to be blackface. It’s very hard to make you not seem like a racist dickbag. I can’t post your character background next to each shot.
I believe that games can be art. No really, I do. My dissertation is based around the idea that videogames need to grow up and accept criticism before they can be fully accepted as works of art. In fact I wrote a short thesis on it this year for my degree where I presented a concept for an imaginary exhibition focussing on videogames as art and how we talk about videogames including their critique and criticism. You can read it over on Adademia.edu.
A few months ago I bought a book. It’s called Confessions of a Part-time Sorceress (Girl’s Guide to “Dungeons & Dragons”)
Over the past few weeks I’ve been discussing the idea that Drow (and other dark-skinned character archetypes) might come across as racist to those outside of the LARP world. I’ve had these discussions with various people over the past few weeks and it’s been really insightful. Over the past few days it’s been a big topic of discussion in the UK LARP Facebook group. I think I managed to kick it all off two days ago by suggesting that if someone wanted to wear black makeup they needed to learn enough about makeup that they don’t look like they’re doing ‘blackface’. I thought it was a logical and sensible comment, others disagreed. But that’s for another post.
What it did make clear though were the gaping holes in my historical knowledge of LARP. And I want to rectify that. I am aware that much fantasy LARP is heavily influenced by Dungeons & Dragons, so this is where I’m starting. I’m going to (slowly) start reading the books and the games and provide my own commentary. Based around the studies that I’m completing. So this will be D&D from the perspective of someone who has never read this style of fantasy book before, and who is writing their dissertation on feminist, queer, and black methodologies as they can be applied to gaming in history of art.
I hope it will be insightful – both for myself and those who read my posts. I hope it will be thought provoking. I hope it will be interesting. I hope that it will make some people consider some views that they might have. I hope at times it might be funny – and I hope that’s not just because I get a black eye from face-palming so much.
Most of all though, I hope that critical discourse might make some people understand the world around them a little more. Through the medium of Dungeons & Dragons.
The following is taken from here and I have reproduced it in case it gets removed from the official website.
Dungeons & Dragons influenced so many games that followed in different media and genres, but it has remained a vital product in its own right, appearing in diverse editions, media, and languages, as well as spinning off into literature, film, television, and the Internet. It has been a source of inspiration for artists of many kinds, but more importantly it has enriched the lives of tens of millions around the globe, offering a chance for anyone to experience fantastic roles and situations very different from everyday life. On the occasion of the 40th anniversary of Dungeons & Dragons, and the release of an eagerly-awaited new edition, this timeline shows some important dates in the development, elaboration, and the triumph of Dungeons & Dragons.
I’m fucking awesome at doing everything at the last minute.
Like today.
I got a whole load of my costume finished.
Last night I hand finished the hem’s on my murder robes – there’s about four days of hand sewing in this thing.
And the back:
That’s the seam inside the hood:
And what the inside seams look like:
Just a close up of that nice, almost invisible hand stitching:
Then I got started on hemming the sleeves of the bottom layer of robes. Fancy decorative stitches on the sewing machine meant I didn’t have to hand sew it invisibly:
And I also tacked down the neck facing, you can see it showing through here because I’d just ironed it:
Then I figured that I had to add a new project to the mix. This is something very loosely based on Arya Stark’s belt in the new Game of Thrones series. I’m going to make a second one I think to go over it, made from hemp cord and beads:
The fastening, same as I used on the Mythlore belt:
And then knotted and all together with the top layers. I also have a hero style belt to wear over it, so you won’t see the cord the macrame is attached to:
Then after going to see Rich at Evenlode, we had chips in Chipping Norton. Wonder if this is where David Cameron gets his chips from. They were pretty good:
Armour inspiration for the Mythlore Costume.
Velvet/suede over leather with padding. Wet moulded leather base for the shoulders?
So…
Game of Thrones happened.
And the Dorne armour is beautiful.
And now I need this sash to go under my belt for my Minoan costume this weekend.
And Simon’s Mythlore costume needs the embroidered gambeson.