Crocheted hood pattern

Hi, I learned how to crochet when I was younger and recently picked up the hobby again about a year ago and have been making different things. My thing is I’ve strictly been making all patterns from YouTube but am wondering how do I learn how to make my own unique patterns and designs without YouTube or a pattern?

I’m attempting my first tapestry crochet pattern and have read through many posts on this topic so far, and I see a lot of people mentioning that the back tends to look cleaner than the front. Do we know why this is the case? When stitches are made consistently in turned work (ie working your sc or hdc or what have you the same way regardless of which side of the work is facing you) shouldn’t the two sides be identical/have the same amount of stitch tilt? Would love to hear from people with more tapestry crochet experience!

I’m bored and have been in a crochet kick lately, made a couple beanies and my dog a blanket as well as a shirt which I’m about to frog cause it didn’t turn out how I wanted it to. Spam me with patterns and pictures, big and small, of whatever crochet items for inspiration

hi! i'm new to crochet and reddit so pls be kind! i am having trouble trying to translate a pattern so if someone could explain it to me that would be awesome! ok here's what it says

1. Ch 3, sl st to any st on the first leg (does not count as a st) sc into thr same st you sl st into, 5sc, inc, 6sc, 3sc in front of chain [42]
   
2. 3sc, inc 2sc, inc 4sc, inc, 2sc, inc, 3sc, inc, sc, inc, 3sc, inc, 2sc, inc, 4sc, inc, 2sc, inc, 3sc, inc sc, inc [54]
   

after that i can make sense of what it wants me to do, this part of that pattern is trying to tell me how to join two pre made legs and crochet the butt of the doll i'm making.
p,,,

Please correct me if I'm looking in the wrong areas but I wondered if anyone else watches Gogglebox UK and knows what patterns Alison knits/crochets? Or if there's podcasters/youtubers/social media/bloggers that I can follow who make similar items!
I'm just looking for colourful big patterns I guess! She gives me arty mum vibes and I love it!

I've compiled a list of parallels that fans have drawn between Elden Ring and Dark Souls 2, along with brief commentaries and illustrations on the patterns they may have observed.
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"The game is called the Elden Ring and it's a sequel to a video game that came out a few years ago called Dark Souls, My work on it was actually done years ago. These games, they're like movies, they take a long time to develop." - George R.R. Martin
He [George Martin] actually knew about the Dark Souls games. He was aware of them and what they were about, so that made me happy. That sort of gave me a little bit of a boost. I knew immediately from talking to him, it just became apparent his skill and his passion for the fantasy genre, and for games as well. - Hidetaka Miyazaki
“I can't deny the fact that, maybe down the line, I want to go back to the [Dark Souls] series and make one more game before I retire. I don't want to be branded a liar if that happens.” - Hidetaka Miyazaki
Dark Souls 2 probably bears the Souls series’ closest resemblance to Elden Ring. Design wise, both Dark Souls 2 and Elden Ring stressed open-ended gameplay and ditched linear progression.
Miyazaki agrees and in fact goes a step further. “In regards to Dark Souls 2, I actually personally think this was a really great project for us, and I think without it, we wouldn’t have had a lot of the connections and a lot of the ideas that went forward and carried the rest of the series. We were able to have that different impetus and have those different ideas and make those different connections that we otherwise might not have had.” He goes so far as to say that “there’s really no way of telling how or if the series would have continued the way it did without Dark Souls 2.” Hidetaka Miyazaki
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Elden Ring was co-directed by Yui Tanimura who is the director of Dark Souls II: Scholar of the First Sin.
Name-Engraved ring
"There are countless vestiges of long-lost gods in the ruins of Drangleic. Or perhaps they are the very same gods as ours, only known by different names."
I’ve seen people make comparison with the deities mentioned on the Name-engraved Ring list. (although the one they made about Ranni didn’t make sense to me and seem to be more relevant to the Gloam-Eyed Queen if anything).
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St. Trina and Miquella from Elden Ring share striking similarities with Quella, the deity of dreams dreams from Dark Souls 2, and Nehma, the goddess of love. Like the latter, Miquella has the power to "compel affection" through the Bewitching Branch. St. Trina and Quella are associated with sleep, trees, and dreams. Miquella shares similarities with Quella, as both are associated with ethereal, dream-like entities like the Nascent Butterfly and White Ring,
Quella’s icon also depicts a boy with wings, which something similar we see Miquella have during Elden Ring’s intro cut scene.
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Hanleth is the goddess of bliss. After the war of the erdtree, Marika's reign ushered in an age of plenty when It is said that drops of blessing once dripped boughs forever which gradually restored HP.
In Marika's own words. Hark, brave warriors. Hark, my lord Godfrey. We commend your deeds. Guidance has delivered ye through ordeal to the place ye stand. Put the giants to the sword and confine the flame atop the mount. Let a new epoch begin. An epoch glistening with life. Brandish the Elden Ring, for the Age of the Erdtree! - Melina
Kremmel, god of Struggle.
Lord Radagon was a great champion... He came to these lands at the head of a great golden host, when he met Lady Rennala in battle. He soon repented his territorial aggressions though, and became husband to the Carian Queen. However, when Godfrey, first Elden Lord, was hounded from the Lands Between, Radagon left Rennala to return to the Erdtree Capital. - Miriel, Pastor of Vows
“Solemn duty weighs upon the one beholden; not unlike a gnawing curse from which there is no deliverance” descriptions from both Marika's & Radagon's Soreseals
Queen Marika has high hopes for us. That we continue to struggle. Unto eternity. - Gideon Ofnir
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Radagon’s thorns
Prevented by the mantle of barbs. The thorns are impenetrable. A husk of the Erdtree's being; that spurns all that exists without. The only way to stand before the Elden Ring...and become the Elden Lord...is to pass the thorns. My purpose serves to aid in that very act. So I'd like you to undertake a new journey, with me. To the flame of ruin, far above the clouds, upon the snow mountaintops of the giants. Then I can set the Erdtree aflame. And guide you. Down the path to becoming Elden Lord. - Melina
“Ring granted protection by Kremmel, god of Struggle. The ring's spikes drive into the wearer's skin, so that each blow fuels spite toward the perpetrator. When damage is taken the ring retaliates and inflicts damage upon enemy.” - Ring of Thorns
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Assuming the theories that Mesmer are true, his association with the snake (which is viewed as a traitor to the Erdtree), consumption of dragon hearts, and seeking ultimate power suggest the pursuit for supremacy for his own gain. This aligns with the Covetous Gold Serpent Ring), which depicts the snake, a manifestation of the god of desire, Zinder. The serpent is an imperfect dragon and symbol of the undead. Mesmer's ambition and willingness to embrace forbidden power mirrors the ring's representation of insatiable desire and the undying nature of the serpent.
Rykard from Elden Ring and Zandroe from Dark Souls share a striking similarity - they are both associated with serpents and the concept of greed. Zandroe is described as the "god of greed" whose manifestation and servant is the snake, while Rykard fed himself into a massive "god-devouring serpent" in his pursuit of immortality through devouring others, an act of ultimate greed.
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Nahr Alma, the god of blood and a god of war, where Mohg is a demigod and the lord of blood.
Both Mohg and Nahr Alma are divinely associated with blood and have followers who use blood-themed weapons like the Scythe of Nahr Alma. Mohg and Nahr Alma's followers have rejected the world and vow to travel a bloody path. Mohg is the Lord of Blood and seeks to inaugurate a new dynasty, similar to Nahr Alma's influence
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Morgott, the "Fell Omen" 忌み鬼 (Imi Oni) meaning "Abominable Demon#cite_ref-14)." , and highly-ranked clerics of Lindelt from Dark Souls 2 share similarities as holy knights who wield "demonic powers" to castigate those who harbor ambitions for power. Both are feared by their enemies for their ruthless tactics in battle, with Morgott slaughtering countless champions during the Shattering and these clerics of Lindelt use the miracle "Unveil" to reveal the location of traitors.
“Wilful traitors, all. Thy kind are all of a piece. Pillagers. Emboldened by the flame of ambition. Have it writ upon thy meagre grave: Felled by King Morgott! Last of all kings.” Morgott, the Grace-Given.
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Godwyn the Golden from Elden Ring and the God of Sun from Dark Souls 2 were revered for their mastery of lightning and their incantations, such as Lightning Spear, Dragonbolt Blessing, and Sacred Oath. Additionally, Godwyn's victory of the ancient dragon Fortissax and his subsequent friendship with the fallen foe gave rise to the ancient dragon cult in the capital, much like the God of Sun's connection with the Blinding Bolt that was forbidden so to protect the world from hatred, or sorrow, and the ancient clan) whose leader was revered as the deity.
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The demigod general Radahn and Faraam like Nahr Alma, is a god of war from Dark Souls 2 are both associated with lions, a symbol of strength and ferocity in battle, representing their prowess as mighty warriors. Known for their skill in combat, with Radahn being captivated by the Lord of the Battlefield from a young age, now wields a greatsword in each hand, and the Faraam Knights being feared for their nimble two-handed swordplay.
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Galib (I’ve seen it spelled “Calib”) from Dark Souls 2 and Malenia (who released her bloom in Caelid) both have a thematic connection to disease and affliction. Malenia and Miquella, both children of a single god, were afflicted with rot and eternal childhood respectively. Leydia apostles manipulated both the onset and curing of disease but were denied peaceful deaths, while Malenia's rot was an incurable sickness (as her army are undergoing their gradual, putrefaction of their flesh) that Miquella tried to ward off with unalloyed gold needles and her great rune provides healing after receiving damage.
Coincidentally Malenia can grow wings as well.
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Caffrey, deity of Fortune, and Godfrey the first Elden lord. The name “Frey” might be derived from Nordic mythology. Frey is primarily associated with fertility, prosperity, and abundance.
Caffrey's icon mirrors the currency and EXP icon from Dark Souls 2, representing experience points gained by defeating enemies. In a similar vein, Godfrey is portrayed as the lord of the battlefield, who bravely battled Giants, confronted the Storm Lord and had countless victories, ushering in the Age of the Erdtree which was forged through the use of valuables like Smithing Stones [8], becoming the embodiment of Order. This left a long legacy of loyal warriors honored him by wielding axes like himself.
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The hunting Goddess Evlana was no goddess at all, but rather a brave and highly skilled bow huntress. Long after her demise, the passing of lore transformed her into a deity.”
The Hunter's Hat
Spirit of a handsome archer who dressed in the style of a man. Called the Silent Hunter by some, she fires St. Trina's arrows from her shortbow.
Dolores the Sleeping Arrow Puppet
:P

Again, cautiously I proceed, believing there is a danger in applying anything from one of the novellas in The Fifth Head of Cerberus to one or both of the others. With that caveat out of the way, let me explore the potential provenance of “‘A Story’ by John V. Marsch” in light of the revealed situation in “V.R.T.”
​
“V.R.T.” gives us a Soviet model of crime and punishment which recasts “A Story” as being a work of rehabilitation rather than one of anthropology. I sketch some of this territory in “Appendix VRT8: A Soviet Model” (part of Gene Wolfe’s First Four Novels: A Chapter Guide), but I would like to expand it a bit here.
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I believe “V.R.T.” is largely patterned on Arthur Koestler’s Darkness at Noon (1940). Koestler reveals in his novel that with the Soviet system, a court case could not advance to the show trial stage until after the prisoner had signed a false confession that had been crafted entirely by the authorities. This fantastical document of made-up crime is referred to as “The Grammatical Fiction,” and by definition it is not written by the prisoner, it is written by his jailers, in order to justify his pre-determined fate.
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I pause here to note that George Orwell’s Nineteen Eighty-Four (1949) is really a “happy ending” version of Darkness at Noon. Be aware that there will be spoilers ahead for both 1984 and Darkness at Noon.
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Robert Borski is on record arguing that prisoner 143 wrote “A Story” while in prison. I am on record arguing against that, both author and setting, but I will go through a steelman argument of what I think such a thing would look like, using elements I have already published, bending and combining them in service to this new task.
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To prepare the way, I will engage in a long-delayed response to Borski’s “Marschian Sexuality” (2006), a brief article that detects in the Earth anthropologist Marsch a homosexual nature (The Long and the Short of It, 49). Borski notes that Marsch’s journal describes teenage Victor as “handsome in a rather sensitive way,” and that later entries show Marsch increasingly agitated by the idea that Victor might be sexually engaged with the suspected abo girl, an agitation that rises in intensity to the point Marsch writes about shooting them both if he catches them together. As telling as that is, for Borski, “the clincher is he reports in his journal that he’s noticed Victor is uncircumcised.”
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This is the first I saw such an idea, and I applaud Borski for his textual detective work. I will build upon this, going in a different direction than Borski goes.
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If a reader believes there are two distinct personalities in prisoner 143, it makes sense that there be differences to distinguish between the two, differences in voice that will appear in text. Both Marsch and Victor are male; one is in his twenties, the other a teen; one is highly educated, the other is barely educated; both are beardless. Totaling these up, they are practically twins, so a difference in sexual orientation could show which personality is writing a given sentence.
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Borski assigns the misogynistic remark about Celestine Etienne to the Victor side (49), whereas I take this as expressing the Marsch persona, along with the other misogynisms, such as “Most medical men . . . [only] prolong the lives of ugly women” (5HC, 205).
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By my reframing, prisoner 143 is ostensibly a misogynistic homosexual, yet during his extra-harsh time in the tomb-like underground cell he writes about dream women (5HC, 210-11) and a prostitute he hired on Ste. Anne (212). After this he gets positive reinforcement, being moved back to his original cell (231), being given the best food and a bath (231), and being given an intimate visit by Celestine Etienne (232). Then, when he is about to burn his uncollected notes, his jailers confiscate them (233).
​
This technique employed by the jailers to break him down is not special, it is their standard way, as declared by the letter: “We are pursuing the usual policy of alternately lenient and severe treatment to produce a breakdown” (242). Yet the resulting breakdown might actually serve to wean Victor of the Marsch persona; or to exorcise the Marsch spirit, in possession terms; or, in actor’s terms, to relegate the role into a mere mask. If Victor’s mother can shift between multiple roles, it shows the importance of not confusing a mask for the core.
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One model I looked at in my chapter guide was that the government fears prisoner 143 is a human sniper disguised as an abo klutz (“Appendix 5HC2: A Wolf in Sheep’s Clothing”). The opposite to this would be a sheep-in-wolf’s-clothing, which looks like Red Riding Hood in the belly of the wolf.
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Returning to the Soviet model of “V.R.T.,” perceptive readers will have been arguing for nine paragraphs that “A Story” does not look like a Grammatical Fiction; it looks more like a fictionalization of a personal psychological reintegration, ending in the killing of an ogre and the subduing of a shadow twin. In a sense, this puts “A Story” in company with I Never Promised You a Rose Garden (1964), a famous fictionalization of a personal psychological reintegration. As such, consider this mapping of “A Story” to Victor’s point of view in “V.R.T.” (similar to the table in the aforementioned “Appendix VRT8”).
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=A Story: V.R.T.=
Quest to become a man: expedition starts (find abos/mother)
Become a shadow friend: Marsch as patron (*)
The girlfriend (Seven Girls Waiting): the cat/abo girlfriend
Vision of mother in danger: clue in Roncevaux
Trip by river: starcrosser to Ste. Croix
The trap (capture by marshmen): murder of Number Four
The prison: #143
The family reunion in prison: the incoherent neighbor as mother
The girlfriend in prison: Celestine Etienne
The miracle: (black box**, reality breakthrough)
The execution of Last Voice: (black box, the killing of the ogre)
The switch: (black box, the subduing of the shadow twin)
​
* for “Become a shadow friend: Marsch as patron” I am especially struck by the parallel scenes where the hero, facing a threatening male, weeps and is comforted. In “A Story” this is where Sandwalker prepares to fight the intoxicated Shadow Child (5HC, 86); in “V.R.T.” this is where Marsch asks Victor what he will do when he is a man (5HC, 159), and six days later they talk about an anthropology book Victor has read (223). In addition, the way that the Old Wise One of “A Story” speaks in scientific jargon forms an unexpected link to Marsch-as-tutor; and Victor’s imitation of Marsch and Hagsmith swells their camp number to four, similar to the fluctuating number of phantom-like Shadow Children.
​
** by “black box,” I mean that science and technology term wherein an input goes into a black box and the black box emits a transformed output, but the internal working of the box remains mysterious and opaque. One explicit “black box” in “V.R.T.” involves the murder out in the field: we witness events leading up to that incident, and notes after the incident, but the incident itself remains mysterious and opaque.
​
Continuing beyond this mapping, the letter from the jailers to the junior officer names two solutions: execution of 143 as an agent of Ste. Anne; release of 143 as a scientist from Earth, “at least until he further incriminates himself” (241): in effect, the Darkness at Noon option (execution), or the 1984 option (release for eventual execution). In his response, the junior officer writes that neither is acceptable, and that, “Until complete cooperation is achieved we direct you to continue to detain the prisoner” (243). This “complete cooperation” sounds like the prerequisite for “Grammatical Fiction,” but it also could imply an implied third option, a “fork ending” of the sort promoted by Damon Knight (who, you will recall, grew Gene from a bean), where the third ending is not named but subtly foreshadowed. So, if the end result, the black box output, is the production of “A Story” (foreshadowed by appearing in the text before “V.R.T.”), then the implied off-the-page ending of “V.R.T.” is not a list of imaginary crimes to warrant 143’s execution as a sniper agent, but an anthropological romance to allow 143’s release as a scientist from Earth. Yet this is not the simple release of 143 as the 1984 option, it is a third way: to avoid the possibility that he “further incriminate himself,” the jailers must actively remake him as a scientist from Earth, if only as a stable role. According to my thought chains on Manchurian Candidates (ibid “Appendix 5HC2”), the government therefore must first determine that prisoner 143 is not, in fact, capable of being a sniper (i.e., an Earthman with proven skill at long range rifle use), but is an abo klutz.
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Given that Orwell’s Nineteen Eighty-Four (1949) is a “happy ending” version of Koestler’s Darkness at Noon, I hope I have made clear the likely stages required for an even “happier ending” in “A Story” as a rehabilitation document for prisoner 143. The “Grammatical Fiction” has turned into I Never Promised You a Rose Garden; the Soviet-style prison is revealed to be more like a healing mental health hospital, if only for this one exceptional case where the government finds itself in a bind.

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