Physicist, Programmer, Poet, Philosopher I'll write you something worth your time.
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On the Treatises of Magic: The Eastern Rites (Part 2)
Magic comes from the same Primordial Source regardless of culture. Whatâs different are the method in which magic is extracted, packaged, and wielded. In the west, symbols are the instruments in which magical power is used. In the East however, magical power is channeled primarily through Forms.
FORM VERSUS SYMBOL
Symbols, as a concept, are material in nature. It is a word, a talisman, or a thought. Forms, on the other hand, are positional in nature. For example, focusing the maximal Yang of a location, or a holding a specific physical stance. Whereas Symbols are concrete, like the separate alphabets that form a word, Forms are often interrelated with other Forms, flowing like interrelated radicals of the Chinese language.
The ways in which Symbols and Forms are used to encapsulate magical power is also different. Symbols act as containers to magical power, standardizing and creating easy deployment. This is why any mage with a wand or staff can learn to cast any spell with ease and with relative safety. Forms, on the other hand, is a pure channeling medium. When performing Formulaic magic, the magical power expended is only bounded by how stable one can maintain or sustain the Form. However, this also means that if a spell rebounds, the consequences is most often catastrophic. In a sense, Formulaic magic can achieve spectacular heights otherwise impossible with Symbolic magic, but at the cost of extremely heightened risk.
DISCIPLINE REFINES THE FORM
As anyone who have tried learning teleportation or flight can tell you, Formulaic magic is hard to master. This is because it is an ancient and raw form of magic passed down through the generations not unlike Coptic magic. And just like how Modern Egyptian Magi construct elaborate and precise barrier words to constrain their magic, so do Eastern masters refine their magic through decades of mental and physical discipline.
It is not uncommon for eastern Magi, or Fa-shi, to form schools with rigid, centuries-long curriculum that involve both mental and martial disciplines. These schools are known to accept anyone as long as they have the will to endure the training. A newly inducted apprentice would take decades to master breathing exercises so they have the constitution to cast the easiest wind channeling spells. They would walk into the temple with zeal every morning, anticipating the promises of their hard work, for Master Fa-shi are said to be able to reverse the sands of time and slip between the realms of life and death with ease.
Yet even so this promise is not universal, as even the training process carries a risk of failure. Many apprentices waste their lives in vain trying to master what they ultimately do not have the talent to even perform, and some overstep their own bodies and becomes consumed. Indeed, those who survive to call themselves Masters are few and far in between.
PHILOSOPHERâS STONE OF THE SELF
Now, you may ask if I miswrote when I mentioned âcenturies-long.â No doubt you wonder how these sages are able to live to be so long without the Elixir of Life, and this is a testament of the extreme survivalism of Eastern Rite.
Itâs well-known that consuming the Drought of Life grants near-eternal life, but it is not the only method to achieve it, just the only one known to the public. In fact, there are many known figures in China who achieved immortality as far as five millennia ago, the most well-known being Master Lao-Tzu, reputed to be the first to achieve such a feat. The Eastern rites is the magic of the body and mind, and the first physical discipline of any wise apprentice is the prolonging of their mental and physical health. They know that in order to master any art, they must have the time and stability to do so.Â
Of course, not all apprentices could achieve that stability before they expire, and as a consequence, finding longevity has long became a milestone of master-hood, and an apprentice is considered a full Fa-shi when they are able to extend their life to hone their craft indefinitely.
As much as these masters value immortality though, they also know that the secrets of eternal life is something highly coveted, from death-fearing emperors to like-minded colleagues from the other side of the world. Life is precious in the hands of the good, but catastrophic when those who could abuse it get ahold of it. In fact, they are so aware of this that many would rather die than divulge their schoolâs secrets. Which brings to another nature of the Eastern Rites...
THE MANY-PATHED MONSTER Itâs important to know that most Western magical subjects have Eastern analogues; different methodologies of arriving at the same conclusion. For exmaple, Fa-shi are able transmute metals by changing the relationships and ratio between fundamental natural Forms in those metals. Similar methods arrive at what is basically divination, summoning, enchanting, and.
It is however erroneous to assume that the Eastern rite is of one single methodology, like it is for the West and the Incantatus Universalis. In fact, is a very Greco-Roman privilege to have such a standardized method of casting spells. Instead, Eastern magical tradition comprises of a plethora of schools, each with different ways and coming up with how to achieve a desired magical effect. For example, one Fa-shi would channel the Water form to cause rain in an area, while another could invoke the Winds to blow in the rain clouds.Â
The eastern magical philosophy prizes individuality and creativity, and itâs not unheard for schools to be specialize or even branch off to study deeper aspects of a spell. The result is a very diffuse and open environment, where each Fa-shi can offer different services and knowledge to the non-magical world, and each master can learn something from their peers. Their journey of learning will never be over, and they relish in the thought.
IN CONCLUSION
The Eastern Rites is a fundamentally different approach to magic from the Western Rites. It is an open, diverse tradition that rewards hard work and risk taking with results that far out-performs Western magic. However, with the price of failures so steep, survivalist sentiments are high, and many secrets disappear as the Masters recluse themselves.Â
Would you rather dedicate your life for a chance of immortality, or would you rather take a swig of an Elixir so rare that its existence hinges on myth?
Tune in next time when we talk about a specific branch of the Eastern tradition that migrated, transmuted, and perfected by the sages of the Islamic Golden Age: Alchemy.
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On the Treatises of Magic: The Eastern Rites (Part 1)
It is often said that Western Magic is the art of symbolism. Indeed, from the ancient Egyptian mage-priests imbuing power to the Eye of Ra, to the Roman conception of the Incantatus Universalis, to even the fledgling art of technomancy (Magic done with technology), our understanding of the Magical Nature has always been through the lens of symbols.Â
This formulation is consistent across most magical disciplines. Incantations and charms being the most obvious, but even the more esoteric forms of magic like divination and telepathy requires instrumentation, a informative medium such as reading tea leaves or silent instruction from our minds.Â
However, there are notable exceptions to this rule. These disciplines are notable because despite being completely alien in construction to our schools of magic, we as a community have mastered them just as we have the common Hex. They are as follows: Blood Magic, Totemics, Teleportation, and Alchemy. Given the alien nature of these arts, it is not surprising that one of them is Taboo, and the other only taught in the Americas. However, two of them are in common use all across the world, being as ubiquitous and exchangeable with Western magic. Today, we will show that these two are unique in their own rights, and not just due to their unique magic construction, but also in its fundamental theoretical difference from the other disciplines in what is known as the âWestern Ritesâ
THE EASTERN RITES
The construction of Magic I have described above is collectively known by academics as the âWestern Rites��. What started as a means to a religious end in ancient Egypt was elaborated and proliferated into a full-grown masterpiece by a plethora of Greek, Roman, German, French, British, and American wizards through the ages.Â
What most people do not realize that just like their non-magical counterpart, the Western tradition have a history of colonization and marginalization of magic that they considered âbarbaricâ and âalienâ. Voodoo or âSpirit Magicâ, for example, remains a taboo in the United States, despite its widespread practice in Africa and Central America.
Other traditions fared better fates, becoming appropriated instead of downright demonized, though only because European wizards has had contact with magi who practiced these arts for a millennium instead of a just few scant centuries. This was what happened to what academics like to refer as the âEastern Ritesâ, among which Alchemy and Teleportation derived from.Â
Despite our practical mastery of these two arts, most are not taught the formulation of Magic underlying these two disciplines. Perhaps this is ultimately because our sincerity in learning these arts extends only as far as how we can use them... but let us not dwell on the political, and let us instead embark on a journey into the Theoretical, for today we delve into the oft-used, yet oft-misunderstood arts of Teleportation and Alchemy!
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Railroading Through Life
Each morning I would stare down âcross a railroad track A pair of silver metal bars through stations of black All paths would fade away and thereâs no turning back So Iâm walking down a railroad track
When pretending is the only thing that gets me by A world who rather act like you are not alive A thousand million toothaches that youâre forced to hide While walking down the railroad track
Yesterday I met a friend who strayed the road He fell, and his face, reared his ugly showed A grim reminder of the paths that I dare not go So I follow the railroad trackÂ
You whistle that youâll find love on the way back Or else thereâs only silence to find You walk straight smiling down the railroad track The alternative is to be left behind
So Iâm walking on a railroad track. Alone on the railroad track. Thereâs only the railroad track. Iâm walking down this railroad track.
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Twenty-First Century Man
(Verse 1)
Remember when it was nineteen-ninety-nine ( C) And I was just a little boy (F) Eager to see the century unfold (G) What millennial delights I'll enjoy ( C) But now I'm almost a score over that ( C) And so I know who and what I am (F) All hail! (G) For the twenty-first century man! (G-F-C)
(Verse 2)
Now I wake up to the sounds Of Good Morning America on 'roids The club beats rhythm over my hangover But I won't listen 'cause it's all a ploy To sell me some audacity to hope for But I know who and what I am All hail! For the twenty-first century man!
All hail! For the twenty-first century man!
(Bridge)
Man on the moon? That was so last century. (F) Logic? Try the one before. (G) Crazy people... (actually) that's still relevant, (F) Each one rotten to the core ( C) There was a dream of a happier tomorrow ( C) But now I know who and what I am... ( F) I am the despair of a generation! (G)
All hail! For the twenty-first century man! All hail! All hail! For me! For me!Â
(Verse 3)
For Iâm the failure of a broken legacy A rebel of historic success A privileged male in a patriarchy yet Iâm not white or straight, so Iâm still oppressed. Instagram filters tell me better But I know who and what I am... Oh hail! A twenty-first century~ Twenty-first century~ All hail! For the twenty-first century man!
(Alternative Lyrics)
My elders tell me their path is righteous If I climb it's all a cake on wheels Yet the fires are still burning all over Dollar-ed chains brand into mine own heels If I could pull a Verne, it could all be better Still I know who and what I am All hail! For the twenty-first century man! Â
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I wish I can show you the melody... This song really had a nice early 2000â˛s blues rock revival/punk ballad feel to it if I could actually reach the high notes (havenât sang in a while). No solos or anything though so if it is made into a song itâll probably be shorter
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Except For You
Thereâs a hole inside me, and it crashes onto my soul like waves on a beach. Rise. Ebb. Rise. Ebb. Every lap takes a grain of sand away.
Thereâs a void that I teeter around, like a super-massive black hole. Itâs so addicting to think because no one sees me cry inside, itâs okay to sulk.
Thereâs a darkness inside me, and gravity pulls me in. I fight sadness, but that that does not make me happy. Instead, I cope and cling on to quotes that say âDonât look back or down.â
Thereâs a desolate wasteland within me, scarred from I donât even know what. They always say I can only heal myself. They always say that I need to re-frame my self-narrative. But I canât. I keep trying but I canât.Â
I canât leave the orbit of an event horizon. I am not faster than light. I canât find a solution with the variables I was dealt. A closed system can never escape.
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Youâll be Back (Hamilton x Avengers)
You say, That ultimate balance is not a price that youâre willing to pay~ You cry, That itâs not of the principle, but hunger of Power I vie~ Why so sad? Youâll have all the Space and resources wonât go to waste~ Now youâre calling me âmadâ, Remember despite our differences, Iâm your man~ (Technically, Master, youâre a Titan- AAAHHH!)
Youâll be back, soon youâll see, Iâll have bettered your Reality~ Youâll be back, might as well, Hand me over all your Gems right now~ Avengers rise, Asgard falls, With my Gauntlet, weâll see through of it all~ And when push, comes to shove, I will send forth all my Children to Earth- to remind you of my love~
Da da da da da, dat da da da die-ya da, dat da da da die-ya da~ Da da da da da, dat da da da die-ya da, dat da da da da~
You say that my love for life is twisted and wrong~ You value a Soul too much until theyâre gone~ So no! Donât hide those objects! With naive, pathetic projects! Itâs so futile to object! You soon-to-be-obsolete subjects! For ever, and ever, and ever, and ever and ever...
Youâll be back, like before, I will fight the fight and win the (Infinity) War~ For the fu-ture of our race, So weâll survive until our dying days~ Life goes on, so be glad, Father Time wonât mock us for what we have~ âCause my Mind, is all but made, I will kill half of the universe to remind you of my... love~
Da da da da da, dat da da da die-ya da, dat da da da die-ya da Da da da da da, dat da da da die-ya da, dat da da da die-ya da Everybody! (The cast of mind-controlled Avengers dances in tow)
Da da da da da, dat da da da die-ya da, dat da da da die-ya da~ Da da da da da, dat da da da die-ya da, dat da da da die-ya da~
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Avenger: Infinity War, or Thanosâ Journey (SPOILERS!)
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  Avengers: Infinity War is Thanos' story.
Thanos in the comic was a lovesick fool with a temper and a misguided goal, but Thanos here is a loving father with a humanizing attitude and sound intent. Through the first scene to the end, we see Thanos grow from a looming background to a semi-complex character, and our heroes relegated to foils for his growth.
Of all the acts: Asgard's slaughter, Battle of New York, Battle of Titan, Betrayal at Knowhere, Gamora's forced sacrifice, Battle of Wakanda, Scarlet Witchâs final stand and finally half of all life disappearing, it's telling the one that has the most emotional weight is Gamora's forced sacrifice. The rest are undercut by humour or brushed off. By the beginning of the second act, the emotional arc of Lokiâs death has fully resolved. Most everyone survives unbelievable stunts at New York and Titan, then all the tension from the subplot was lost when Dr. Strange handed Thanos the Time Gem. The actual battle of Wakanda and Thorâs âlast minute entranceâ felt very tired and cookie-cutter at this point (Any more Eagles coming?). Even Visionâs final heart-tugging sacrifice was emotionally undercut by the time gem reviving him, and the emotional arc went to fuel sympathy of Thanos and his loss.Â
Then thereâs the penultimate scene where everyoneâs loved ones are disappearing in front of their eyes, there was barely any sadness, only resignation and shock. I understand that itâs hard to set up such a scene, but given that this eventuality was referenced even in the trailer, youâd think that the payoff would be much more emotionally satisfying. Perhaps itâs just a direction choice, but the scene where Steve Rogers slowly touching the earth that Bucky stood felt to me more like disbelief and confusion, an afterthought compared to the more emotional âSoulâs Palaceâ scene with young Gamora and Thanos.Â
All this makes for a weird cognitive dissonance for the audience. Whereas conventionally villain motives are to be mocked and pitied, Infinity War attempts to reverse it, all the while marginalizing the emotional weight of the heroesâ losses. The audience is reacting in abject horror at Gamoraâs forced sacrifice, but is feeling unease, confusion or even justified towards Thanosâ cause as Thanos struggle both externally and internally to finally get what he wants.Â
By the end of the movie, when the âheroâ of the movie reaches his âElixirâ by killing half of all life in the universe, and successfully returns his âhappy endingâ watching a beautiful sunrise, the audience is left to question: Are we watching the movie as how the bad guys would see it?
Hereâs the thing though: I think Infinity War meant to humanize Thanos. Given that Captain Marvel is going to another space adventure movie, and weâll probably be seeing Adam Warlock, plus the second act of the Infinity Gauntlet (the comic) is a war between cosmic forces and Thanos means that if the movies are going even remotely down that route, Thanos will be the most familiar rallying point, especially against inconceivable, immoral conceptual forces like âMaster Orderâ or âEternityâ.
The most important part, though, is that in the comics Thanos eventually fell and was redeemed. His downfall was not by the Avengers or the Cosmic Forces, but by Nebula, his daughter. It then seems fitting as a thematic setup that Gamoraâs death is accentuated to be an emotional weakness; Thanosâ sensitivity (I hesitate to use familial love) for his family is that Chekhov's Gun. Infinity Gauntlet was never Avengersâ or Guardiansâ story; theyâre not even pivotal actors, just framing devices in which the story evolved. Itâs about Thanos, his delusions, his journey to redemption, and his family... oh, and I guess Adam Warlock too. (Speaking of which, whatâs taking that golden cocoon boy so long to show up?)Â
In the end, Thanos may not end up being a villain after all. I guess Marvel is still 1 for however many at compelling villains that donât get redeemed. I actually like this kind of making us sympathize towards a villain, instead of the rushed way they tried to make us care for the terrorist guy from Winter Soldier at the last few minutes.
So yeah.
Oh. Also the Avenger couldâve totally solved all this bs if Scarlet Witch destroyed the Time Gem instead of the Mind Gem. Her affinity for the gems is obviously not only towards the Mind Gem given that the nature of her powers are all over the place (matter manipulation, power field creation, time suspension, spatial manipulation, mind bending). Glad sheâs being recognized as the Omega level mutant meta-human she is though. or was. um, SPOILER ALERT!
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Trapped in between
Inside that's empty
Outside that's lonely
In this game of love
Entangled in
Embroiled with
A world of NPCs
I'm nothing
In this game of love
Thereâs nothing I can do but
Hope
Is all that I can do is
Hope
For another one to enter this game of love
~~~~~~~~~~~~~~
One of those rare days where I write the lyrics AND compose the music.
Trying to record it but I am not good at guitar and my fingers are dead.
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The Split personalities of Professor X/Charles Xavier (Part 2 of 4)
So, commentary in X-men comics is totally in subtext because the real focus of the comics is about tight-suit fighting, teenage drama and whether Jean Grey is coming back . X-men is basically Hogwarts if it's set in Congo... but also in SPAAACE!
That being said, the philosophy of Charles Xavier in the comics is pretty clear-cut; this is due to the fact that there are a lot more loci of philosophies in the comics than in the movies (Emma Frostâs casual superiority philosophy, for example).
Charles Xavier in the comics is an integrationalist. He believes that being label a "mutant" is unfair, and that that mutations should be treated as an attribute instead of an identity marker. When someone is described as tall, thin, and blond, they are not labelled as "a tall", "a thin", or "a blond" (okay sometimes). However, we see "a black", "a gay", or "a mutant". In essence, Xavier "The Integrator" denies Mutants as being a separate race from humans, but instead sees ones with mutation as gifted, similar to someone who is genetically blessed to be tall. This is why Xavier's school is called "for gifted youngsters" and not "for Mutants".
Of course, this doesn't stop Xavier from being a realist, and that's why the X-men exist in the first place. Funnily enough, X-men and their splinter groups cause more trouble for Xavier's cause than it's worth.
In the original X-men movies, the role of Xavier is more complicated. This is because Xavier is more of a mentor figure and the philosophy is proxied through his students. However, if I can summarize it, Xavier's role is "the Exemplar". Xavier's school offers Sanctuary to mutants so they are not victimized by society. Within Xavier's school, mutants are free to express themselves however they like, and this school is for both mutants and non-mutants. This parallels integrated schools in real life, where black students are able to attend school in the same way white students do. Policies in the school are specifically designed to discourage racism and bigotry. However, this school is limited and sheltered from the rest of the world. The ultimate goal of this Xavier is to show that normalcy of this kind is possible, and through his students, he hopes to spread this normalcy to the world.
Within this Sanctuary though, there is still a split between Integration and Identity Activism. The refusal of some of the X-men to use their non alter-ego names reflect this. Xavier himself still holds the view that mutants are just humans with gifts, but his students seems to see an increasing difference between normal people and mutants.
It is important to stress that both Xavier the Integrator and Xavier the Exemplar pursues the solution of mutants being treated better through changing societal values to be more tolerant. This is because in the reboot, Xavier doesnât do that.
I will call this Xavier "the Conformist". This Xavier wants to "fit in", and more importantly, only acknowledges mutations as gifts if it is useful to human society. He sees the solution of mutant-human coexistence being that mutants conform to human norms. This is why Mystique must wear her pretty J-Law face. Her mutations are only a gift if she makes herself pretty. He expects everyone to self-improve to fit societal norms, instead of changing these norms like the other Xaviers seeks to do. He is the antithesis of "Mutant and Proud".
However, As the decade rolls by, we see Xavier becoming increasingly cynical with this worldview. He strives to be an icon, but he does not try to change societal values. Without his active involvement, society evolves to fear mutants, and as societal norms becomes increasingly anti-mutant, his mantra of self-improvement turns into self-censorship and he starts taking drugs that inhibits his mutations. He starts to realize that self-compromise is never enough. Through the plot of Days of Future past, Xavier finally has a moment of introspection, culminating in him in accepting that mutants need to define their values on their own terms, and lets Mystique choose her own destiny. (Also, the whole Sentinel story kind of drive that point home)
This goes full circle, because at that moment, Xavier "the Conformist" doesn't resolve to change societal value like his counterpart, but instead rejects human values and posits a separate mutant one. It just happens that Mystique's choice turns the X-men into heroes, ushering in acceptance/tolerance through the human side and giving this Xavier, who didn't work toward societal change, the societal victory he really doesn't deserve. So the movie kinda deus-ex this plot point neatly and we go into Apocalypse with mutants being both accepted and considered special, the goal Xavier the Integrator and Xavier the Exemplar worked so hard for. (Is this a rant? I don't know)
Of course, now that Apocalypse destroyed half the world, mutant relations is probably going to change again.
Anyways, So we have this.
Comics:
Magneto the Supremacist/Segregator vs Professor X the Integrator (vs a bunch other factions)
Original X-men Movies:
Magneto the Supremacist vs Professor X the Identity/Integrator Exemplar (vs Society)
Reboot X-men movies:
Magneto the Identity Activist vs Professor X the Conformist
Now that we defined the two philosophies that go Head to Head in each story, the next part will be talking about the original X-men, the story of Fighting Victimization, the conflict between Integration, Pride, and Extremism, and the story of Rogue. The original X-men is so much more complicated than just Magneto vs Professor X, but Rogue's story is a good road map.
And no, I donât want to get into the comics. Jesus, I donât want to look at the mess of sixty years and a multiverse of mixed messages.
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"Mutant and Proud", The different allegories of different depictions of Magneto (Part 1 of 4)
Historically, Magneto's stance on mutant-kind is a mixture/sliding scale of Supremacy, Self-fulfilling sense of Victimhood and Segregation, depending on who is writing.
In the original X-men movies, Magneto is seen as a man who believes that mutants are the next step in evolution, and that non-mutants are obsolete. Even in his first movie, his intentions are "noble". He truly wants to make everyone a mutant, and that is comparable to the view that white men are "civilizing" savages around the world.
An aside: it's interesting to note that a lot of commentary with X-men is how the victim often "mirrors" the oppressor, and shows that worldviews are often shaped by these oppressive views, even if it is through contradiction. This is why Magneto, a minority Jew Mutant, who has been a victim to both institutional "racism" and casual "racism", finds the solution of Supremacy be the most palatable to him. In order to contradict and "fight" that racism, he implicitly accepted the axioms behind it, namely "humans" and "mutants" are different, competing, incompatible species.
Anyways, In more recent non-reboot depiction, Magneto is more defensive in his approach, looking for a "Mutants deal with their own" mantra. He makes Genosha, a mutant paradise. In this sense, Magneto is a Segregator. He represents a different worldview, where "mutants" and "humans" are no longer competing, but are still different and imcompatible.
Finally, in the most recent reboot, Magneto (or rather Mystique) is defined by the phrase "Mutant and Proud". This is the most interesting depiction yet, because in this depiction, Magneto develops to not be "The Supremacist", or "The Segregator", but "The Identity Activist". In this depiction, Magneto sees "mutants" and "humans" as fundamentally different, but they are not necessarily incompatible. However, they are still competing, at least in internal "identities" of the individual mutant. You can be a human, or a mutant, but not both. (Again, this is mostly Mystique's arc, but Mystique has basically taken Magneto's role as the foil against Xavier's philosophy, whereas Magneto is relegated to just the "case study". I'll still refer this as "Magneto" though, since he's an ideal)
By seeing the two "races" as compatible, Magneto "The Identity Activist" sees one society instead of two, one where humans have all the privileges and mutants must compete and fight to be accepted and in turn earn its "place in the sun". This is also a similar worldview to many of the contemporary "pride" groups in real life. Whether the new movies are trying to say something about these groups, we'll figure out during the actual "vs" section.
So end part 1. In order to start these comparisons, we need to differentiate these three Magnetos first. The supremacist Magneto has not been on stage for a while, and isn't much of a factor in the new movies. He is literally "killed" by Magneto through the proxy of that Hellfire extremist guy. Of course, differentiating Magnetos is not enough. we need to also differentiate between the Xaviers, because Xavier's philosophy also gets changed in these movies in order to fit a message.
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Delirium in Beer Goggles
Tonight we celebrate in The World's End Hurrah as we pour In fossil'ed sands The liquids of our Lack of discretion Take clear shots into Safe self-destruction
In qualms of thoughtless Induced purgatory Letâs take use consign feign inventory Of keys to return Responsibility...
And wait for the inevitable crash.
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On Game of Thrones S6E5 (Spoilers ahead)
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NOOOOOOO! Hodor! =(
But seriously WTF CoTF way to fuck up the world.
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"Hope is a sin. It always has been. Why else would nations turn themselves to rubble without a second thought? Why else would a man await for something that he's never going to get, or a woman work so hard for something she's never going to achieve?
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