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just-ornstein · 6 months ago

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[JK] My first job was as an Assistant Producer for a video game company called Interplay in Irvine, CA. I had recently graduated from Boston University's School of Fine Arts with an MFA in Directing (I started out as a theatre nerd), but also had some limited coding experience and a passion for computers. It didn't look like I'd be able to make a living directing plays, so I decided to combine entertainment and technology (before it was cool!) and pitched myself to Brian Fargo, Interplay's CEO. He gave me my first break. I packed up and moved out west, and I've been producing games ever since.

[JK] I loved my time at EA. I was there for almost a full decade, and learned a tremendous amount about game-making, and met the most talented and driven people, who I remain in touch with today. EA gave me many opportunities, and never stopped betting on me. I worked on The Sims for nearly 5 years, and then afterwards, I worked on console action games as part of the Visceral studio. I was the Creative Director for the 2007 game "The Simpsons", and was the Executive Producer and Creative Director for the 2009 game "Dante's Inferno".

[JK] I haven't played in a long while, but I do recall that after the game shipped, my wife and I played the retail version for some time -- we created ourselves, and experimented with having a baby ahead of the actual birth of our son (in 2007). Even though I'd been part of the development team, and understood deeply how the simulation worked, I was still continually surprised at how "real" our Sims felt, and how accurate their responses were to having a baby in the house. It really felt like "us"!

Now for some of the development and lore related questions:

[JK] So I ended up in the incredibly fortunate position of creating the shipping neighborhoods for The Sims 2, and recruiting a few teammates to help me as we went along.

Around the same time, we started using the Buy/Build tools to make houses we could save, and also bring them into each new build of the game (correcting for any bugs and incompatibilities). With the import tool, we could load Sims into these houses. In time, this "vanguard QA" process turned into a creative endeavor to define the "saved state" of the neighborhoods we would actually end up shipping with the game.

On playtesting & the leftover sims data on various lots:

Basically, we were in the late stages of development, and the Save Game functionality wasn't quite working. In order to test the game properly, you really needed to have a lot of assets, and a lot of Sims with histories (as if you'd been playing them for weeks) to test out everything the game had to offer. So I started defining a set of characters in a spreadsheet, with all their tuning variables, and worked with engineering to create an importer, so that with each new build, I could essentially "load" a kind of massive saved game, and quickly start playing and testing.

It was fairly organic, and as the game's functionality improved, so did our starter houses and families.

The thought process behind the creation of the iconic three neighborhoods:

I would not say it was particularly planned out ahead of time. We knew we needed a few saved houses to ship with the game; Sims 1, after all, had the Goth house, and Bob Newbie's house. But there wasn't necessarily a clear direction for what the neighborhood would be for Sims 2. We needed the game to be far enough along, so that the neighborhood could be a proper showcase for all the features in the game. With each new feature that turned alpha, I had a new tool in my toolbox, and I could expand the houses and families I was working on. Once we had the multi-neighborhood functionality, I decided we would not just have 1 starter neighborhood, but 3. With the Aging feature, Memories, a few wacky objects, plus a huge catalog of architectural and decorative content, I felt we had enough material for 3 truly distinct neighborhoods. And we added a couple of people to what became the "Neighborhood Team" around that time.

Later, when we created Strangetown, and eventually Veronaville, I believe we went back and changed Pleasantville to Pleasantview... because I liked the alliteration of "Verona-Ville", and there was no sense in having two "villes". (To this day, by the way, I still don't know whether to capitalize the "V" -- this was hotly debated at the time!)

Pleasantview:

Anyway, to answer your question, we of course started with Pleasantview. As I recall, we were not quite committed to multiple neighborhoods at first, and I think it was called Pleasantville initially, which was kind of a nod to Simsville... but without calling it Simsville, which was a little too on the nose. (There had also been an ill-fated game in development at Maxis at the time, called SimsVille, which was cancelled.) It's been suggested that Pleasantville referred to the movie, but I don't think I ever saw that movie, and we just felt that Pleasantville kind of captured the feeling of the game, and the relaxing, simple, idyllic world of the Sims.

Pleasantview started as a place to capture the aging feature, which was all new to The Sims 2. We knew we had toddlers, teens, and elders to play with, so we started making families that reflected the various stages of family life: the single mom with 3 young kids, the parents with two teens, the old rich guy with two young gold-diggers, etc. We also had a much greater variety of ethnicity to play with than Sims 1, and we had all new variables like sexual orientation and memories. All these things made for rich fodder for a great diversity of families. Then, once we had family trees, and tombstones that carried the actual data for the dead Sims, the doors really blew open. We started asking ourselves, "What if Bella and Mortimer Goth could be characters in Sims 2, but aged 25 years? And what if Cassandra is grown up? And what if Bella is actually missing, and that could be a fun mystery hanging over the whole game?" And then finally the "Big Life Moments" went into the game -- like weddings and birthdays -- and we could sort of tee these up in the Save Game, so that they would happen within the first few minutes of playing the families. This served both as a tutorial for the features, but also a great story-telling device.

Anyway, it all just flowed from there, as we started creating connections between families, relationships, histories, family trees, and stories that we could weave into the game, using only the simulation features that were available to us. It was a really fun and creative time, and we wrote all of the lore of Sims 2 within a couple of months, and then just brought it to life in the game.

Strangetown:

Strangetown was kind of a no-brainer. We needed an alternate neighborhood for all the paranormal stuff the Sims was known for: alien abduction, male pregnancy, science experiments, ghosts, etc. We had the desert terrain, which created a nice contrast to the lush Pleasantville, and gave it an obvious Area 51 vibe.

The fact that Veronaville is the oldest file probably reflects the fact that it was finished first, not that it was started first. That's my guess anyway. It was the simplest neighborhood, in many ways, and didn't have as much complexity in terms of features like staged big life moments, getting the abduction timing right, the alien DNA thing (which I think was somewhat buggy up until the end), etc. So it's possible that we simply had Veronaville "in the can", while we put the last polish on Pleasantville (which was the first and most important neighborhood, in terms of making a good impression) and Strangeville (which was tricky technically).

Veronaville:

But my personal favorite was Veronaville. We had this cool Tudor style collection in the Build mode catalog, and I wanted to ship some houses that showed off those assets. We also had the teen thing going on in the aging game, plus a lot of romance features, as well as enemies. I have always been a Shakespeare buff since graduate school, so putting all that together, I got the idea that our third neighborhood should be a modern-day telling of the Romeo and Juliet story. It was Montys and Capps (instead of Montagues and Capulets), and it just kind of wrote itself. We had fun creating the past family trees, where everyone had died young because they kept killing each other off in the ongoing vendetta.

[JK] You know, I have never seen The Lone Gunmen, and I don't remember making any kind of direct references with the Strangetown Sims, other than the general Area 51 theme, as you point out. Charles London helped out a lot with naming Sims, and I'm pretty sure we owe "Vidcund" and "Lazlo" to him ... though many team members pitched in creatively. He may have had something in mind, but for me, I largely went off of very generic and stereotypical ideas when crafting these neighborhoods. I kind of wanted them to be almost "groaners" ... they were meant to be tropes in every sense of the word. And then we snuck in some easter eggs. But largely, we were trying to create a completely original lore.

[JK] Well, I think we kind of pushed it with The Sims 2, to be honest, and I remember getting a little blow-back about Bunny Broke, for example. Bunny Broke was the original name for Brandi Broke. Not everyone found that funny, as I recall, and I can understand that. It must have been changed before we shipped.

We also almost shipped the first outwardly gay Sims in those neighborhoods, which was bold for EA back in 2004. My recollection was that we had set up the Dreamers to be gay (Dirk and Darren), but I'm looking back now and see that's not the case. So I'm either remembering incorrectly (probably) or something changed during development.

In general we just did things that we found funny and clever, and we just pulled from all the tropes of American life.

[JK] The alien abduction started in Sims 1, with a telescope object that was introduced in the "Livin' Large" expansion pack. That's when some of the wackier ideas got introduced into the Sims lore. That pack shipped just before I joined Maxis in 2001; when I got there, the team had shipped "House Party" and was underway on "Hot Date". So I couldn't tell you how the original idea came about, but The Sims had this 50's Americana vibe from the beginning, and UFOs kind of played right into that. So the alien abduction telescope was a no-brainer to bring back in Sims 2. The male pregnancy was a new twist on the Sims 1 telescope thing. It must have been that the new version (Sims 2) gave us the tech and flexibility to have male Sims become pregnant, so while this was turned "off" for the core game, we decided to take advantage of this and make a storyline out of it. I think this really grew out of the fact that we had aliens, and alien DNA, and so it was not complicated to pre-bake a baby that would come out as an alien when born. The idea of a bunch of guys living together, and then one gets abducted, impregnated, and then gives birth to an alien baby ... I mean, I think we just all thought that was hilarious, in a sit-com kind of way. Not sure there was much more to it than that. Everything usually came from the designers discovering ways to tweak and play with the tech, to get to funny outcomes.

[JK] Possibly we were just testing the functionality of the Wants/Fears and Memories systems throughout development, and some stuff got left over.

[JK] I can't remember, but that sounds like something we would have done! I'm pretty sure we laid the groundwork for more stories that we ended up delivering :) But The Sims 2 was a great foundation for a lot of continued lore that followed.

I once again want to thank Jonathan Knight for granting me this opportunity and taking the time from his busy schedule to answer my questions.

#BURNING LORE QUESTIONS FINALLY ANSWERED!! :D #the sims 2 #ts2 #sims 2 #ea games #ea #electronic arts #sims #the sims #strangetown #veronaville #pleasantview #jonathan knight interview #the sims 2 development #sims 2 development #sims 2 beta #I'm so glad I got this opportunity man.

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fluidity-stupidity · 3 months ago

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Beginner Witch Things to Research

So many older - more experienced - witches tell beginner - baby - witches to start with researching things like protection spells, grounding, cleansing and warding but what do you research afterward? These are just a few things that I would recommend every individual to research, regardless of how experienced you may think you are.

Carl Jung's Map of the Soul This is where the archetypes stem from, a what a lot of witches dread doing - Shadow Work. Shadow Work is uncovering not just traumatic ventures of our pasts but also revealing what made and makes us who we are today. Studying where it all started makes working through your own shadow a lot less stressful and a lot hammering on the soul, it also leads to a lot less martyrdom in the spiritual community.

Honing in on your psychic abilities and Intuition Gaining the ability is easy, everyone has these abilities, you just have to work to get them to where you want them to be. Remember a spiritual practice is still a practice, you have to put in the effort to get better, just as you would a physical sport or an instrument.

Egregores and Amalgamations vs. Deitys vs. Pop Culture Deitys Egregores and amalgamations exist solely in the astral plane and can (and will) mimic, imitate, and parody deities. Being able to decern these, especially with your intuition will always provide useful. Learning that Lucifer from Dantes' Inferno is reaching out to you versus aspected, epithetic source Lucifer will give you a much better relationship and outcome in your practice.

Deity Work vs. Deity Worship Offering play a key role when learning to decern these from each other. You can in fact, do both, but be warned deities get jealous of each other.

Find what you love and surround yourself with it Incorporating things that you love into your practice and not actually doing what you love about your practice is one of the key differences I saw in my practice when I learned how to differentiate them. I found incoporating pop culture media into my practice made me get burnout from both that piece of pop culture and my spiritual practices.

Finding a form of divination that you are most comfortable with Everyone likes using cartomancy, divination using cards or pieces of paper, is the most common form of divination, but learning your favorite form of divination will help avoid burnout and creating tension for yourself in your practice.

#witchcraft #witchblr #witches #witch tips #witch community #magick #psychology #mental health in witchcraft #spiritual practices #spirituality #spiritualgrowth #spiritual healing

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torgawl · 6 months ago

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#all I know is that Celestia needs to rethink what they qualify as a 'lone seelie survivor' cause man do they keep popping up#and by god do they all do the most fucked up shit when in love#like I get the ban on seelie romance now#it was for the people's safety#and we've only been seeing the results of watered down seelies/kin imagine a full powered seelie in love #an underground seelie organization in Snezhnaya that hates the cryo archon would be so funny#like what the hell did SHE do

truly!!! isn't the tsaritsa the archon of love, too? it's a funny concept that they would have beef ahah but yeah, i do not know if they are actually connected to the seelies, one could imagine they would have similar goals after the heavenly principles basically wiped them out?! pondering

#in the Perinheri book the name khaenri'ah wasnt used was it?#it was a land established before the domestication of birds and yet the Alberich clan was already well respected...#did they rename their society after the fall of the Crimson Moon dynasty?

#fed from an unknown source... a beautiful dragon of jewels...#black dragon that spews red poison and the dragon that was fought on Fischl's summer island play#a transforming knave with powers that burn away peoples memories and Princess Fischl who forgot the land she ruled #'if you still care for humanity than drink from this cup' and so the crimson moon's king did#it was something like that wasnt it?#then I wonder#what led to that decision? had the dynasty known for taking in children from beyond their realm already learned forbidden knowledge?#and to spare the rest they took themselves out much like the snake in inazuma?#but they wanted to see the fall of the Eclipse dynasty as well though... hmmmmm...

that line from crimson moon semblance reminds me so much of this line in "a drunkard's tale".

it matches the "unknown source" and considering the abyss is linked to forbidden knowledge maybe the leader of khaenri'ah did indeed drink that wine, literally or metaphorically. it's also curious that - if "benevolant master who commands all" and "leader of khaenri'ahn noble families" are the same person - that his bloodline has gone blind in one eye, according to the weapon description. and some khaenriahns do indeed hide one of their eyes, although i don't think it's ever implied they're actually blind. again, not sure if this is a literal description or not since fictional books aren't trustworthy sources of information. the weapon also says during this time, before the pitch-black sun covered the underground, "the ancient honorable clan ruled the vast kingdom". could this be the alberich? the text goes on to say "by the time the pitch-black sun shone upon all, the name of the crimson moon faded", which i assume means the crimson moon was forgotten, even in khaenri'ah. was the irminsul affected during the "clan-extinguishing disaster"? they also divide people into impure, the ones who suffered the curse, and the spotless, untouched by fate. arlecchino references the balemoon as a curse, if kaeya doesn't have the power of the balemoon, it would mean (by that logic, if it makes any sense) he is untouched by fate - which could be connected to why he's the last hope of his people. obviously it's hard to talk about timelines and dynasties as we don't exactly know how long the crimson moon dynasty lasted or what cause the shift in the first place. irmin was also supposedly the last king of khaenri'ah but are we even sure there was another one considering there seems to be a connection between forbidden knowledge and the crimson moon?

diluc mentioned in the lore of "wings of concealing snow", nice!!

you know, i wonder if the owls in this story are connected to the underground intelligence network that contacted diluc in snezhenaya. his character story definitely refers to the "observer" as a third-party entity, considering diluc's distaste for the fatui, the abyss order and the knights of favonious we can rule all those options out of the way. the way they don't go into detail about it or even go as far as saying its name, mentioning how secretive they are, i assume they're not a group we've met/are aware as of yet.

going back to "wings of concealing snow" though, the story is very clearly about sal vindagnyr. the description separates the population, if i can call it that, in two different groups: falcons and owls. owls are described almost as if they were councelors while falcons are described as ambitious, with the desire to rule the skies.

from the information we have of sal vindagnyr, we know there's 3 important figures with higher hierarchy: the princess (prophetess and highly connected to the frostbearing tree), the scribe and the priest-king (the princess' 'father').

the princess was able to foresee the future - for example, she foretold what would much later happen with durin - and painted the murals we can still see in dragonspine. she was specifically called a lovely maiden and described as having beauty and skill that was thought to be as eternal and pure as moonlight. it's also relevant to point out the frostbearing tree was very likely an irminsul tree. if we know anything about symbolism in genshin is that moonlight, knowledge and the ability to foresee the future are all key-words that directly point to seelies. and we can parallel this princess directly to someone like sibylla, mentioned in remuria as advisor of god-king remus, who appears as a golden bee and who protected the irminsul where an ancient civilization was located in the abyssal depths. the form of these remuria bees are very akin to what seelies look like and there's also heavy implications she was a seelie. it would make sense that someone overlooking the irminsul tree in ancient dragonspine was also a seelie, or at least related to one somehow.

as for the concept of priest-kings, they're not something exclusive to sal vindagnyr. we've seen the exact same depictions of crowned individuals guiding populations in tsurumi island and the concept was also talked about in the "guilded dreams" artifact set (the set focuses on king deshret and a sumeru desert civilization).

i think it's not that crazy to think ancient civilizations had similar social foundations. the way seelies cohabited with humans, also learned from the chasm lore, implies they guided humanity in some way as divine envoys (words used in "flower of paradise lost", artifact set about nabu malikata). or, more specifically, advised civilizations' gods/kings.

the wings' description also goes on to talk about "birds of the land of the wind" and say the owls gained dominion in the absence of light while fledgeling birds stayed in their nests. this happened after the nail was casted upon sal vindagnyr and the darkness drowned the land (likely the abyss, in reference to forbidden knowledge). if owls and falcons are adult birds in this story, maybe the fledgelings refer to the basis of what would later become the mondstadt civilization. the line "the nestlings would never know who it was who saved them" followed by "the dragon ... would also be forgotten" imply the saviour of the people was someone who ended up being forgotten. as far as i'm aware, there's only one being who was worshipped in mondstadt and ancient civilizations like the one in enkanomiya who ended up forgotten, istaroth. so, there's that!! i also thought it was interesting that the owls that "once shone brightly in the darkness" would also end up with the same fate, although there's no mention they ever disappeared, which brings me to the next point.

"a flash of red flames would reveal his silhouette for but a moment in the darkness of the night, before he disappeared in an instant" sounds a lot like what the owls were like to the people of mondstadt. diluc also only started his darknight hero endeavours after he returned from snezhenaya, after entering the secret organisation and rising quickly in its ranks. and guess who, in the manga, wears an owl mask? an owl is also diluc's constellation and these are diluc and kaeya's respective voicelines in the section "interesting things":

coincidence that kaeya associated the owl with dragonspine? moreso, some of diluc's voicelines are very intent on judgement/punishment: "time for — retribution!" or even "lay waste to the wicked!" which parallels fischl's "no rest for the wicked...". fischl has also said the retribution voiceline in "summertime odyssey". these are interesting parallels because fischl from "the legend of the shattered halberd" and "flowers for princess fischl" has a red eye - auge de der verurteilung or eye of judgment/condemnation - and her mission is to observe and weave the threads of fate. fischl not only parallels kaeya but also king irmin, though it's still interesting this theme is also connected to diluc. but how does this connect to dragonspine? this is the ending line in the description of "wings of concealing snow".

whatever that "greater trial" is, it also implies some sort of payback towards celestia and/or the abyss. as for who are the "we", if not the seelies who got basically wiped out from teyvat, i can only think of the owls.

at last, i want to leave here the messages found in the scribe's box found in dragonspine that clearly belonged to the scribe in sal vindagnyr:

the first message shows resentment towards the skies (it almost sounds like tsaritsa's desire to burn the old world described in the cryo gemstone). the second message refers dust and wind which are very suspicious words considering they can be connected to concepts like alchemy, khaenri'ah and either the anemo god or the god of time. it also shows intent in finding imunlaukr (the hero from another land that left sal vindagnyr to fight what i assume was the abyss during the conflict). the fourth message directly states this person was the last to survive and that it made no more sense to keep watch (of what? the fledglings like the owls?), probably meaning this person left dragonspine. and, in the last message it directly references khaenri'ah's establishment and early days. could this person have fled to somewhere outside of teyvat, away from the gods, like khaenri'ah? this really isn't that surprising when we have in account sal vindagnyr and khaenri'ah share the same written latin-based language.

i actually went a bit more in depth about sal vindagnyr and imunlaukr on this twitter thread, if anyone cares, but i'm going to include here part of it. the name imunlaukr means "sword", being a direct reference to the god ullr - step-son of thor and the son of lady sif. sif was famous for her beauty and unique golden hair, said to be inherited by her children. genshin's imunlaukr went on to pass his name on to a clan in mondstadt that was known for raising brave and gifted warriors that fought hard and died young. the clan adopted their progenitor's viewpoint that combat was merely for the entertainment of the gods and as such would fight anyone and anything for the sake of fighting, as well as enact war tales. do you know who else is a sword, happens to be blonde and has connections to khaenri'ah? dainsleif, which translates to dáinn's heirloom. dáinn (or dain) means 'dead' and he's a character in norse mythology. most of the tales relating to him depict him as a dwarf or king of elves. hehe, break time to introduce fun facts about nibelung. the term in legend has usually referred to either a group of humans or a group of dwarves but the name in genshin is likely derived from richard wagner's four-part opera der ring des nibelungen "the ring of the nibelung", in which the dwarf (or nibelung) alberich creates a ring capable of controlling the world, using gold he stole from the rhinemaidens (or rheintöchter "rhine-daughters"). the conflict that arises over the ownership of this ring eventually leads to the destruction of the gods and their home. continuing with dainsleif, in myhtology, the sword is involved in a so-called eternal battle between kings, initiated by one man falling in love with and running off with another's daughter. dainsleif was forged by the dwarves whose god/king was alberich, and the sword was cursed with insatiable bloodlust and would not be able to be sheathed until it had killed and any wound caused by the sword would never be able to heal. maybe the connection between imunlaukr and dainsleif is a stretch - timewise, it wouldn't really make sense as dain seems to be exclusively from the eclipse dynasty but khaenri'ah was somewhat recent in the scribe's notes - but i really don't think the connection between khaenri'ah and sal vindagnyr is.

furthermore, dainsleif is called "bough keeper", a bough being a branch of a tree - like the irminsul. if you notice his design, one of his arms has blue lines akin to those in irminsul trees. blue lines also appear in his and pierro's mask. the introduction to his character is written by a self-proclaimed prophet and mentions the desire to see the skies burning - like the message in the scribe's box - as well as desire for atonement of bygone mistakes and mentions of alchemy (gold being the end goal as it's related to reaching the magnum opus and the philosopher's stone - elixir of life and immortality). the symbol the angel figure in dragonspine's mural is handing to the humans resembles a circumpoint, that can represent gold. it's also something that appears associated with rhinedottir in one of the videos about the hexenzirkel (which makes sense as she's such a proeminent figure related to the art of khemia and khaenri'ah, very much associated with the cataclysm).

not sure what the conclusion of all of this is but i don't think it's impossible this underground intelligence network and the owls might be something connected, directly or indirectly, to the person from sal vindagnyr that might have fled dragonspine all those years ago or even khaenri'ah. could diluc and kaeya work more closely together than we think? considering the third-party observer that rescued diluc is said to be from the north when that supposedly happened in snezhenaya, does this mean this north they speak of is beyond the land of the tsaritsa?

note: i wanted to make some type of connection to the book "anecdota septentrionalis" or anecdotes of the north, as the book not only talks about snezhenaya but also tells a very fantastical and non-sensical story that includes other nations but i understood very much zero about it other than the fact that north from where the major plot takes place there's a tall wall in the middle of the sea stretching into the sky with countless densely packed human figures suspended "and though they had neither bodies nor muscles, their forms could clearly be seen". whatever that means, so i can't really make any inference to what it beyond snezhenaya.

note 2: forgot to mention but owls besides being birds associated with wisdom, in sumerian, akkadian, and babylonian culture, are also associated with lilith. she was theorized to be the first wife of adam and is cited as having been "banished" from the garden of eden. it's just a fun fact if we think of seelies, divine envoys who are symbols of wisdom and guidance, that got punished by the heavens after their ancestor married a traveler from afar.

#i loved to read your thoughts thanks for adding so much in the tags i hope you don't mind i added them to the post :)#now i'm curious about fischl's story in summertime odyssey shdfsja #i don't know if i remember much but there's a part about their ruler not doing anything when the kingdom was engulfed by a #menacing shadow and oz coming into the realm with the sacred scriptures that contained prophecies (including a prophecy of good fate)#and that book was worshiped by the people #about crimson moon semblance:#there's also the mention of priests and how they were the ones who convinced the king to worship the crimson moon corpse #and the king is referred to as 'muddle-minded' so that's something. maybe the priests here still worshipped the divine as only the eclipse #dynasty seems to be truly 'godless' but we also have the abyss order that also worships the sinner so idk #there's the mention of 'pale-white fate' and how the only one left laughing after the cataclysm was the moonlight. no idea what that means!#and how 'the corpse of the balemoon has already anchored death upon you' you being fate hmmmmm #so there's a lot i don't actually understand but it's still cool they're giving us at least some crumbs to understand or at least #hypothesise what actually happened in khaenri'ah #regarding the seelies i just wanna say i think it's fun that deshret is represented as an eye and an eight pointed star and that nabu #malikata was a seelie and coincidentally there's a door supposedly related to khaenri'ah in sumeru desert. near tunigi hollow of all places #too (with dante's inferno's gate to hell quote too) so food for thought i guess xD

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zepskies · 11 months ago

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Hey could I request angsty and fluffy headcanons for Dean having a crush on reader but he thinks she has a crush on Sam but she actually has a crush on Dean back

Hey lovely!

So I kiiiind of already did this type of prompt with "Dean gives you an impossible choice" and its sequel, "Choosing Him."

But I'll do another imagine in this vein for you! ❤️

Pairing: Dean Winchester x Reader Word Count: 1,000 Tags/Warnings: Fluff, angst(ish), fear of unrequited love, mutual pining

Imagine: Dean reads you wrong.

When Dean falls for someone, it's "slow and steady wins the race."

But the spark. That spark is instant.

He feels it with you.

Your pretty smile. Your "get it done" attitude that mirrors his. The way you know all of his references, whether it's movies or TV or music — you grew up learning how to tell time from what was on TV, just like him.

It's the way you laugh with him, share quiet moments of contemplation with him, and even moments of grief with him. Even when it's his grief, you always come. Whether it's to sit beside him, or share a drink with him, or make him something you know he likes, or get him to take a drive with you.

But realistically, you have more in common with Sam.

Both of you are bookish (nerds). You two get into heated discussions about Dante's Inferno and proper Latin translations. (You always accuse Sam of his pronunciations being off, while Sam argues, "At least I remember the whole exorcism. You think the damn demon cares if my vowels are off?")

You and Sam bicker. You playfully tease him, bring smiles to his face just as often as you bring them to Dean's. You're comfortable with him, playfully jabbing his arm or his chest when you mess with him.

Sam takes it with a smile, or a slight roll of his eyes, but always with fondness.

Dean can't help the churning in his stomach. Every time he thinks he has a read on you. Every time he thinks it's safe to maybe, one day, after a hunt, after an episode of Dr. Sexy, after you get out of the shower, after he's made you a home-cooked meal, after you sit with him and talk about everything and nothing while he works on his car — he thinks he might have a shot if he asked you out.

But he always falters, because he just can't fucking tell. He thinks you and Sam have something.

And Dean...he likes you. A lot.

More than he's ever willingly expressed.

But despite his reputation with women, he's never, and will never, step on his brother's toes.

Until he can't help himself.

It's your birthday. Sam got you a series of books he recommended to you last month. (Again, fucking nerds.) Dean got the booze and made the food to celebrate.

But you're surprised, and even a little teary when he brings out the cake he bought at an honest-to-God bakery. He even stood in line, waited 30 minutes to have them write your name on it, with little balloons. The frosting letters are drawn in your favorite color.

"Happy Birthday, sweetheart," Dean tells you. His tone is a little too soft. It's because he sees your unshed tears, and his heart clenches.

It's just a fucking cake.

Does it really matter that much to you?

But he still feels a well of warmth and pride in his chest. He turns to his brother with a smirk. "I win."

It's meant to be playful, but he kind of means it. Sam just eyes him knowingly.

"Sure," Sam laughs.

What the hell does that mean? Dean nearly frowns. But he's soon distracted — by you leaning in close to kiss him on the cheek.

He turns just in time (with slightly wider eyes) to see you blush.

That smile tells him something.

"Thanks, guys," you say to both of them. But your hand lingers on Dean's wrist, squeezing a bit.

At the end of the night, Sam turns in early. You stick around to help Dean clean up.

"Aw, stop. You're the birthday girl. I got this," Dean says, waving you off. You join him at the kitchen counter and lay a hand on his arm.

"Dean," you say softly. It earns his attention. You look a little nervous, your eyes falling from his, then meeting them again.

"What's the matter?" he asks. His brows furrow. He's thinking of your lips on his cheek. Unconsciously he glances down at your pretty mouth.

"Was wondering if you could help me with a birthday wish," you said.

A smile begins to tug at your lips, and Dean can't help but smile back. Intrigue, and a small tremor of something triggers up his spine.

"Oh yeah? What's that?" he asks.

You bite your lip. "Okay...I'm going to ask you this once. Yes or no. And if it's no...then we won't talk about it ever again and you'll have to wipe it out of your memory, because I don't want to make things weird or make you uncomfortable and I don't want to have to do something drastic, like leave the Bunker—"

Dean's smile falls as his brows raise in slight alarm. He also raises placating hands to stop your verbal flapping.

"Whoa, hey. What? What the hell kinda birthday question is this?"

You close your eyes and take a breath. "Okay."

Your eyes open, and as what happens far too often, Dean's captured by them.

"Close your eyes for me," you request.

"My eyes need to be closed to answer a damn question?"

"Damn it, Dean. Just do it, please!"

He lets out a slightly peeved breath, but he obliges you, shutting his lids. He really doesn't know what the hell is going on...until you lay a bracing hand on his chest and press a soft kiss to his lips.

For a moment, he freezes.

He inhales deeply through his nose as the surprise fades.

Relief floods in its wake.

A smile reaches his face.

But soon enough, before you can pull away, he grasps your upper arms to hold you in place. He dips his head down to kiss you in earnest. His lips find yours, gentle at first, and then gaining in passion.

He learns quickly the pattern of your lips, and the heady feeling of that knowing travels straight to his brain, stronger than the whiskey he drank earlier.

It's like you two were made to move together. To end up just like this.

You both are breathless by the time your eyes slide open and meet one another.

Dean's lips curve into a smirk. "How's that answer for ya?"

Your smile is beaming bright.

"Yeah, that works."

Chuckling, he pulls you in closer and tugs a strand of hair behind your ear, his thumb brushing your blush-warmed cheek.

And he answers you again.

AN: Ugh, I'm sappy as hell. 😂 Hope you liked this! Let me know what you think. 😉

Read Sam’s version: “Sam reads you wrong.”

Dean Winchester Imagines

Dean Winchester Masterlist

Main Masterlist

Ko-Fi Me ☕

Dean W. Tag List:

@hobby27 @kazsrm67 @letheatheodore @agothwithheavysetmakeup @foxyjwls007 @wincastifer @iamsapphine @simpforbuckyb @vanillawhiskeyflavoredkisses @roseblue373 @this-is-me19 @emily-winchester @spnexploration @deans-spinster-witch @deans-baby-momma @iprobablyshipit91

@melancholictearz @nic-kolas @sanscas @sleepyqueerenergy @wayward-lost-and-never-found @thewritersaddictions @just-levyy @samanddeaninatrenchcoat @deanwanddamons @antisocialcorrupt @lacilou @adoringanakin @theonlymaninthesky @teehxk @midnightmadwoman @brianochka @branj19

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#Dean reads you wrong #dean winchester imagine #dean winchester x reader #dean winchester x you #dean winchester x female reader #reader requests #ask me stuff #dean winchester #sam winchester #dean winchester fic #spn #supernatural #zepskies answers

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fawnforevergone · 1 year ago

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The Ultimate List of Dante References in Hozier's "Unreal Unearth" !!

Hello and welcome to my new-and-updated ultimate compilation of all 'Inferno' references I found in Hozier's new album! If I think of anything else, or if anyone else suggests something, I will be sure to add it, but, for now, enjoy this ridiculously long (you've been warned) list I made!

Since I didn't wanna make a post for every individual song and spam you all, the songs are separated by their respective circles! I hope that organises stuff a bit more :]

Usual disclaimer: I could be wrong about some stuff! I've read 'Inferno' and try to stick to the objective references, but sometimes I let subjective interpretation bleed through. If anyone has any corrections for anything, just lmk!! Okay, cool <3

DESCENT:

"De Selby (Part 1)"

We start the album not in the circles, but instead at the Gates of Hell. One of the main themes of Inferno is darkness, and these first two songs are embodiments of that.

The lyrics mention the idea of this being a "new empty space", suggesting that Hozier is being introduced to the feeling of Inferno through the relationship he's singing about, and, so, we begin the descent.

"The likes of a darkness so deep that God at the start couldn't bear." God is obviously a large theme of Inferno and is, biblically, the creator of light, hence the absence of it in Inferno. In fact, the first three stanzas all reference the heavy darkness of the threshold and its estrangement from God.

The Irish/Gaeilge lyrics roughly translate to: "Although you're bright and light, you arrive to me like night fall. You and I, together. You and I, metamorphized. Although you're bright and light, you arrive to me like night fall. The art of transformation is a dark art." The imagery of light and dark mixing together mimics the idea of walking from the brightness of Earth into the darkness of Inferno.

This entire album appears to be the recounting of a relationship and how it feels like walking through Inferno. Here we see the beginning of this relationship, of Hozier losing himself to the threshold.

"De Selby (Part 2)"

Part one appeared to be the step through the gates, whereas part two seems to be Hozier being enveloped by the threshold. In 'Inferno', Dante says the entrance to Hell is a darkness that no stars could shine in. We hear this shift from Earth to Unearth through the production alone; the weightlessness of part one falling into the heavy grunge of part two.

"Your heart, love, has such darkness, I feel it in the corners of the room." The theme of dark continues, as it will through the entire album, but, this time, Hozier feels it radiating from within his lover rather than the space around them. Though, him saying his lover carries darkness is not an insult. This extra depth to his lover is something more to know, something more to love. This idea actually differs from Dante, who sees the darkness as deceitful.

"I want to be so far from sight and mind." Inferno is a lawless place. He would be far from sight due to the darkness, and far from mind due to the insanity that persists within the circles.

"Let all time slow, let all light go." This lyric shows me that he has been submerged in the threshold. Again, the lack of light, but also the slowing of time. Punishment after death is eternal, something that time has no grasp on. Hozier is willing to let these aspects take a hold of him.

"I'd still know you not being shown you, I'd only need the workin' of my hands." Christianity is a heavy theme of Inferno, and this lyric plays on the proverb 'Idle hands are the devil's workshop', a proverb Hozier also hinted at in his song "No Plan" (from 'Wasteland, Baby!') - "My heart is thrilled by the still of your hand."

Now, though, Hozier's hands aren't idle, instead the opposite, his hands are working as God intended. Drawing us back to that idea we were given at the end of part one, we get the feeling that Hozier is bringing something light/Godly to Inferno, and he and his lover are fusing the ideas of Heaven/Earth and Hell.

FIRST (LIMBO):

"First Time"

We now enter circle number one, 'Limbo'. Limbo is an uneventful circle for those not worthy of punishment but also not fit for Heaven. It is mainly for those who do not believe in God, the unbaptised.

Firstly, to get to circles, Dante and his guide, Virgil, must be chaperoned by the Greek Psychopomp Charon down the river Acheron, and we see that in Hozier's first couple stanzas.

"And the soul - if that's what you'd call it, uneasy ally of the body - felt nameless as a river, undiscovered underground." This appears to be Hozier mentioning the river Acheron, one of the five rivers of the Underworld that surround Hades, and, in 'Inferno', are used to transport the souls of the dead to their respective circles.

"The first time that you kissed me, I drank dry the river Lethe." The river Lethe is another one of the five rivers, and is one that causes anyone who drinks from it to forget everything they know. Hozier is simply saying that kissing this person wiped his mind clean, similar to the end of "De Selby (Part 1)" where he mentions partaking in a transformation.

"Some part of me died / Some part of me came alive the first time that you called me 'Baby'." Relating to the previous quote, souls that drink from the river Lethe usually do so before being reincarnated, so they forget their past life. Hozier seems to experiment with the idea of being reborn by his partner's love for him - an idea prevalent throughout his entire discography.

"To share the space with simple living things, infinitely suffering, but fighting off - like all creation - the absence of itself." This lyric tells us that we should not ignore the privilege of living just out of the fear of dying. This lyric is reminiscent of "All Things End" and the circle of Heresy. Since Limbo is home to those who don't believe in God, the theme of Heresy is a very fitting one.

SECOND (LUST):

"When I was young, I used to guess 'Are there limits to any emptiness?'" The punishment for those in Limbo is to exist eternally with the curse of a hollow, empty feeling meant to represent the lack of God in their lives. This punishment seems referenced in this lyric.

[ i ended up thinking about this song more so if you want even more "first time" content, here ya go: "first time dante references." ]

"Francesca"

Into circle number two, 'Lust', we have the story of Francesca Da Rimini, a woman Dante spoke to during his visit to circle two. Francesca fell in love with her husband's brother, Paolo, and when her husband discovered the affair he murdered them both.

Hozier seems to be singing from the perspective of Francesca/Paolo but throughout the album we see Hozier liken his lover to aspects of Inferno - darkness in "De Selby (Part 2)" or Lucifer in "Unknown / Nth" - so the story of Francesca and Paolo is fitting as another metaphor here.

"Do you think I'd give up? That this might've shook the love from me?" Even in Hell, Paolo and Francesca physically cling onto another. They do not let their death affect their love.

"My life was a storm since I was born. How could I fear any hurricane?" The punishment in Lust is an eternal storm meant to replicate the throws of passionate love - a storm also depicted in the production of the end of this song. Hozier/Francesca/Paolo says that it's impossible for them to care about this punishment when life was already as treacherous as it was.

The whole chorus emphasises the imagery of Francesca and Paolo not being able to let go of each other.

"When the heart would cease, ours never knew peace. What good what it be on the far side of things?" Francesca and Paolo lived their love secretly and anxiously, so what good would peace be in the afterlife when they've already become accustomed to difficulty?

"Heaven is not fit to house a love like you and I." In the opening songs of the album, Hozier describes his lover as darkness, akin to something God cannot bear. Due to the depth of his lover, the mix of light and dark they've made, he believes Heaven would crumble beneath the weight of their relationship. That something as corrupt as Inferno is the only place suitable for them to live.

"I, Carrion (Icarian)"

Still in circle two, Hozier plays on Dante's own metaphor. In Canto 17, Dante refers to his own dread of descending Inferno to the same dread that the 'ill-fated Icarus' must've felt on his fall from the sky.

Hozier twists this, instead comparing his love to the hope Icarus must've felt as he flew towards the sun. He said, during a live show, this song is based on the idea hat Icarus never realised he fell, and woke up dead, too clouded by joy to realise what had happened.

"If the wind turns, if i hit a squall, allow the ground to find its brutal way to me." Again, we mention the storm of circle two. Lust is also said to have treacherous terrain - sharp rocks and jagged stone - that seems to be hinted at in the second half of this lyric.

"While you're as heavy as the world that you hold your hands beneath." This imagery seems reminiscent of the Greek Titan, Atlas, who holds up the Earth on his back. Dante talks about seeing Titans and Biblical Giants at the transition point of circle eight to circle nine, 'Fraud' to 'Treachery', which makes this lyric a sad hint to where Hozier will end up finding his lover; Taking the place of Lucifer in the deepest part of Inferno.

THIRD (GLUTTONY):

"Eat Your Young"

We enter the third circle of Inferno, 'Gluttony'. There are no specific references to Inferno, but the concept of gluttony is apparent. Hozier does what he frequently does throughout this album; He refuses to see the sin as "right or wrong" as Dante so stubbornly implies.

Hozier often divulges in a grey area, a spectrum or sale of severity, when it comes to the sin. Hozier's perspective seems more nuanced than Dante's, seeing sin as layered rather than objectively bad. In this specific song, he displays the different sources of hunger in humans, and where the line should be drawn.

"I'm starvin', darlin', let me put my lips to something, let me wrap my teeth around the world." We start, and reference back to in verse two, a sexual hunger, a harmless passion between two people. This is an innocent side of the sin, not deserving of the punishment of Lust which is to be ripped apart by Cerberus (the three-headed dog from Greek mythology) for all eternity.

However, Hozier moves onto the hunger of politics.

"Pull up the ladder when the flood comes." The government refusing to help the people when the sea levels rise.

"Throw enough rope until the legs have swung." When you don't have a ladder, you use a rope. This lyric plays on the notion of when governments give the impression they are helping, but are only making things worse - a take on the saying 'Give someone enough rope and they'll hang themselves', since what else are they meant to do with it?

"Skinnin' the children for a war drum, puttin' food on the table selling bombs and guns." The hunger for power manifests in war.

"It's quicker and easier to eat your young." Here, Hozier uses the common saying in a more literal sense, saying that if these politicians are hungry enough to destroy the world, they may as well physically eat their young, since it'll have the same effect.

FOURTH (GREED):

"Damage Gets Done"

This song takes place in circle four, 'Greed'! The title of the song alone is already very meaningful. In circle four, the main punishment is that the inhabitants are split into two groups and are forever forced to charged into each other and fight. Dante describes them are being so injured and damaged that they have become 'unrecognisable'.

The song is about greed within the changing of the world. It's about growing up and losing the naivety and innocence you once had, no longer able to ignore the burden of politics and money. Hozier and Brandi sing about the excitement of being young and in love, but, with the rise of inflation, it's hard to exist like that anymore - You need greed to survive.

"Wish I had known it was just our turn being blamed for a world we had no power in." This seems to be a reference to two things. One, the idea that governments blame the people for their own poverty, and Two, the idea of arriving in circle four by no fault of your own. It's not their fault they wanted more money with the world being how it is, but, nevertheless, they're being punished for it.

"I haven't felt it since then. I don't know when the feeling ended, but I know being reckless and young is not how the damage gets done." They talk about the enjoyment of the love they're singing about fading, and how they miss that, but they know that, again, this is not their fault. They know they didn't change, the world did, and they won't take responsibility for their 'sin' when all they did was adapt.

As aforementioned, the inhabitants of the fourth circle suffer extreme injuries, so Hozier saying "I know being reckless and young is not how the damage gets done" is him saying "I know that we are not at fault for being served the punishment of Greed."

FIFTH (WRATH / ANGER):

"Who We Are"

We enter the fifth circle, 'Wrath', where the inhabitants spend their time fighting to stay at the surface of the river Styx, another one of the five rivers of the underworld.

"Falling from you drop by drop." / "To hold me like water." These lyrics obviously give the idea of water, representing the river Styx.

"Or, Christ, hold me like a knife." This lyric comes in quite loudly, Hozier's voice strengthening with it. The subtle blasphemy of "Christ" and the violent imagery of "knife" comes across as a sort of anger. Being held "like a knife" is representative of how those is Wrath must feel - like they are something particularly dangerous, but still desperate to be held.

"We're born at night, so much of our lives is just carving through the dark to get so far." Again, this theme of darkness that is so frequently displayed in Inferno is mentioned again. After this song comes "Son Of Nyx", which Hozier said was the transition into the darker half of the album, and Nyx is the Goddess of the Night. Being "born at night" would make Hozier the son of the night, the son of Nyx. This gives the impression that, if the album is following on chronologically, this is the point where the relationship portrayed in the album begins to fray as Hozier starts to be consumed by the darkness.

"And the hardest part is who we are." Those in the circle of Wrath possess a 'savage self-frustration' that Hozier seems to represent throughout this whole song - A fierce annoyance with the way he and his lover let things go: "We sacrificed, we gave our time to something undefined", "Chasing someone else's dream", Etc.

SIXTH (HERESY):

"Son Of Nyx"

We have no lyrics for this song (though you can hear him faintly saying some things, one of which is him saying "who we are...") but we know it takes place in circle six, 'Heresy'. Heresy is a belief or opinion that is contradictory to religious doctrine, especially Christianity. As aforementioned, Hozier said this track is a transition song meant to replicate a descent into the darker half of the album.

Nyx is a Greek Goddess and is often known as the personification of night. She had many children all representing different things but the title would essentially mean 'The Son Of Night', and, as dissected in the previous song, we can see that Hozier sees himself as reborn into the darkness.

Once again, darkness is a large theme of Inferno, but Hozier saying in circle six that he is the Son of Night is particularly meaningful due to the association of light with God. He has been reborn as something that could not be further from God, something that opposes the idea of God, something of a Heretic.

Nyx was feared and respected by all, including Zeus, and, though I believe there is no reference to her in Inferno, she was described as residing in the dark recesses of the Underworld, which is heavily incorporated into Inferno.

"All Things End"

This song does not have many overt references to circle six but definitely incorporates the idea of heresy. As mentioned, heresy is an idea that contradicts (especially, but not always) Christianity. In this song, Hozier talks about the ephemeral nature of all things, particularly romance.

"When people say that something is forever, either way it ends." Whether it be death or a break-up, God doesn't plan for you to be able to spend eternity with your lover.

"Movin' on in time and taking more from everything that ends." Hozier, however, argues that things still have meaning beyond their end. That, even after moving on, we will remember and learn from the things we have lost.

"Just knowin' that everything will end should not change our plans." Throws back to the idea of the second verse of "First Time". If you avoided something just because it was going to end eventually, you would never achieve anything. That's like refusing to finish a movie just because you don't want to get to the credits.

When this concept of ignoring the end comes to death, we ultimately cross the concept of God. There are many rules people follow in religion, avoiding certain things because they are against 'God's Will'. Although this practice can be kept in moderation, it can quickly become self-imprisoning.

Not living your present life out of fear for an unproven afterlife can be limiting, especially if you dictate who you love due to what supernatural punishment may or may not follow. Hozier sings that we should not let God's plan interfere with what we need from life, allowing ourselves to indulge in love even if it will end - ultimately, Heresy.

SEVENTH (VIOLENCE):

"To Someone From A Warm Climate (Uiscefhuaraithe)"

This song places in circle seven, 'Violence'. Violence is split into three subcategories, or 'rings'; Violence against others, violence against self, and violence against God. I believe this song gives an overview of all three.

With this song, we recognise that the title says "To someone..." and Hozier said this song was a gift to someone who was from a geographical warm climate, but there is also a lot of heat in circle seven.

"A joy, hard learned in winter, was the warming of the bed." Throughout this song, Hozier describes himself as cold, and his lover as warm. The idea of warming the bed is a concept Hozier mentioned in his song "Nobody" (From 'Wasteland, Baby!') where he sings that, if he had a choice between the warm bed of his lover or performing on stage, he'd go home to the bed. Since this song comes after "All Things End" (the break-up song), this call back to "Nobody" could be instead referencing a permanent distance, rather than a temporary one (like the temporary distance in "Nobody").

"And, darlin', all my dreaming has only been put to shame." This could have two meanings. One, Hozier waking from a dream about his lover to find them not here. Or, two, Hozier's expectations of his lover falling short as their relationship has finally fallen through. These expectations could be a form of violence against self, the second ring, as he set himself up for heartbreak.

"And I wish that I could say that the river of my arms have found the ocean. I wish I could say the cold lake water of my heart- Christ, it's boilin' over." As mentioned, Hozier is cold, his lover is warm. His wishes he could find something to to fill the loss of his relationship, but he still feels the heat from his lover in every part of him.

"It's boilin' over." References the river of boiling blood in the first ring, violence against others, Hozier could be talking about the way his partner loved him, how that was almost an act of violence with how hard it is to now let go.

"Butchered Tongue"

This song has less references to 'Inferno', and is more of a commentary on the act of violence itself. Hozier sings of places and cultures lost to the violence of man, and he mourns this deeply.

"To say 'Appalacicola' or 'Hushpukena', like 'Gweebara'. A promise softly sung of somewhere else." This grieving for a time when native land wasn't colonised and culture wasn't violently erased is prevalent throughout the song.

In the second verse, he sings very strongly of the brutal acts inflicted upon Irish rebels by the British forces in the Wexford Rebellion of 1789. As we know, Hozier is from Ireland, and he incorporates both the Irish language and history into this album, and recounting such violent acts for this song feeds into the grieving of what has been lost: "Between what is lost forever and what can still be known."

In the context of 'Inferno', it feels as though Hozier is listing the sort of actions that would land someone within the circle of Violence whilst also appreciating the efforts those above ground take to preserve erased culture. Altogether, the song is a very moving commentary on modern violence.

EIGHTH (FRAUD):

"Anything But"

The eighth circle is 'Fraud', split into ten subcategories that are positioned around the circle in trench-like ditches, known as 'Bolgia'.

"I wanna be loud, so loud, I'm talking seismic," follows up with, "I want to be as soft as a single rock in a rain stick." Who he wants to be fluctuates between moderation and severity. He is changing, unreliable, possibly referring to bolgia one, Panders and Seducers. Seducers tend to 'lead astray', as Hozier's unreliable narration does.

The punishment of bolgia one is to be marched backwards and forwards rapidly whilst being whipped, very much evoking the imagery of a stampede: "If I were a stampede, you wouldn't get a kick." This alludes to the fact that if Hozier were sent to hell for the various sins he commits for his lover, he wouldn't resent them for it at all.

"If I was a riptide, I wouldn't take you out." The second bolgia of Fraud is for Flatterers, 'the act of giving excessive compliments, sometimes for romantic courtship'. Obviously, the song is filled with these compliments.

"I hear He touches your hand and then you fly away together. If I had his job, you'd live forever." The imagery of "fly away" gives the idea of ascending, perhaps to Heaven, as hinted at again by the idea of the longevity of living. Bolgia three is for Simoniacs, those who would sell church roles, offices, or sacred things. This seems to fit with Hozier saying that if he had a divine role, he wouldn't follow protocol, he would allow his lover immortality.

Simoniacs were sinners because they were disobeying God's trust, because the selling of divine roles would lead to corruption in the Church. Hozier is using this hyperbolically, saying that if someone were to sell him the role of God, he would most definitely be a corrupt power.

"I'd lower the world in a flood, or better yet I'd cause a drought." In bolgia four we have Sorcerers. Although Dante used this term in a more logical sense for fraudulent sorcerers - false prophets, fortune tellers, those who lied about the plans of God - Hozier uses the term in a supernatural sense. Sorcerers were punished for trying to interrupt God's prerogative, whereas Hozier is blatantly saying he would summon another flood, usurping God's plan overtly.

"I'm talking seismic." The bridge that leads to bolgia seven was collapsed by the great earthquake and, as we know, seismic activity leads to earthquakes.

"Worry the cliff side top as a wave crashing over." There happens to be a cliff near the entrance of circle eight that a large waterfall plunges over.

"Abstract (Psychopomp)"

This song appears to be the crossover point from circle eight to circle nine that I mentioned when discussing "I, Carrion (Icarian)". Before we get to that, the title itself is significant.

A psychopomp is a chaperon of death; Someone like the Grim Reaper, or Charon from "First Time", or Dante's guide through Inferno, Virgil. Here, Hozier is describing the act of hitting an animal with your car as taking on the role of a psychopomp, whilst also relating this idea to the act of letting a relationship die, leading it from life to death.

In the crossover point from eight to nine, Dante and Virgil stand and look at the large well that leads down to circle nine, 'Treachery'. The Titians and Giants burst out of the well, to big to fit, but their feet stand stubbornly in Treachery. I believe that, at this point in the album, Hozier stands here, too. He's visited all eight circles, and has one last place to go before he leaves Inferno, and ultimately his lover, behind. This song is him realising he has to let his relationship end, he has to act as a psychopomp for his love.

"Sometimes it returns like rain that you've slept through." Circle nine, 'Treachery', is a frozen over lake, aka a memory of water, similar to the residue of rain. With viewing this song as the predecessor to "Unknown / Nth", we can take this as a hint of what's to come.

"The Earth from a distance." Since Inferno is arranged in rings (like a circular staircase), Dante could feasibly look up and still see where he started his journey. The same way Hozier could look up and see where his relationship began, "De Selby (Part 1)", The Gates.

"Streetlights in the dark blue." We have the mix of light and dark again, as mentioned in the opening track, referencing back to Hozier and his partner falling in love.

"Darling, there's a part of me I'm afraid will always be trapped within an abstract of my life." Of course, Hozier is talking about the memory of the animal hit with the car here, but the way this relates to circle nine is beautiful. As we'll properly dissect with "Unknown / Nth", sat within the most central point of circle nine, the deepest part of Inferno, is Lucifer, the fallen angel. Lucifer was thrown down to Hell from Heaven, and found himself trapped in Treachery, his body too big to escape. Dante says that the more he struggles, the more stuck he becomes.

That moment he was struck down to hell is a moment he finds himself forever stuck in, just as Hozier is saying here. In the next song, Hozier relates his lover to Lucifer, but these lyrics are a gorgeous mirroring of Lucifer's experience, and another hint at the final circle we will now head to.

NINTH (TREACHERY):

"Unknown / Nth"

Okay, buckle in.

The ninth circle, 'Treachery', is also one split into subcategories, yet Hozier appears to be singing about the centre. The frozen over lake of Treachery gets more frozen the closer you get to the centre. The inhabitants start half-submerged in ice to fully plastered in it. Throughout Inferno, and the deeper we descend, a soft breeze becomes a strong wind, that, as we reach the centre, we find is caused by the violent flapping of Lucifer's wings. Here he sits, stuck and chewing on Judas, another one of God's biggest betrayers.

After "Abstract (Psychopomp)" Hozier is now exploring the final stage of his relationship. The circles of Hell had mirrored the love he once had, and Treachery is where it shall be buried. He also represents his lover as Lucifer, though not maliciously. In interviews, Hozier spoke about the song being about a heavy betrayal he suffered from someone he truly loved, and likening this to God and Lucifer is just heartbreaking.

"You know the distance never made a difference to me." The song is about knowing someone in their entirety, discovering their best and worst parts. Hozier uses Inferno to talk about the tiresome journey of finally knowing someone. He says he would've made the trip all the same, that he would've walked this far for his lover no matter what.

"I swam a lake of fire, I'd have walked across the floor of any sea." This mirrors the previous lyric, but also references specific parts of Inferno. The are many fires in Inferno, particularly in circle seven, 'Violence'. The sea floor lyric reminds me of the lake of Treachery. Though a surface, not a floor, the lake would still be below any seabed, since Inferno is geographically below the Earth.

"Funny how true colours shine in darkness and in secrecy." You guys are probably sick of hearing me say it but... Darkness is a big theme in Dante's Inferno. It is meant to represent the deceiving nature of humans when light is not being shone. Secrecy is a running thread through 'Inferno', too, as Dante finds many people he thought had done no wrong residing there. Hozier is simply saying how (sarcastically) funny it is that he only truly knows his lover in the remains of their relationship; How he only knows them after seeing them in their cruellest form.

"Where you were held frozen like an angel to me." There are many angel lyrics, but this one specifically references the ice of Treachery. The fallen angel is indicative of Hozier's experience: Seeing someone he regarded highly, even heavenly, falling from that pedestal and turning into something that couldn't be further from God's work.

"You called me angel for the first time, my heart leapt from me. You smile, now, I can see its pieces still stuck in your teeth, and, what's left of it, I listen to it tick. Every tedious beat going unknown as any angel to me." Hozier references his ex-lover chewing on his heart the way Lucifer chews on Judas. He listens to it somehow still ticking, however slowly, and at the end of the song we hear something akin to a heartbeat. The beats are "going unknown as any angel to me" since he can no longer recognise his own heartbeat after it has been mangled by another, and, since he mistook someone alike Lucifer to an angel, the idea of angels must be "unknown" to him.

"Do you know I could break beneath the weight of the goodness, love, I still carry for you? That I'd walk so far just to take the injury of finally knowing you?" We again have this imagery of walking far, referencing the journey of Inferno, and, even though he's aching with the realisation of who his lover truly is, he can't help but be grateful that he does now know them, no matter how painful that may be. That he would do this all again if it meant he at least got to the answer of who they are.

His weak heartbeat follows him through to final track as we begin the Ascent.

ASCENT:

"First Light"

The title is very meaningful for the Ascent. The song references both Dante and Virgil's ascent and the creation of light by God himself. Dante and Virgil leave Inferno through a tunnel that Lucifer left in the Earth as he was thrown down to Hell, and they emerge on the other side of the hemisphere. This song signifies Hozier stepping away from the relationship as he also makes that journey out.

"One bright morning changes all things." Dante is disorientated when he exits Inferno. He'd become so accustomed to the darkness that he asks Virgil, 'How is it that the sun progressed so rapidly from evening to day?' Hozier seems to recognise here that his relationship is no longer fit for him, that the darkness has become too encompassing, just as Dante realises on his ascent.

"The sky set to burst, the gold and the rust, the colour erupts...the sun coming up." Not only does this give the imagery of the birth of light, but it also represents Dante's view on his exit: 'Until...I saw the lovely things the sky above us bears. Now we came out, and once more saw the stars.'

"Like I lived my whole life before the first light." Hozier says that the darkness from his lover was so overbearing that it was hard to believe he'd ever felt light before - that light could not have exists with a darkness this heavy alongside it. It is a call back to "De Selby (Part 1)" - "A darkness so deep that God at the start couldn't bear."

"One bright morning comes. Darkness always finds you either way, it creeps into the corners as the moment fades." He speaks of bringing light to a moment between them, but has it quickly smothered by the darkness inherent in his partner. Another call back, this time to "De Selby (Part 2)" - "And your heart, love, has such darkness, I feel it in the corners of the room."

"After this I'm never going to be the same, and I am never going back again." This lyric is heart-breaking. Hozier states that Inferno has changed him, but he has no wishes to re-enter it. At the beginning of this album, he was begging for the likes of Inferno - "De Selby (Part 2)": "Let all time slow, let all light go." - and now he is desperate to get away from it. In "Francesca", he said, "At the end, I'd tell them, 'Put me back in it.'", yet, now, he's at the end, he's ascended, and he has no desire to go back at all.

He is letting go of his lover because he recognises that this pain was not worth it, that this love was not worth the punishment he received, so he leaves.

---

That was Hozier's Inferno !! I hope this was helpful to some people since it was very fun to make (I'm exhausted) and it's very enlightening to see how these lyrics relate to Inferno (I'm heart-broken) !! Okay, wooooo !! Enjoy !!!

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nightmaremonarch · 3 months ago

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jojo’s bizarre fantasy au BECAUSE I LOVE PART 5 AUGHHHHHHHHH

i rewatched the entirety of part five in the span it took to make this. Details about the lore and characters below the cut ^_^

Ok. I will be separating this based on character… in an attempt to be more organized. Included will also be my friend’s description that she gave for each character upon seeing the drawing.

Giorno Giovanna — Race, half vampire. Stand name, Gaia. Unfortunately lost his silly victory rolls, which have been replaced with donut shaped curls. Has a dream of usurping the Crimson King and ending his oppressive reign.

Friend’s Description: “‘pink is still manly for this era guys trust’”

Trish Una — Race, human(?). Stand name, Spice. I like to think she tries to maintain an air of elegance and superiority, but she’s just a kid who doesn’t particularly want to be in the situation she’s in. The princess of an underground kingdom? No way. She just wants to be Trish.

Friend’s Description: “Noblelady”

Guido Mista — Race, human. Stand name, Coitus Cluster (good god the creative juices are NOT flowing). Best archer, like, ever. Probably enjoys animal furs but is too broke to get any. Stinky loser.

Friend’s Description: “Robin hood.”

Pannacotta Fugo — Race, elf. Stand name, Purple Death. Former nobleman and still dresses like it. Had to limit the holes in his clothes because he is, unfortunately, not immune to being sunburn.

Friend’s Description: “totally not a vampire”

Bruno Bucciarati — Race, human. Stand name, Strings of Fate. I love him. He’s the love of my life. I may or may not have put the most effort into his outfit. He’s so beautiful. No notes. Also, since zippers weren’t invented till like… mid 1800’s, rather than zippers, he uses strings!!! Tugs on ‘em the way you would a loose hem…

Friend’s Description: “Italian nobleman”

Leone Abbacchio — Race, drow. Stand name, Rewind. It takes the form of a snake!! Because Moody Blues had them.. neck thangs. I don’t know. Anyways. Abbacchio coulda been drippier, but at the time of drawing I was running low on brain power.

Friend’s Description: “TOTALLY NOT A VAMPIRE”

Narancia Ghirga — Race, human. Stand name, Pheonix. Due to the fact that airplanes did NOT exist prior to some point in the 1900’s, Narancia’s stand is a bird. Probably breathes fire and can detect carbon dioxide… cannot come back from the dead though. Sorry buddy. Also, his left eye is blind from his eye infection. Sorry again buddy.

Friend’s Description: “peasant working on a merchant ship”

AND FINALLY:

Diavolo — Race, Demon. The Crimson King. He took FOREVER to draw. Especially those tattoos. I tried to make his color scheme salvageable, but seeing as I was working with Diavolo’s actual color scheme… it is not the best. Diavolo used to have wings as well, but after an incident that prompted him to go underground, they’re gone. He hides in the body of a halfling named Vinegar Doppio… though they are two completely separate entities.

Friend’s Description: “Dante’s homosexual Inferno”

idk if ill elaborate more on this au. depends on the reception of this…!! this is all just for fun… goofs and gaffs… love u sorry for only posting wips for months before this

also in this au i think stands would be called spirits/be spirits ok that’s all fr now bye love u

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vivmaek · 9 months ago

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POETRY FOR YOUR MOON SIGN

✰ my masterlist poems written by someone who has the same moon sign as you <3

☾PISCES☽

Edgar Allen Poe, A Dream Within a Dream

“Take this kiss upon the brow! / And, in parting from you now, / Thus much let me avow – / You are not wrong, who deem / That my days have been a dream; / Yet if hope has flown away / In a night, or in a day, / In a vision, or in none, / Is it therefore the less gone? / All that we see or seem / Is but a dream within a dream.”

June Jordan, You Came with Shells

“You came with shells. And left them: / shells. / They lay beautiful on the table. / Now they lie on my desk / peculiar / extraordinary under 60 watts.”

Toni Morrison, It Comes Unadorned

“it comes / Unadorned / Like a phrase / Strong enough to cast a spell; / It comes / Unbidden, / Like the turn of sun through hills / Or stars in wheels of song. / The jeweled feet of women dance the earth. / Arousing it to spring. / Shoulders broad as a road bend to share the weight of years. / Profiles breach the distance and lean / Toward an ordinary kiss. / Bliss. / it comes naked into the world like a charm.”

☾AQUARIUS☽

W.B Yeats, A Coat

“I made my song a coat / Covered with embroideries / Out of old mythologies / From heel to throat; / But the fools caught it, / Wore it in the world’s eyes / As though they’d wrought it. / Song, let them take it / For there’s more enterprise / In walking naked.”

W.B Yeats, The Lover Tells of the Roses in His Heart

“All things uncomely and broken, all things worn out and old, / The cry of a child by the roadway, the creak of a lumbering cart, / The heavy steps of the ploughman, splashing the wintry mould, / Are wronging your image that blossoms a rose in the deeps of my heart. / The wrong of unshapely things is a wrong too great to be told; I hunger to build them anew and sit on a green knoll apart, / With the earth and the sky and the water, re-made, like a casket of gold / For my dreams of your image that blossoms a rose in the deeps of my heart.”

Louisa May Alcott, The Lay of a Golden Goose

“Oh! Be not rash,” her father said, / A mild Socratic bird; / Her mother begged her not to stray / With many a warning word. / But little goosey was perverse / And eagerly did cry, / “I’ve got a lovely pair of wings, / Of course I Ought to fly.”

☾CAPRICORN☽

John Milton, Sonnet 19

“When I consider how my light is spent, / Ere half my days, in this dark world and wide, / And that one talent which is death to hide / Lodged with me useless, through my soul more bent / To serve therewith my Maker,”

Jala al-Din Rumi, The Guest House

“This being human is a guest house. / Every morning a new arrival. / A joy, a depression, a meanness, / some momentary awareness comes / As an unexpected visitor. / Welcome and entertain them all! / Even if they’re a crowd of sorrows, / who violently sweep your house / empty of its furniture, / still treat each guest honorably. / He may be clearing you out / for some new delight. / The dark thought, the shame, the malice, / meet them at the door laughing, / and invite them in. / Be grateful for whoever comes, because each has been sent / as a guide from beyond.”

Gwendolyn Brooks, a song in the front yard

“I’ve stayed in the front yard all my life. / I want a peek at the back / Where it’s rough and untended and hungry weed / grows. / A girl gets sick of a rose.”

☾SAGITTARIUS☽

Lewis Carroll, A Boat Beneath a Sunny Sky

“In a Wonderland they lie, / Dreaming as the days go by, / Dreaming as the summers die: / Ever drifting down the stream – / Lingering in the golden gleam – / Life, what it is but a dream?”

Dante Alighieri, From “Inferno”

“It’s the pain / of the people down there that empties my / face. / It’s pity / that you’ve mistaken for fear. / And it’s the long way / that pushes us now. / Let’s go.”

Victor Hugo, Tomorrow, At Dawn

“Tomorrow, at dawn, at the hour when the countryside whitens, / I will set out. You see, I know that you wait for me. / I will go by the forest, I will go by the mountain. / I can no longer remain far from you. / I will walk with my eyes fixed on my thoughts, / Seeing nothing of outdoors, hearing no noise / Alone, unknown, my back curved, my hands crossed, / Sorrowed, and the day for me will be as night.”

☾SCORPIO☽

Sarojini Naid, Autumn Song

“Like a joy on the heart of a sorrow, / The sunset hangs on a cloud; / A golden storm of glittering sheaves, / Of fair and frail and fluttering leaves, / The wild wind blows in a cloud. / Hark to a voice that is calling / To my heart in the voice of the wind: / My heart is weary and sad and alone, / For its dreams like the fluttering leaves have gone, / And why should I stay behind?”

Shel Silverstein, Dreadful

“Someone ate the baby. / It’s absolutely clear / Someone ate the baby / ‘Cause the baby isn’t here. / We’ll give away her toys and clothes. / We’ll never have to wipe her nose. / Dad says, “That’s the way it goes.” / Someone ate the baby.”

Henry Wadsworth Longfellow, Aftermath

“When the summer fields are mown, / When the birds are fledged and flown, / And the dry leaves strew the path; / With the falling of the snow, / With the cawing of the crow, / Once again the fields we mow / And gather in the aftermath.”

☾LIBRA☽

Maya Angelou, Caged Bird

“A free bird leaps / on the back of the wind / and floats downstream / till the current ends / and dips his wing / in the orange sun rays / and dares to claim the sky.”

Emily Dickinson, Good Morning – Midnight

“Good Morning – Midnight – / I’m coming Home – / Day – got tired of Me – / How could I – of Him? / Sunshine was a sweet place – / I liked to stay – / But Morn – didn’t want me – now – / So – Goodnight – Day!”

Elizabeth Barrett Browning, My Heart and I

“You see we’re tired, my heart and I. / We dealt with books, we trusted men, / And in our own blood drenched the pen, / As is such colours could not fly. / We walked too straight for fortune’s end, / We loved too true to keep a friend ; / At last we’re tired, my heart and I.”

☾VIRGO☽

Robert Hayden, Those Winter Sundays

“Sundays too my father got up early / and put his clothes on in the blueback cold, / then with cracked hands that ached / from labor in the weekday weather made / banked fires blaze. No one ever thanked him. / I’d wake and hear the cold splintering, breaking / When the rooms were warm, he’d call, / and slowly I would rise and dress, / fearing the chronic angers of that house, / Speaking indifferently to him , / who had driven out the cold / and polished my good shoes well. / What did I know, what did I know / of love's austere and lonely offices?”

Jack Kerouac, How to Meditate

“Thinking’s just like not thinking- / So I don't have to think / any / more”

William Faulkner, Study

“Muted dreams for them / for me / Bitter science. Exams are near / And my thoughts uncontrollably / Wander, and I cannot hear / The voice telling me that work I must, / For everything will be the same when I’m dead / A thousand years. I wish I were a bust / All head.”

☾LEO☽

Walt Whitman, I sing the Body Electric

“I sing the body electric, / The armies of those I love engirth me and I engirth them,”

Oscar Wilde, The Ballad of Reading Gaol

“Yet each man kills the thing he loves, / By each let this be heard, / Some do it with a bitter look, / Some with a flattering word, / The coward does it with a kiss, / The brave men with a sword!”

Ralph Waldo Emerson, Friendship

“A ruddy drop of manly blood / The surging sea outweighs, / The world uncertain comes and goes; / The lover rooted stays. / I fancied he was fled, – / And, after many a year, / Glowed unexhausted kindliness, / Like daily sunrise there. / My careful heart was free again, / O friend, my bosom said, / Through thee alone the sky is arched, / Through thee the rose is red; / All things through thee take nobler form, / And look beyond the earth, / The mill-round of our fate appears / A sun-path in thy worth. / Me too thy nobleness had taught / To master my despair; / The fountains of my hidden life / Are through thy friendship fair.”

☾CANCER☽

Shakespear, Sonnet 147

“My love is as a fever, longing still / For that which longer nurseth the disease, / Feeding on that which doth preserve the ill,”

Robert Frost, Acquainted with the Night

“I have been one acquainted with the night. / I have walked out in rain – and back in rain. / I have outwalked the furthest city light. / I have looked down the saddest city lane. / I have passed by the watchman on his beat / And dropped my eyes, unwilling to explain. / I have stood still and stopped the sound of feet / When far away an interrupted cry / Came over houses from another street, / But not to call me back or say good-bye; / And further still at an unearthly height, / One luminary clock against the sky / Proclaimed the time was neither wrong nor right. / I have been one acquainted with the night.”

William Blake, Auguries of innocence

“To see a World in a Grain of Sand / And a Heaven in a wild flower / Hold Infinity in the palm of your hand / And eternity in an hour”

☾GEMINI☽

Rudyard Kipling, Blue Roses

“Half the world I wandered through, / Seeking where such flowers grew. / Half the world unto my quest / Answered me with laugh and jest. / Home I came at wintertide, / But my silly love had died / Seeking with her latest breath / Roses from the arms of Death.”

John Keats, To Sleep

“Save me from curious Conscience, that still lords / Its strength for darkness, burrowing like a mole; / Turn the key deftly into the oiled wards, / And seal the hushed Casket of my soul.”

Lord Tennyson, The Eagle

“He clasps the crag with crooked hands; Close to the sun in lonely lands, / Ring’d with the azure world, he stands. / The wrinkled sea beneath him crawls; / He watches from his mountain walls, / And like thunderbolt he falls.”

☾TAURUS☽

John Donne, Air and Angels

“Twice or thrice had I lov’d thee, / Before I knew thy face or name; / So in a voice, so in a shapeless flame / Angels affects us oft, and worshipp’d be;”

Audre Lorde, Recreation

“my body / writes into your flesh / the poem / you make of me. / Touching you I catch midnight / as moon fires set in my throat / I love you flesh into blossom / I made you / and take you made / into me.”

Margaret Walker, Lineage

“My grandmothers were strong. / They followed plows and bent to toil. / They moved through fields sowing seed. / They touched earth and grain grew. / They were full of sturdiness and singing. / My grandmothers were strong. / My grandmothers are full of memories / Smelling of soap and onions and wet clay / With veins rolling roughly over quick hands / They have many clean words to say. / My grandmothers were strong. / Why am I not as they?”

☾ARIES☽

E.E Cummings, Love is more thicker than forget

“love is more thicker than forget / more thinner than recall / more seldom than a wave is wet / more frequent than to fail”

Mark Twain, Genius

“But above all things, / to deftly throw the incoherent ravings of insanity into verse / and then rush off and get booming drunk, / is the surest of all the different signs / of genius.”

Paul Laurence Dunbar, Ships that Pass in the Night

“Out in the sky the great dark clouds are massing; / I look far out into the pregnant night, / Where I can hear a solemn booming gun / And I catch the gleaming of a random light, / That tells me that the ship I seek is passing, passing.”

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