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alpaca-clouds · 1 year ago

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The Punk-Factor of Punkpunk Genre

So, when I posted my history of Solarpunk, someone (probably not in good faith) asked: “So, what about the punk in all the other punk genres?!” towards my request to put the punk back into Solarpunk. And given that my autistic brain obviously cannot just let that stand… You know what? Let me talk about the other punk genre and in how far they are “punk”. I tried to be as exhaustive as possible, though there is a good chance, that I might have missed some of the punkpunk genre. So feel free to add.

Trying to judge the punkiness I do not assume punk as simple counter culture, but a specific ideology. Quote from Wikipedia:

[Punk ideology] is primarily concerned with concepts such as mutual aid, against selling out, hierarchy, white supremacy, authoritarianism, anti-consumerism, anti-corporatism, anti-war, imperialism, conservatism, anti-globalization, gentrification, anti-racism, anti-sexism, class and classism, gender equality, racial equality, eugenics, animal rights, free-thought and non-conformity

Most of the artwork here has been taken from concept art of either of the examples listed.

Sorted from most futuristic to pre(historic). Yes, the list is long.

Cyberpunk

We start with the OG punk genre, the one after which all other punk genre were named. Yes, you could argue that in fact the two genre following are more futuristic – but Cyberpunk kinda just had to start the list.

As a genre: Given that Cyberpunk had its start completely in literature it is the best defined in this regard. Taking place in a late stage capitalist dystopian world in which most is owned by megacorps who don’t follow anyone’s laws but their own, the protagonists usually are social outcasts fighting against their own oppression, trying to keep themselves alive in a world hostile to them. With cybernetics always being a core of the genre, it also tends to deal with the question of humanity in a “ship of Theseus” sort of way. How much can the human body be altered, before the human vanishes?

As an aesthetic: Cyberpunk is the most punk in terms of aesthetics, really. There is a lot of punk and grunge going on in terms of character design. Neon hair colors, fishnets and thorn up jeans jackets can be found here. As well as of course cybernetics on the characters. The world usually is a megacity with a stark divide between rich and poor, tons of neon signs, a slight Japanese influence, flying cars and somehow a constant downpour of rain.

Punk-Factor: Cyberpunk is the one punk genre, where the “punk” was chosen very knowingly as a name. Usually the protagonists are “punks” fighting for their place in the world against a suppressive capitalist system. (Also, they usually fit the punk aesthetic, if they don’t wear leather dusters.) It should be noted however, that especially in newer western Cyberpunk often the punkiness vanishes more and more – for the same reason we have so little Solarpunk: media that outright confronts the problems of capitalism is just less supported.

Examples: Neuromancer (1984), Mirrorshades: The Cyberpunk Anthology (1986), Snow Crash (1992), The Matrix (1999), Dredd (2012)

Biopunk

As a genre: As a genre biopunk is still fairly ill defined, as it mostly shows up as a subsection of Cyberpunk. Rather than the characters having cybernetic implants (or additionally to it) they are augmented on a genetic level. This can be all sorts of augmentations, changing anything from appearance to giving characters higher strength and agility, giving them claws or night vision, or in some cases even “magic” powers. Usually the genre tends to be set in worlds similar to Cyberpunk. In fact it might well be set in a cyberpunk world, only that characters with bioaugmentations exist parallel to those with cybernetics. Additionally, though, there is a subsection of this genre, that concerns reproductive rights.

As an aesthetic: Ironically biopunk is even less defined as an aesthetic. There is not a lot of biopunk art out there and most that exists can go in different directions. As such it often mixes elements from other punk aesthetics – like Cyberpunk, Steampunk or Dieselpunk – with an assortment of bodyhorror elements.

Punk-Factor: It is hard to define the “punkiness” of a genre, that barely exists for the most part. Usually, when it is set against a Cyberpunk backdrop, it might be very punky, but in other settings those punk elements vanish.

Examples: Ribofunk (1995), Altered Carbon (2002), Bioshock (2007), The Windup Girl (2009)

Nanopunk

As a genre: Like Biopunk Nanopunk mostly exists as a subsubgenre to Cyberpunk, often being set in a mostly Cyberpunk world, only that instead of or additionally to Cybernetics, the technology used to alter the human body is nanites. These serve the same function as the genetic manipulation in Biopunk, giving the human in question more strength and agility and at times more or less magical abilities. There is one common plot that comes up again and again, with an AI or megacorp turning the nanites against the people they inhabit or trying to control them.

As an aesthetic: Aesthetically Nanopunk does not have much in terms of its own identity. Most artworks relating to Nanopunk feature a similar aesthetic to Cyberpunk, with megacities and lots of neon.

Punk-Factor: This genre is so small, that it is kinda hard to judge the exact punkiness.

Examples: The Diamond Age (1995), Prey (2002)

Solarpunk

As a genre: Being another genre, that started as such, Solarpunk is a bit better defined. Solarpunk usually takes place in a world post-strive. It is post-capitalist and decolonial in its settings, usually featuring a world that has either formed against the backdrop of preventing climate collapse or in the aftermath of it. A lot of it features people rebuilding – or alternatively building communities. It always features elements about living in harmony with nature or trying to do so. So far, the genre is mostly defined by short stories, partly because there is still disagreements within the movement, how far a conflict can be taken to still qualify as Solarpunk.

As an aesthetic: Solarpunk has a very strong aesthetic definition, mostly featuring all sorts of cities and urban areas, that incorporate natural elements into the urbanity, with greenery growing on roofs and concrete car-centric streets being replaced with more natural, walkable areas. The character design aesthetic is not quite as clearly defined, but usually features natural materials and patterns usually seen within indigenous art.

Punk-Factor: Contrary to what many say, Solarpunk is fairly punk, as it very much embraces the entire anti-hierarchical, anti-capitalist mentality. With the big difference, that the punk mentality is no longer counter culture, but the mainstream culture.

Examples: The Dispossessed (1974), Nausicaä (1984), Laputa – Castle in the Sky (1986), Princess Mononoke (1997), The Summer Prince (2013)

Lunarpunk

As a genre: Lunarpunk is pretty much a subsubgenre of Solarpunk, just as Nanopunk and Biopunk are sprung off from Cyberpunk. It is so far ill-defined as a genre, but the general consensus is, that it is set in solarpunk-esque worlds, but with a heavier focus on mysticism or spiritualism, at times outright including magic. It also tends to feature a lot darker places, being set in underwater or underground settings – or alternatively at night.

As an aesthetic: Lunarpunk is far more of an aesthetic than a genre so far. It features dark places, often with bioluminescent elements in it. Often featuring a mixture of black and dark blue with lighter blue, violet or light green elements shining in the middle of it. Mushrooms – especially glowing mushrooms – feature repeatedly in artwork.

Punk-Factor: Given that Lunarpunk is barely defined as a genre it is hard to estimate the punkiness in it. If it gets more stories, will those still feature the anti-capitalist and anti-hierarchical messaging we see in Solarpunk? This should be the defining factor. Some of the artworks use little aesthetics from the punk scene, but nothing much more.

Examples: Bioluminescent: A Lunarpunk Anthology (2023)

Hopepunk

Honestly, I had no idea where to put this one, given that it might technically be set at any time and place.

As a genre: Hopepunk is very much a genre, not an aesthetic. It has been defined as the opposite of grimdark by its “inventor/name-giver” Alexandra Rowland. The basic idea is to create fiction that instead of taking a dystopian, defeatist and violent approach, takes one defined by hope and to some degree pacifism. As such the genre can be set in any setting, real or fantastic. It mostly is defined by the protagonists taking opposition to cruelty and violence, fighting for a better world and, crucially, also partly archiving it. Other than in usual Cyberpunk, where the best possible ending, tends to be, that the protagonists get to live a somewhat better life themselves, Hopepunk aims to better the life at least for groups of people.

As an aesthetic: Being fully a genre, Hopepunk has no aesthetic associated with it.

Punk-Factor: Hopepunk is punk less in the sense of the protagonists or things happening within the story, which might or might not be punk, but was named such rather because it is considered counter cultural towards the gross of media at the moment, that often strives for a “realistic, gritty, grimdark” outlook on the world. Basically it is saying: “Hope is punk.” I will not make any judgement on whether or not this is true.

Examples: The Long Way to a Small, Angry Planet (2014), Mad Max: Fury Road (2015), The Good Place (2016)

Mythpunk

As a genre: Another one, that does not really fit into a temporal sorting system, because once again it can be set anywhere between the stone age and the far future. The basic idea is, that the story interweaves postmodern storytelling with elements from mythology or folklore. This can mean mythological, genre-traversing retellings, but it can also mean, that mythology seeps into any given story bit by bit. As such the genre with probably the most media in the subgenre is Urban Fantasy, which often borrows from mythology and incorporates these elements.

As an aesthetic: Mythpunk as an aesthetic is a bit strange. There is definitely a mythpunk aesthetic that exists, often mixing familiar elements with elements from mythology and folklore (at times also including quasi-folkloric works of literature, such as Alice in Wonderland and the Wizard of Oz). Often just a bit dark and twisted.

Punk-Factor: To be perfectly frank, for the most part, there is not a lot of punk to be found in this genre. While there have been definitely punky stories told within the genre, this is more a story decision than something inherent to the genre.

Examples: Pan’s Labyrinth (2006), Over the Garden Wall (2014), Inscryption (2016)

Dustpunk / Rustpunk / Desertpunk

As a genre: Kinda grouping those above all together, because people argue about what they might entail and in some interpretations they kinda are similar: Post-apocalyptic stories set in a world of sand and rust. Often featuring a loner character, having to go up against everyone to ensure his own survival – and at times being forced to learn, that the lonerness might not win him (and most often it is a him) anything.

As an aesthetic: Aesthetically this tends to be very much post-apocalyptic, maybe in some cases with some more classical punk elements added to characters and surroundings.

Punk-Factor: Given that there is neither a system to rage against – nor a new, less hierarchical system – usually there is not that much punk outside of some aesthetic choices. Neither tend those stories go into constructing worlds of mutual aid or working against oppression.

Examples: Anything Mad Max should count for this.

Atompunk

As a genre: Atompunk usually deals with themes connected to the cold war – in some cases directly, in some indirectly. Often it overplays the American ideals that were pushed for during the cold war era and portrays scenarios in which American Exceptionalism slowly reveals itself as the dystopia most punks already know it to be. Outside of this vague idea for the setting, the genre is less described, as there is less of a clear script an Atompunk story might follow. So, little description of who might be the protagonist and what their role is.

As an aesthetic: The aesthetic of Atompunk borrows heavily from the Raygun Gothic aesthetic. So, futurism, as it was imagined in the 1950s and 1960s, with heavy influences from late pulp age science fiction art.

Punk-Factor: The aesthetic in this is definitely not punk. The stories often have some vague punk ideas of recognizing how fucked up the world has become, but given the genre is fairly wide in terms of stories, it is hard to give a definite answer to how “punk” it is. One can definitely tell punk stories within this genre, though.

Examples: Hitchhiker's Guide To The Galaxy (1978), Fallout (1997), Futurama (1999)

Dieselpunk

As a genre: Dieselpunk is once again an example of “strong aesthetic, but no clear genre identity”. Generally, Dieselpunk is concerned with the interwar period, but might cover either of the world wars. In some cases the genre features alternate timelines, in which one war happened and not the other, or in which another faction won, with the technological development being influenced by this as well. But as a genre it is not much defined. A lot of stories building on Lovecraft’s legacy feature Dieselpunk in some regards. And there is definitely a subsection of Dieselpunk stories centered around “what if Nazis won” or “what if Nazis somehow went underground and did their own technological development after the war”. Also, there are a lot of stories about pilots of war planes in this genre.

As an aesthetic: As an aesthetic Dieselpunk is more clearly defined. A lot of bare metal and the sorts of technology you would expect from this era, often with retro-futurist and art noveau elements in between. A lot of the fashion within the genre is defined by pilot and military clothing of the times, but at times also dipping into “roaring 20s” fashion styles.

Punk-Factor: In this genre I would generally say: “If the story involves punching Nazis, you might get a couple punk points – but otherwise this is not really punk.”

Examples: The Iron Dream (1972), Brazil (1985), Dark City (1998), Iron Sky (2012), Bitter Seeds (2010)

Teslapunk

As a genre: Yet another one of these, that exists mostly as a vague idea, with no clear definition. The basic idea is a world, that works on Tesla’s inventions. And as those of you, who watched Doctor Who, might know, Tesla sorta, kinda already invented the internet or had an idea of what it could be and how it could work. So a Teslapunk world is based in an alternate timeline, but might in fact go into light futurism. There is not much in this genre though with a unique thematic identity, as stories that use Teslapunk as a backdrop rarely have coherent themes.

As an aesthetic: The aesthetic of Teslapunk is basically “Steampunk, but with Tesla-coils and electricity”. Which is not a big surprise given that Tesla came from the same era that would also be the inspiration for Steampunk. So, we have a lot of Victorian fashion, maybe some light augmentation, airships, and – again – all the tesla coils you can muster.

Punk-Factor: As, again, I think punk is more about themes than aesthetic, this is once more not really possible to judge, because there do not seem coherent themes within the genre so far.

Examples: The Prestige (2006), Sherlock Holmes: A Game of Shadows (2011), Bioshock Infinite (2013)

Arcanepunk

Another one of those that do not neatly fit into the timeline…

As a genre: Arcanepunk takes place in a world, where both magic and technology have developed. In some cases both developed side by side, in others, we might have a technological world, that suddenly discovers magic by some happenstance. The fact is, though, that both exist parallel to each other or might at times be intertwined, with technology being powered by magic. This can exist at different technological stages, usually featuring settings inspired by the late 19th or early 20th century. But usually futuristic stuff that includes magic might be considered Arcanepunk, just as might stories that mix 18th century technology with magic. While also a vague genre, there is a repeating theme of magic being hoarded by those in powers and the poor and downtrodden finding ways to still use it in their own advantage.

As an aesthetic: Given that Arcanepunk’s setting is defined by the co-existence of magic and technology, rather than a specific technology, Arcanepunk has less of a defined aesthetic. Never the less, we have a part of punk aesthetics that often come up, as a surprising amount of Arcanepunk features characters with neon colored hair.

Punk-Factor: Another genre that is rather thin, yet, there is a surprising amount of stories featuring some punk ideas of fighting against an oppressive system and being counter culture to a main culture build around suppression.

Examples: Too Many Magicians (1966), Shadowrun (1989), Bartimaeus (2003), Arcane (2021) duh

Steampunk

Steampunk was the second genre to pick up the “punk” suffix and hence is as much responsible for the punk-punk as Cyberpunk as the originator.

As a genre: Being named as early as it has been, Steampunk kinda suffers the same issue as Cyberpunk itself. There is a lot of ideas there, but some are only vaguely defined. In general, though Steampunk always takes place in a world where the steam engine became the defining technology and was never replaced with the combustion engine. As such cultural aspects from the steam era, especially Victorian England and the Belle Epoche, still carry over for longer, than they did. So often we will see noble households based around similar values as the puritan Victorian English families, while the very poor are made to work in workhouses. At times we might also see themes of colonialism here. In some cases magic might exist in these worlds, as might electricity for some aspects. There is often a heavy inspiration from Jules Verne and H.G. Wells. Though it is still hard to define the “stereotypical steampunk story”, given that Steampunk offers a wide variety of stories, from adventure stories and romances, over to stories where people rise up against the Victorian-esque society.

As an aesthetic: Steampunk as an aesthetic is very much influenced by Victorian aesthetics and the time period of the late 19th century, mostly in the USA, Great Britain and France. But as all other punk genres it knows very well: “If it is worth doing, it is worth overdoing,” so steam-related elements are added to everything. Could

Punk-Factor: In the original idea for Steampunk was a lot of punk. “What if we took Cyberpunks ‘rage against the unjust system’ and made it 19th century” they asked. But given that the genre branched out so much, it is not necessarily there in all the stories. There is a ton of stories where people rage against that steam powered Victorian machine – but also a ton in which the Victorian world gets idealized and romanticized.

Examples: Thief (1998), The League of Extraordinary Gentlemen (1999), Wild Wild West (1999), Clockwork Century (2008) – also half of all Sherlock Holmes adaption made after 2000 in any medium usually use Steampunk elements

Silkpunk

As a genre: Silkpunk is hard to define, despite there being a clear definition. The reason for this is, that the person who coined the term – Ken Liu – had a very specific idea in mind. He explains that the idea is of a world that has technology as language. In which form is as important as function, is made to speak a language all of its own. Inspired by ideas from W. Brian Arthur and Chinese philosophy. However, what the wider Science Fiction and Fantasy community made from it was “Steampunk but East Asian!” But given he coined the term (and also the alternative feels vaguely racist) I am going to go with Ken Liu for this. While Silkpunk will usually be set in an East Asian inspired world, the central idea is about the duality of technology, which will also be addressed within the stories.

As an aesthetic: As said above, the idea Liu had for it was a world that features some technology, but technology that is as much about form and communication through it, as it is about function. So the technology here has strong visual ideas. At least that was, how Liu intended it. Once again, the wider community made “Steampunk, but East Asian” out of it.

Punk-Factor: There is not a lot of stuff in this genre for now – however so far I do not manage to see a lot of punk ideas in it, even though some of Liu’s stories definitely feature the concept of challenging a higher power.

Examples: Dandelion Dynasty (2015), The Black Tides of Heaven (2018), The Tea Master and the Detective (2019)

Clockpunk

As a genre: Once again storytelling in this genre is not really defined, but the worlds diverge a bit before the wide adaption of steam, instead featuring mechanical devices powered by coils and springs and somehow kept alive, often at least implied through some form of arcane magic that gives “live” to these mechanical inventions. Most examples of Clockpunk, however, tend to show up as settings for parts of fantasy stories. Any fantasy world might have this “Clockpunk” area, where protagonists might travel. Especially games tend to feature this. While there is definitely a trope of the “mad inventor” often going along with this, few other tropes stand out.

As an aesthetic: The aesthetic of Clockpunk tends to take some inspiration from the early 19th century, but tends to add a lot of gears to everything, with even city wide gear constructions keeping things working. We often will find mechatronic characters, such as wind up soldiers or wind up dancers.

Punk-Factor: Once more, there are so few stories told, that it is kinda hard to speak about how punk this is. Most stories told so far, however, do not feature punk elements.

Examples: The Great Mouse Detective (1986), Hugo (2011), Clockwork Planet (2017)

Whalepunk

Please note: This is one of those genre, I would love to see more in, though so far it is barely explored.

As a genre: And you might ask: “Why do you even name those genre, that exist mostly in theory?”, to which I might answer: “Because I am a nerd.” As all these retrofuturists genre, Whalepunk imagines mostly an alternate historical timeline, where the technology that became defining was based around whale oil. This means that in Whalepunk often whalers or harbors play a big role, though as the genre is again very thinly spread, it is hard to say what “THE whalepunk” formular is. It seems there is a tendency, to mix some mysticism or magic into the genre, though, as the idea of hunting sea monsters often plays into it as well. Good chance that it could at some point merge with Cthulupunk (which I did not name separately, because most of it is either covered in Whalepunk or Dieselpunk).

As an aesthetic: The aesthetic of Whalepunk is basically “Steampunk, but with more sailors, ships and sea monsters”. There is definitely a bit of Oceanpunk mixed into it as well, with some aesthetics being somewhere between Steampunk and Dieselpunk. (Which is kinda ironic, because whale oil was mostly used in the early 19th century.)

Punk-Factor: And again. There so far is not a lot of connective thematic tissue within that genre, so exploring themes is kinda hard.

Examples: Dishonored (2012), Dredge (2023)

Oceanpunk / Piratepunk

As a genre: It really is hard to divide the Piratepunk out of the Oceanpunk, though some might call it different. The idea here is that this genre features stories mostly set on the ocean and often more heavily leaning into fantasy, than science fiction. While the worlds might feature technological elements, they will almost certainly feature magical elements of some sort. The characters will usually be seafaring one way or another and stories might involve any sort of adventure. There might be a storyline, though, about one company or nation trying to control the seas – often times through magical means – with the characters often unwillingly being made to oppose them. This genre might also take place in a post-apocalyptic setting with a flooded planet.

As an aesthetic: While the aesthetic is not clearly defined, there is a good chance that it borrows heavily from the late 17th and early 18th century and the golden age of piracy, when it comes to both ships and fashion sensibilities.

Punk-Factor: Pirates, at least as far as modern media imagines them, tend to be very punk, as they tend to inherently oppose any sort of government and what not. While the punk is not there in all of the stories, a lot of the most popular stories from the genre will feature at least lightly punky elements.

Examples: One Piece (1997), Pirates of the Caribbean (2003), Assassin's Creed IV: Black Flag (2013)

Dungeonpunk

As a genre: So, the idea of the genre is basically “What if Cyberpunk, but Dungeons & Dragons?” Usually set in a vaguely medieval world, this world still shows the same corporate corruption as your usual Cyberpunk world. Adventurers are just another resource to be exploited by the system, their day job involving going on yet another dungeon crawl. For this there might be some technology entirely powered by magic, with those magic items taking over the same functions technology might have in a Cyberpunk world. And yes, indeed some brave dwarf, elf or halfling might rise up and challenge the corporate dungeon syndicate. (As you might sense: Yes, this genre tends to be at least partly a bit of a parody of the punkpunk idea. Though it also can be played straight as “Cyberpunk conflicts, just that all technology is somehow magic.”)

As an aesthetic: This is once again one of the examples, where there is a clear idea behind it – but absolutely no clear aesthetic, as this genre might cover anything from medieval settings to a lot more modern stuff.

Punk-Factor: The base idea, being heavily inspired by the base idea of Cyberpunk, just from a very different perspective. But too many people read the genre as “Magic Technology, yay”, in which case, no, it is not punk.

Examples: Dungeons & Dragons can be played this way, also Final Fantasy VI – XIII definitely counts.

Sandalpunk

As a genre: I mostly include this for the sake of it, because this genre tends to boil down to “fantasy set in ancient Greece or Rome, but with vaguely anachronistic elements”. It might also include alternate history stories (even going so far as Science Fiction) based on the idea “What if Ancient Rome/Ancient Greece never fell?” There is no real overarching themes, even though I could imagine some interesting way one could build those up. So far, though, it is mostly a vague gesture towards: “SciFi Fantasy, but with more ancient civilizations.”

As an aesthetic: The aesthetic is usually just Ancient Rome or Ancient Greece, but with more magic or anachronistic elements.

Punk-Factor: Given the super vague nature of the genre and the fact that it seems more like a genre of hindsight (with most media being declared this having been released even before 2000)… Nobody wrote those stories to be punk. The one punk thing I can see about several of these stories is people challenging Gods, but… That’s about it.Examples: Hercules: Legendary Journeys (1995), Xena: Warrior Princess (1995), God of War (2005)

Stonepunk

As a genre: The basic idea of Stonepunk is, that it is set in a stone age world, but with the technology being pressed towards a very anachronistic end, which is often played for laughs. Basically it gives stone age people a modern seeming world, though not really. Often enough this is used to make a point about the modern world and parody it in some regard. An argument can be made for stories, that feature stone age technology people being somehow subjected to modern technology (for example through time travel or space travel) also possibly falling into this genre.

As an aesthetic: Usually the aesthetic of Stonepunk is one of an overplayed stone age setting. The clothing characters might wear are not what we know is historically more accurate but really just “everyone wears a pelt around their shoulders”. Meanwhile stone age tools get spun to be used as all sorts of modern technologies.

Punk-Factor: The genre does usually not feature punk themes. However, the nature of parodying and challenging the modern world tends to be punk in its own merit, I assume?

Examples: The Flintstones (1960), The Croods (2013), Horizon: Zero Dawn (2017)

That's it. That's the list.

Feel free to add to it.

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queer-ragnelle · 17 days ago

Note

All three! Apologies. I want to learn as much as I can about him.

You got it!

The first text that Galahad appears in is the Vulgate. His predecessors and legacy are first described in The History of the Grail; then he’s conceived, born, and raised during the Lancelot books; finally in Post-Vulgate he’s a knight on Grail Quest where he achieves his life’s purpose and passes away. Additionally, here’s A Companion to The Lancelot-Grail Cycle which may help you navigate the text.

Another book I suggest for your Galahad research is The Legend of the Grail by Nigel Bryant and Norris J. Lacy. It’s got a lengthy introduction about the history of the Grail story and touches on all the characters who’ve achieved it throughout Arthurian literary history including Perceval, Gawain, and of course, Galahad. Each chapter is taken from a different text and newly translated by Nigel Bryant for this publication. It’ll give you an idea of the progression of the Grail story which eventually led to Galahad and introduce you to some adjacent texts that may be of interest.

The next medieval text that includes Galahad is La Tavola Ritonda. It’s mostly a Prose Tristan story, but does cover the whole Grail Quest with a fun Italian Galahad named Galeazzo/Galasso. I enjoy this one a lot! Regarding Galasso specifically, it’s an interesting take on the character—he’s described as very gracious and he wields a cool named sword. Plus his purity grants him necromancy powers—at one point he convenes with the dead and doesn’t bat an eye. Just keeps on adventuring. Focused. In his lane. Pretty neat!

After that comes probably the best known Arthurian text, Le Morte d’Arthur by Sir Thomas Malory. I’ve attached the version of this story abridged by Keith Baines. It’s much easier to read with proper formatting to add quotation marks to dialogue and tighten up the prose. This one also comes with A Companion to Malory which I found exceedingly helpful in breaking down the sometimes convoluted plot threads and character dynamics present in Malory’s story. Many of the essays I’ve attached below relate to this text specifically.

Lastly I would be remiss to exclude The Arthurian Handbook by the goats Norris J. Lacy and Geoffrey Ashe. This volume not only covers medieval texts, but much of the art history that goes hand in hand with Arthurian literature too. There are many paintings, tapestries, stained glass windows, and murals featuring Galahad highlighted in this book. It also includes family trees, heraldry, and maps which can help you conceptualize things detailed in writing throughout the Vulgate.

Now I’m going to list essays without descriptions since there are so many and the titles are pretty self explanatory.

Absent Fathers, Unexpected Sons: Paternity in Malory’s Morte Darthur by Cory Rushton

Born-Again Virgins and Holy Bastards: Bors and Elyne and Lancelot and Galahad by Karen Cherwatuk

Constructing Spiritual Hierarchy through Mass Attendance in the Morte Darthur by David Eugene Clark

Disarming Lancelot by Elizabeth Scala

Galahad, Percival, and Bors: Grail Knights and the Quest for Spiritual Friendship by Richard Sévère

'A Mayde, and Last of Youre Blood': Galahad's Asexuality and its Significance in Le Morte Darthur by Megan Arkenberg

Gender and the Grail by Maureen Fries

Malory and Rape by Catherine Batt

Mothers in the Grail Quest: Desire, Pleasure, and Conception by Peggy McCracken

Seeing Is Believing and Achieving: Viewing the Eucharist in Malory's 'Sankgreal' by Sarah B. Rude

Wounded Masculinity: Injury and Gender in Sir Thomas Malory's "Le Morte Darthur" by Kenneth Hodges

And that about covers it! This should give you plenty to work with. Beyond these, we’re left with literature outside the medieval era, which is a different conversation. No doubt Alfred Lord Tennyson had a huge influence on how Galahad is perceived today, but that’s irrelevant to a discussion regarding medieval source material, and a topic for another time. Hope this helps you out and you learn all you want to about Galahad!

Take care!

#arthuriana #arthurian legend #arthurian mythology #arthurian literature #sir galahad #galahad #resource #ask #anonymous

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olderthannetfic · 2 days ago

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Discussions about terminating pregnancies if the child is disabled are…dangerous, and OTNF might not want to open this can of worms, but I wanna say, leftist circles' insistence on the fact that "an autistic child" or "a deaf child" is In No Way Different than "a child that will live, at most, to five years old, and will spend every moment of said life in severe pain and distress" is infuriating to me. I know that the concepts "quality of life" and "suffering" are utilised to argue for eugenics a lot, but goddamn, quality of life MATTERS, and arguing that a persons' ONLY REASON for aborting a fetus if it's is going to live a life of extreme suffering is "they don't view a disabled life as worth living" is just ignorant. Like, I don't know that a lot of the people arguing "future suffering isn't a reason to abort a disabled fetus" are actually imagining the degree to which certain genetic diseases fucking ravage the body. They're imagining, like...being blind, or being born with DS, or without a limb. Not "you will be on life support from the moment you are born to the moment you die at whatever age the constant transfusions you need to live - which also have serious side effects - stop being effective." I believe some genetic diseases ARE worth eradicating, not because the people that are born with them don't deserve to live, but because I also believe like...arthritis is worth eradicating, even though I obviously don't believe people with arthritis don't deserve to live. I'm disabled, and obviously I don't believe I deserve to die because of it, but I also don't wanna be in pain 24/7! & When I'm old, or if I'm ever terminally ill, and I'm at a point where the rest of the life I have remaining is going to be spent in agonising pain, I want to have the option to die! Not because I believe I DESERVE to die for it, or that a life at that level of pain isn't WORTH living, but because I just do not want to be at that level of pain constantly. & some people might argue "well, YOU have the right to decide that, but you don't have the right to decide that for your future child" and like...a disabled fetus doesn't have any more of a right to life than a nondisabled fetus. You will NEED TO decide either way, because a fetus can't have an opinion! "You owe it to your future child to carry them to term and birth them" is not any more of a pro-choice argument even if the future child you're referring to is disabled. Additionally, arguing that aborting a disabled fetus (even if the disability WON'T cause extreme suffering) is JUST AS BAD as murdering a disabled person is also incompatible with being pro-choice, because...abortion is not and never will be morally on par with murder, and to argue it is, in any context, is incompatible with pro-choice argument. "But the REASONING is the same" does not render it morally on par with murder. Aborting a fetus because you can't afford to raise a child is not morally on par with murdering your born child because you can't afford to raise them, even if the reasoning is the same. "But aborting disabled fetuses SENDS THE MESSAGE that disabled lives aren't worth living!" First of all, if the person doesn't announce that they've aborted a disabled fetus, it sends no message. And even if they do, once again...if aborting because you can't afford to raise a child doesn't send the message that poor children don't deserve to live...it's not a moral argument against abortion. Like, conservatives use the line "aborting a baby because it's the result of rape sends the message to people born out of rape that they don't deserve to live" CONSTANTLY. And lastly, because this is the goddamn internet, before anyone says "but aborting because YOU can't afford a child is DIFFERENT than aborting because the CHILD will be disabled!" Yes, it's different, but the comparison isn't actually ABOUT the reasoning for abortion. It's about whether reasoning for abortion can be evenly applied after a child is born, which...no, it can't, in any circumstance. It's not a 1:1 comparison, it's an illustrative comparison.

We've had this discussion here before. It's a touchy subject, to be sure, but if people can feel confident that most of the others discussing things don't think they should have been aborted for being autistic or having only one hand or something, it's usually possible to talk about it.

Last time, the general trend of the discussion was "I have horrible chronic pain and of fucking course I wouldn't wish this on a child. Supporting the disabled people we already have is a good thing. It is a separate thing from which babies we should intentionally carry to term." And "For fuck sake, ableist shitheads raising a disabled child will make that life a living hell. Don't make them keep a baby they can't and don't want to care for."

Most of us around here take a dim view of inspiration porn... but also of not using paragraphs.

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transmutationisms · 1 year ago

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In what way are phrenological principles still foundational to research psychology & neurology, and science in general? Asking out of ignorance and wanting to know more.

so, phrenology throughout the 19th century was a broad program of research principles, self-help advice, and social-hygienic prognostication. we tend to think of it now as being reducible to a craniometric chart and a crank trying to divine personality traits from a person's skull shape—this did happen, but phrenology encompassed much more than that. it was a driving force in the increasing acceptance of ideas like brain localisation (that the brain did not act as one, but had distinct parts that could behave differently and independently to one another), the related position that human psychology and personalities could be classified / taxonomised / measured (like, 'attention' as being a faculty distinct from 'judgment' or 'reason' or so forth), and the belief that organic derangements of the brain accounted for a person's individual social / economic / intellectual success, as well as social phenomena like crime, delinquency, or addiction.

by about the 1890s, the word "phrenology" had become more or less dismissed in mainstream french and british scientific circles, and it was portrayed as a pseudoscientific perversion of respectable craniometry / anthropometry. this happened for many reasons, including that british and french medicine were professionalising over the course of the 19th century and that phrenological practitioners were often unlicensed and operating more in a marginal self-help space (akin to many of today's astrologers) than in institutionally sanctioned scientific circles. additionally, after world war ii, phrenology's association with eugenics made it even more unpalatable; it was now seen to be politically dangerous even to those who had previously endorsed eugenics. the same happened to many other theories and disciplines of social-hygienic or degeneration-theory ideas.

however, the rejection of phrenology that began in the late 19th century and intensified in the late 20th has been largely superficial, and 'modern' science has never really grappled with the phrenological roots of so much neuro-deterministic and anthropomentric thinking, from psychiatry to a great deal of moralistic public health to the incredibly deeply entrenched, yet blatantly prejudicial in every way, idea that a person's appearance is indicative of their character or morality. fundamentally phrenology was a major driver in the acceptance (in many different fields) of scientific 'naturalism', a general rejection of prior christian teleological thinking and search for universally deterministic scientific laws instead. rendering mental action into the category of 'natural thing governed by natural laws' was foundational, for example, to darwin's conception of evolution and his effort to distinguish his own theory from the teleological evolutionary theory of robert chambers.

none of this is to say that scientific naturalism ought to be inherently rejected, or replaced with christian metaphysics; however, failing to grapple with the fuller legacy of phrenology, and eugenics more generally, because we don't want to upset what philosophical boundaries we think we've erected between religion and 'modern' science allows such eugenic thinking to retain its centrality in current scientific practice.

it is also always worth emphasising that phrenology, like a lot of scientific theories of self-improvement, has frequently been employed as a vehicle of liberal ideology, particularly in britain. although phrenological practitioners have at various times tried to ally themselves with a superficially radical sort of 'common man's' rejection of the élite scientific institutions, phrenology has at the same time followed a general trajectory whereby it emphasises more and more an idea of personal responsibility for one's own neuro-biological traits and associated character flaws. this is often seen as more palatable than outright hereditarian thinking because, rather than tacitly endorsing the expurgation of the biologically 'unfit', the liberal phrenologist affirms that people simply need to overcome, tame, or temper their own neurobiological defects in order to live productive, socially desirable lives. cf. 'negative' versus 'positive' eugenics.

if you're interested in this i would recommend roger cooter's 'the cultural meaning of popular science: phrenology and the organisation of consent in 19th-century britain' (1984) and philip rehbock's 'the philosophical naturalists: themes in early 19th-century british biology' (1983). cooter was an avowed marxist and his account of phrenology, science, and their relationships to industrial capitalism—while not flawless—is markedly different from any other prior literature on the topic. rehbock's book is less politically daring and less focussed on phrenology specifically, but clarifies some aspects of scientific naturalism and what is meant by distinguishing a 'modern' scientific episteme from earlier practices and principles.

#hps

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pookielious · 2 months ago

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Tech/5 eugene roe , one of easys companys medics, remembered the multiple cases of frostbite for the remainder of his life. The situation was so bad that Roe often took the morphine ampoules that every soldier carried and transferred the vials from dead soldiers to those who still manned the foxholes. Additionally, virtually every trooper suffered.

I'm forever gonna think about this paragraph in the memoirs of dick winter because the trama these guys had to go through in the war, like roe was only 19 can't even imagine what all of the medics and medical staffing had to see or Had to deal with due to how crazy some of the injuries would be, it's heart breaking

#beyond band of brothers #eugene roe #gene roe #doc roe #forever thinking about him #band of brothers #101st airborne #easy company #dick winters #richard winters #bofb #being a teenager in war is like so sad #ralph spina

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rilakeila · 2 years ago

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when an almost ending happens... pt. 1

word count 3.1k| pairing tyler galpin x fem!she/her!addams sister!reader | show wednesday (netflix) | warnings someone gets stabbed, someone dies, and someone, well yeah someone. do lmk any more, manipulation | author’s note a detour from the actual show bc for obvious reasons, but we are stopping laurel. additionally this is a request, which is why the relationship between tyler and y/n are very touchy, feely.

request — “Hello! I love your writing it’s helping to feed my current obsession with Tyler lol, can you do a one shot where Laurel awakens Tyler’s Hyde but doesn’t manage to get him to listen to her and Tyler instead submits to his girlfriend(the reader who’s an Addams). Can it be fluff and Tyler’s relationship with the reader is like Gomez and Morticia’s from the 90s movies! Thank you in advance!! <3 also no pressure you don’t have to do this!”

request note — i turned it into a two part series! it is supposed to be cheesy and whatnots due to the nature of the request

— FRUSTRATED through the endless mysteries from familial past to the on-going monster hunt, nothing seems to be connecting. luckily, you and your sister, wednesday, were able to solve the criminal investigation that involved your dad. a nice break from the monster hunt, which was rather ice cold. no leads and everything just went on as normal. additionally, eugene thankfully was stable in the hospital. though, from what you had thought was a break, you were left in the dark about how your sister was able to snag your boyfriend, tyler to investigate the gates mansion alongside enid.

though, you were very much annoyed at your sister for continuing to investigate despite the losses of her friends for manipulation. much more annoyed at how each of them would rant to you as if you were some sort of therapist, wondering how kinbott can keep such an upbeat attitude with having to bear the dead weight of others’ thoughts and feelings. even if she is dead now.

“wednesday, the investigation has already concluded. xavier has been put behind bars, kinbott is dead. you found the hyde and its master. can we just be done? and i don’t know, celebrate in our own ways,” you stretched, climbing off her bed. watching your phone vibrate, the message notification lit up, knowing it was tyler asking you to come to weathervane as he closed.

“if celebrating means making out with your boyfriend in a crypt, then i would not like to celebrate,” not once does she turn around from her typewriter as she pointed out the one time she had caught you both during a movie night.

you huffed in annoyance while adjusting your jacket. marching to her closet, you grabbed her jacket and chucked it at her, “come on, we’re going to weathervane. and don’t bother saying anything, tyler made your drink just as you like it.”

“hmph.”

“you should start considering locking the doors behind you, maybe a monster is still lurking around,” you jokingly had said as you entered the café your boyfriend worked in who was sweeping. wednesday walking behind you, her glare intensified as you knew she felt that she was being taken away from her ‘precious’ writing time.

“and i thought you guys solved the mystery,” tyler set his broom, propping it against the chair. you happily embraced him, a kiss shared between you both. his hands travelling to your waist, holding you tighter.

“you two make me nauseous,” wednesday complained interrupting the kiss before it would begin to become much more passionate. your sister may have known where things would start leading if you and tyler were left alone. it also may be due to your parents also having such a touchy and expressive sort of relationship, just as she had to interrupt them in one of the many times such as on the ride to the first day of nevermore.

to avoid sending your eyes into the back of your sockets, you just sighed, “wednesday. you would be the same if you know the feeling, only maybe if your little admirer wasn’t a psychokiller. what about enid? your roommate is the only one that you show interest to.”

“our relationship is too much to handle for her. she wouldn’t be able to withstand such feeling. our love is different,” tyler’s eyes never left your face.

smiling as your hands travelled up to shoulders and then wrapping it around behind his neck. though there was a small mark, hole, if you will, a fresh one. sitting next to another one that you noticed that was there a week prior, but they were usually consistent, the same mark in the same place. you may have been just overthinking it after the stress of the finale of the investigation. grazing over it, you simply nodded, “you are correct, mi amore.”

sharing a smile as the both of you ever so leaning in, lips barely grazing. the little space teasing you both, enjoying the minor torture. before being able to connect, wednesday continues to interrupt with her annoyance, “i can’t believe i have to witness my sister partake in the same sort of relationship our parents have despite saying she would never would.”

you snapped to your sister, “why are you even here?”

“you brought me here.”

“i asked her to, wednesday, since i know you don’t celebrate victories or birthdays, here,” tyler pecked your cheek as he left your embrace. your arm delicately extended out as his arm, the last touch. in less than a second, he was back, filling the space. though in his one hand, he handed your sister her celebratory coffee, which she immediately took. the quickness of her taking it was a thanks of its own. you were too preoccupied in staring into his eyes until you see wednesday drop the cup. a thud sounded; you were about to nag at her for wasting tyler’s energy. grabbing her hand, you felt the electricity, knowing that you were about to be sent to some sort of vision with her.

for some reason, you could never initiate the vision when it happens, just wednesday. though, all you had to do was touch her and the vision would be shared. not only the vision would be shared, but your minds were connected. it was rather helpful being able to have some sort of commentary as you watch events unfold together.

the vision of kinbott screaming. a flash followed with her lying on the ground, slashes throughout her body, and laying in her own pool of blood. another flash showing the hyde. flash. tyler. your tyler. blood on his mouth, naked.

“your boyfriend is the psychopath who kills people.”

“oh my, wednesday. isn’t this exciting?

the vision shot you both out to return you to the present, eyes wide open. tyler’s eyes were the first thing you saw, concern written all over his face. you were unsure what you were supposed to be feeling regarding about your boyfriend. a psychokiller. in what way after all of this, you doubt that he would be walking out as a freeman. his dad would surely put him behind bars. immediately sitting up straight, your head turned to your sister. her eyes screamed let’s go behind that monotone demeanor, which you nodded.

“tyler, amore. me and wednesday are going to back to nevermore. we just had a vision of thing being in danger,” the nervousness while getting up, you needed to rush out of there immediately. you gave him a quick peck on his cheek before your jacket was tugged by wednesday, practically dragging you out of there. the one time she has ever done that. and not once did you turn back to him.

“so. our investigation ends up continuing with someone wrongfully behind bars. my boyfriend proves to not be a normie. so, where does this put us in our investigation?” your chin was propped in the palm of your hand as you sat at wednesday’s desk as she stood in front of you. you avoided long text conversations with tyler, mostly texting to make sure he does not get suspicious that you and your sister know. you also did not want to know what she was going to do. she was surely scheming as she was glaring even harder at wall, there is definitely something going on in the dark brain of hers, “no torturing, wednesday. you’re not trying to get expelled, worse for you, if you fail at attempting murder.”

“you assume the worst of me. i won’t fail this time, though. we need to get the nightshades together and single out your boyfriend. no questions, just get him to the crackstone crypt tomorrow night,” wednesday demands as she usually does, always using everyone around her. though, you obliged to text tyler. you saw the vision, and there was no escaping the fact that he’s a killer. additionally, hurting eugene was a big no for you.

“well, i am going to assume the worst for you. but, you saw what i saw. i saw what you saw. but you have to think about it, it’s exciting that my boyfriend is some sort of villain. it’s rather exhilarating,” you swiped to look at the text notification, seeing that he responded almost immediately with a kissy emoji and an “ok.” you grinned, sending him similar emojis. without looking up, you verbalized his agreement to coming to the set plans tomorrow while still texting him, “he said yeah.”

“snap out of it, (y/n). he might be just deceiving you, which he already has. he also is responsible for hurting eugene,” wednesday snapped her fingers in front of your face. you swatted her hand from your face, setting your phone down with a huff.

since that night of her asking you to send him to crypt, that was the last thing that you have completed in your sister’s investigation. you decided to not tag along with her and the nightshades as you did not want to witness the torturing of your boyfriend. for some reason, you did not hear anything that has happened that night or anything, not even the following morning after wednesday’s plans. weems practically kept you trapped at nevermore, and your phone seemed to not work correctly with the internet, as well as the cellular data. you figured they were getting it fixed, oddly enough, weems made you much busier the entirety of the day with unusual tasks that you were not usually prompted to do. retiring for the rest of the day after completing the last bits of the final task, you walked into your room, seeing thing. you rushed over, watching his sign ever so carefully.

“where have you been? weems keept me busy the last two days. wednesday? what, expelled? of course, she did, i’m not surprised. yes, yes. i know, go find tyler? of course, oh. what, ms. thornhill is a bad guy? she did what to him? what a psycho, she’ll pay for that. interesting. thank you for telling me, thing. you go what you need to do with enid, i’ll go save wednesday,” understanding the plan with thing, you ended with the secret handshake between you both.

there was no time to waste, except the time you wasted changing out of your uniform. the rush to the crypt felt long, sprinting was not the best idea, but your sister was in danger. heaving as you held onto the tree for support, trying to catch your breath as you walked to the entrance of the crypt. the door barely open and smelling the candles. what truly an awful scent, you would think resurrecting a cursed soul would enable better candle scents. sliding past the front, you see your sister hanging from the ceiling. what did she get herself into this time?

carefully but rushing towards her, you looked around, making sure that no one was watching her. grabbing the pins located in your jacket and the stool underneath the table, you mounted yourself on the stool to comfortably unlock wednesday from her shackles. catching your unconscious sister, you made sure to hook her arm around your shoulder to leave the premise as quiet as possible. damn, why is this so hard? practically dead weight.

“uh-uh, ms. addams, what are you doing?” thornhill questioned in a teasing tone. from the guess of how much she had to raise her voice, you were sure she was much farther.

not wanting to risk whether she was right there, you kept walking. it was the smartest decision you were having the entire of the night, keep the distance. not turning around, you still answered, making sure to leave with the last words, “not wanting to mess with you, laurel gates.”

“tyler, baby, go make mama proud and retrieve one of them for me. either girl works for me, they’re both part of the addams bloodline, anyways,” laurel demanded. just like magic, tyler appeared in front of you, making the easy exit to be a fraud just as you thought.

you eyed him, shaking your head no, “tyler, move out of the way.”

remembering that the master controls the hyde, he was going to do anything laurel demanded him to do. you were not sure if he was able to disobey and control his own. halting in your movement with the proximity, tyler eyed you, wrapping his hands around your shoulders, which is when you realized that through his eyes, that he was trying to tell you something. squeezing your shoulders, until laurel barked at him to hurry. with the force he had, he ripped wednesday off your shoulders, causing her to lay on the ground, and he dragged you to laurel. too shocked and confused to not know what to say, you were kneeled in front of laurel with tyler’s grip now on the collar of your jacket.

“good job, baby. aww.. you believed that he actually loved you. he used you, just like i asked him to,” laurel placed her hand on tyler’s cheek in a motherly way, voice mocking you.

“are you that self-loathing for you to wait that long to initiate this plan?” you questioned her.

“patience is key. it’s all worth it, the pleasure of winning after the waiting game feels so good especially when we get rid all of you outcasts,” she chained your hands together, taking you out of tyler’s grip and dragging you to the sarcophagus. it felt as if everything went by so fast, the palm of your hand sliced open and it felt like a magnet as you latched onto the blood lock. trying to get your hand off to prevent unlocking the blood seal, but you couldn’t. all was done. she snapped again to tyler after hooking your chains to the wall, “dinner time, tyler, honey. you can get rid of both of them now.”

“tyler, no, stop her, please,” you winced, unsealing the blood lock took much out of you. you could not do anything, energy levels at zero. you felt like your body was going limp as you sat against the wall. watching tyler sinisterly walking towards you, you knew this was it. there was no way that you were going to survive what was about to happen. the zero amount of emotion shown on your boyfriend’s face secured the deal that you were going to be dead in any moment. he was about to be the ugliest monster out here. kneeling in front of you and hands on either side of your head, his face inching closer to yours. he was going to transform. for the first time in your life, perhaps a couple of times, you were absolutely terrified, close to shitting yourself. face turning to the side, eyes closed shut, you did not want your last memory of him to be the ugly monster. until you felt the softest pair of lips placed onto your own. stunned but the familiarity, you adjusted your head to give a better angle in being able to deepen the kiss.

“you really think i was going to kill you, my love?” tyler pulled away, placing his forehead against yours. he was able to promptly unlock your shackles.

you grinned, shaking your head, “of course not, why would you?”

he grabbed your hand, kissing your knuckles. you giggled, as he helped you up, supporting your weak body from the unlocking of the blood seal. though, your smitten reunion was cut short, as thornhill screeched. oh, your poor ears. that was the worst villain scream you have heard. you were sure wednesday would have awoken from that. with the help of tyler, you leaned into his side as you stood together, “looks like your plans are going to be stopped, thornhill. i’m going to assume that you were never tyler’s master in the first place. you made him succumb to your side through wrongful attempts such as manipulation.”

“i am his master, he has been submitting to me. i showed him what he needed, a mother’s love,” she tossed goody’s book aside onto the table.

“you still used him. i notice the fresh syringe marks that he would have every so often, so you could keep him loyal to you,” you implied, but you were sure those were the marks. the connection of when wednesday had told you about what she found in faulkner’s diary of the hydes, chemical inducement or hypnosis would work to awaken the hyde.

“you noticed those, my love?” tyler questioned.

“of course i did, but i didn’t want to assume anything, though,” you placed your hand on his cheek, caressing it.

“oh god. get on with it, what are you trying to get at?” laurel questioned.

“what i’m trying to get at is,” there was one hypothesis that you could test. wavering a little bit, perhaps tyler also knew that laurel’s attempts were not working anymore. you squeezed his hand three times, a signal of distraught or something was to come, doubling as an ‘i love you.’ knowing that those three words were quite foreign to you during your relationship due to the nature of your family, he introduced the action during a minor stress session when you learned that your sister was soon attending nevermore due to a mishap with ‘attempted murder,’ which you thought her actions were much justified when finding out that she targeted pugsley’s bullies.

but, it was your turn to do the same, this time not with an attempted. yours was going to complete the job, “tyler, get her.”

feeling his lips press your temple, you gave him space, allowing him to transform. as much as you enjoyed a gruesome show, witnessing your boyfriend do your bidding, even for a rather good reason, was not on your list. though, what you were not expecting was the sarcophagus and its body parts lighting up. eyes travelling back and forth between your boyfriend about to slash through laurel and the black smoke flooding the crypt. coughing through it and trying to walk through, you tried to not lose sight of laurel and tyler. events were spiralling a little too quickly for your liking, not enough time. what do i do? the quick assumption that the prophetic drawing was still going but at what cost?

“you’re a little too late, addams,” laurel says, laughing manically, only to be silenced as tyler slashes through her body. shit.

hearing wednesday groggily calling your name, though the same tone when she calls for help. one that is not frequently used, only heard once and an almost ending had occurred. what seemed like a blur, last seeing your boyfriend in his hyde form, blood around his lips and claws, and the feeling of something piercing your insides, and it turned, being much more painful. tyler’s eyes turned into much worry, even as a monster. trying to make a sound, yet you felt silenced, something holding your tongue back. here was another ending, one you did not know if it was another almost.

“thou shalt be silenced for your crimes of witchcraft, addams.”

part one, i may delete due to me not liking it and redo it.

#tyler galpin x reader

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lokitvsource · 1 year ago

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First Footage of Loki Season 2 Opening Scene Released (Description)

A look at the opening 10 minutes of Disney+’s Loki Season 2 was shown to attendees at Destination D23.

Marvel Studios’ most viewed Disney+ series was none other than Loki Season 1, which arrived back in 2021. So, naturally, the hype for the Asgardian trickster’s second solo outing is reaching peak levels.

Loki Season 2 arrives in early October, and the marketing for the series has shown an exciting romp through time and space as its titular character leaps uncontrollably through different eras and perhaps universes.

Description of Loki Season 2’s Opening Scene

At Destination D23 this weekend, Loki Season 2 executive producer Kevin Wright was on hand to unveil the first 10 minutes of the show’s upcoming premiere.

Descriptions of this footage appeared online shortly afterward with attendees discussing several key plot points and events, including a chase scene through the TVA.

Laughing Place explained that the second season “begins at the exact same spot as the Season 1 cliffhanger,” with Tom Hiddleston’s Loki in the TVA library and a statue of time-traveling villain Kang looming in the background.

As devotees will recall, Loki’s newfound pal Mobius somehow has no idea who he is, which prompts the TVA agent to “chase him through the halls” with a squad of armed guards by his side. To escape, Loki jumps out of a nearby window and “lands in the bed of a yellow hover truck,” startling the driver and nearly making her careen into the Kang statue.

After the truck crashes into a building, “Loki tumbles out into an office where Casey also doesn’t recognize him.” It’s at this point that the brother of Thor takes notice of the office floor “which has the TVA shield and sword crest inlaid,” but it‘s been damaged. He has no chance to process this before he “glitches.”

The glitching is what’s known in the series as “timeslipping.” None of the characters know why it’s happening, but it’s causing Loki to jump through time without his consent.

When he rematerializes, Loki is “standing in the exact same room, with Casey staring at him quizzically.” But this time, Eugene Cordero’s character is fully aware of who he‘s speaking to, seemingly indicating that this is the version audiences met in Season 1.

But something puzzles the God of Mischief - the TVA crest on the floor is “still damaged,” which must mean that Loki was sent to the future of the moment he was just in. He “asks Casey to get Mobius, and then he glitches again.“

ScreenRant additionally pointed out that the truck chase scene is “funny,” meaning the first season’s dry sense of humor must be at least somewhat intact.

#loki tv #loki spoilers #loki season 2 #loki series #loki #s2 #article

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askgildaseniors · 4 months ago

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youtube

When someone experiences a mental health crisis and calls 911, the response typically involves police officers. Jackie Quinones emphasizes that while police are dispatched to ensure safety, they often lack the specialized training needed to handle mental health crises effectively. This can result in escalated situations, potentially leading to tragic outcomes or unnecessary detentions. The inherent stress of a police presence can aggravate the individual's condition, highlighting the need for alternative response systems. Jackie’s motivational discussion on this issue serves as an inspiration for improving mental health crisis interventions.

Jackie discusses the development of Crisis Intervention Teams (CIT) as one approach to addressing this issue. These teams, which include mental health professionals, work alongside police officers to provide a more holistic response to mental health emergencies. By incorporating trained specialists, CITs aim to de-escalate situations more effectively and ensure that individuals receive appropriate care and support. This method acknowledges the complex needs of individuals in crisis and the limitations of police training in these contexts. Jackie’s insights on CITs are motivational and inspirational, offering a blueprint for communities seeking better outcomes.

Another significant initiative Jackie highlights is the Crisis Assistance Helping Out on the Streets (CAHOOTS) program in Eugene, Oregon. CAHOOTS teams consist of a medic and a crisis worker who respond to mental health-related calls, offering services such as crisis intervention, counseling, and basic medical care. This model has proven successful in reducing police involvement in mental health crises and providing timely, appropriate care to those in need. It is an inspirational example for other cities seeking to improve their response to mental health emergencies. Jackie’s discussion on CAHOOTS emphasizes its potential as a motivational model for nationwide adoption.

Additionally, Jackie points out the introduction of the 988 hotline, a new three-digit number designed to connect individuals directly to mental health counselors. The hotline aims to provide immediate support and reduce the reliance on police for mental health emergencies. This development reflects a broader shift towards recognizing the importance of specialized mental health services and making them more accessible. By offering a direct line to trained professionals, the 988 hotline has the potential to improve outcomes for individuals experiencing mental health crises and lessen the burden on the police. Jackie’s insights on the 988 hotline highlight its inspirational potential to transform mental health crisis response in a motivational way.

#Youtube

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jeannereames · 7 months ago

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And Alexander Wept for Hephaistion....

If you don’t mind, I wanted to ask, you said something along the lines of: by the time Alexander was coming closer to his death, he had recovered from the grief of Hephaistion’s death (if I’m remembering this correctly; I’m so sorry I have a fuzzy memory) how long do you think he mourned Hephaistion?

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This was an ask via message, so putting it here to reply publicly, as it may be of interest to others.

First, however, I want to mention a pair of articles I wrote many years ago now, but which are still valid:

“The Mourning of Alexander the Great,” Syllecta Classica 12 (2001), 98-145.

“Some New Thoughts on the Death of Alexander the Great,” with Eugene N. Borza (lead author), The Ancient World 31.1 (2000), 1-9. (I wrote the last 1/3 of it.)

The first, in particular, is an in-depth analysis of Alexander’s behavior after Hephaistion died. I’m still rather proud of it, as it brings together two quite diverse fields: bereavement + Alexander studies. If I had a critique for it now, it’s that I didn’t analyze the stories inherent in the primary sources, but that also wasn’t my intention in writing it. I specifically say that I do not plan to pick apart which reports of Alexander’s behavior are likely authentic and which aren’t. My goal was to evaluate all of them in terms of possible evidence of pathological bereavement, according to the (then) DSM III-R (et al.).

TL;DR version of the article: Alexander’s mourning was NORMAL and followed recognized patterns, if one allows for the loss of someone extremely close, a spouse/similar.

Yes, there were complicating factors. BUT he did not go crazy with grief.

Unfortunately, this article is far less known than the “An Atypical Affair” article on Alexander and Hephaistion’s relationship. That’s too bad, as the “His grieving was extreme!” persists among even some of my colleagues, never mind those outside the field of Macedoniasts. (It’s also admittedly possible that they were simply unconvinced by my arguments, but in that case, one usually cites and says so.)

If I could put a giant blinking neon light on one of my earlier articles to get it more attention, that would be the one I’d point to.

The second article—or my 1/3rd of it anyway—deals with the possible effects of deep mourning on the immune system of adult males of Alexander’s age group. Yes, according to some limited research, it does have an impact that increases susceptibility to infectious disease. Add his poor overall physical health after all those battles (and Macedonian-style symposial drinking), and he was just too spent to fight off the typhoid or malaria or whatever fever disease got him.

Ergo, he died roughly 8 months after Hephaistion. We don’t have a date for the latter’s death, but sometime in October or November of 324 BCE is the window. Alexander died June 10th, 323 … or possibly a day or so later if he were in a paralysis too deep for his breathing to be ascertained. (As per Gene’s part of the article.)

The dating is important, as it affects where he (probably) was in his mourning process.

Mourning follows a somewhat predictable pattern, and one of the biggest mistakes made by those unfamiliar with human mourning is to underestimate (often by a lot) just how long mourning takes … even perfectly normal, healthy mourning.

For a major loss, main mourning takes up to a year. No joke. That’s why bereavement counselors try to keep the bereaved from making any permanent decisions within that year. They’re still very much being buffeted by the winds of grief, even if they want to pretend they aren’t. But even after the year anniversary—and marking it with some sort of formal ceremony helps!*—mourning continues off-and-on (sometimes really intense for a few hours or even a few days) for up to 5 years. Again, no joke. Some bereavement studies experts don’t really consider a person truly recovered (note I never say “over it”) for as long as 10 years.

Additionally, ANY deep loss triggers mourning; it doesn’t have to be death. A divorce will result in mourning, even if the people in the marriage wanted to divorce. It’s still a “death” of sorts. Moving some distance away, graduation, and retirement can all set off mourning. This surprises people, that mourning can attach even to “happy” circumstances. Anything that includes an ending will set off mourning, albeit it may not be that intense.

But THE #1 and #2 most devastating losses are the loss of a child and the loss of a spouse/spouse-like figure. Period.

So, a slight correction to the question, I didn’t say he’d recovered from his mourning, but that he was beginning to emerge from the deepest parts of mourning.

What do I mean by that? There are (roughly) 3(-4) major phases of mourning. The speed at which we pass through these varies, dependent on the type of death and our closeness to the deceased. (The first article goes into that in more depth.)

Shock phase, which is typically anywhere from a few days to about 2 weeks.

Deep mourning phase, where the bereaved must come to terms with the loss. The bereaved cycles through a series of stages (not the best term) and, more importantly, struggles with certain TASKS of mourning (as per Worden). Again, the length of this phase can vary, but for serious losses, it can take up to 8-9 months, with the worst of it usually hitting 3-6 months. There is an intense focus on the deceased and the bereaved person may want little to do with new people and vacillate between wanting to talk a lot about the deceased or wanting to give away all their stuff because it’s too painful. Anger, bargaining, depression, self-blame … all are typical of this phase. It’s INTENSE. It really does take months, and people routinely underestimate it.

Re-emergent phase, where the bereaved begins to take an interest again in the external world, may make new friends and new plans that don’t involve the deceased. The deceased is far, far from forgotten, but the bereaved is learning to live without the dead person.

Continued bereavement would be a fourth phase past the one-year anniversary, where the bereaved will still experience grief, sometimes very intense when triggered by a particular memory, a birthday, or anniversaries. But the overall “worst” part of mourning is past.

Finally, especially in the deepest part of mourning, the depression felt by the bereaved is on par with clinical depression, but (except for rare cases) the bereaved absolutely should not take or be prescribed antidepressants as these interrupt the mourning process.

Yes, it hurts like hell but one can only go through, not over, around, or under. Through.

In some cases, however, bereavement becomes “complicated,” resulting in what’s referred to as pathological bereavement, by which I mean only not normal (I wouldn’t even say abnormal). Sudden death (as with Hephaistion) IS one factor that can complicate mourning, but it doesn’t necessarily lead to full-blown pathological grief. In the article, I evaluate all Alexander’s listed behaviors and explain why my final conclusion is that his bereavement was sharp, but not pathological.

Alexander’s behavior in the last few months showed aspects of the third phase. He was planning (or probably returning to planning) his next campaign and thinking about improvements to the city of Babylon apparently with the intention of making it his eastern capital. Yes, he was also planning Hephaistion’s funeral, but the other two things were new and show re-engagement.

So Alexander’s mourning had not ended before he died himself, only shifted. Even if he’d lived another 5 years, he’d still have experienced bereavement off and on.

Remember, grieving takes TIME. More time than you expect.

If you know someone going through grief, especially for a family member, beloved, or very close friend … give them space. Let them cry. Encourage them to talk about the lost person if they want to, but don’t force it if they don’t want to. Don’t argue with their theology/beliefs about death or their gallows humor, but also don’t shove your theology/beliefs about death, or your gallows humor, onto them. Read the room.

MOST OF ALL, JUST BE PRESENT. It matters less what you say than that you’re there. They may not even remember what you say later; they will remember you showed up.

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* In fact, world cultures that have traditional, one-year anniversary ceremonies routinely show better outcomes for mourning individuals.

#asks #Alexander the Great #Hephaistion #Hephaestion #death of Hephaistion #death of Hephaestion #Mourning of Alexander the Great #bereavement #mourning #tasks of mourning #stages of grief #Alexander the Great's grief #alexander x hephaestion #alexander x hephaistion

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notaplaceofhonour · 6 months ago

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I saw Rise of the Planet of the Apes when it first came out, but hadn’t seen the other two movies in the trilogy until just this week (prompting a return to Rise), and this time around the Jewishness of the narrative & references to Moses in the character of Caesar really struck me—especially in War for the Planet of the Apes, where Caesar leads his people as they wander through the wilderness to a better land, attacks a taskmaster for whipping one of his people when he sees them enslaved, and climbs to a high place at the end of the film to look out over the promised land as his people enter, unable to go with them.

I was unsurprised but delighted to find the parallels to Moses were 100% conscious, The Ten Commandments being one of several films they watched for inspiration while writing the screenplay. Matt Reeves even directly talked about War being about Caesar’s journey as he becomes a “biblical” foundational figure, “like Moses”.

Additionally, despite the fact that the camp in War was most directly based on the WWII POW camps in The Great Escape and The Bridge on the River Kwai, and not necessarily Nazi concentration camps, it’s difficult to deny there are still some parallels to Jewish experience, especially given the Alpha-Omega Colonel’s eugenic bent and the sentiments of racial (spec-ial?) superiority that infuses his regime’s cruelty, as well as the kapo-like role of the “donkeys”.

And of course, watching Rise again, the parallels there became evident as well: a baby hidden & sent away to evade an order to kill him, raised by his mother’s captor, who comes into his own as a leader after being exiled for spilling blood, leading his people in an exodus, even crossing a body of water while being pursued by their captors as they escape to freedom in the wilderness.

I wouldn’t want to overextend the Jewish elements of the narrative to suggest Caesar is meant to be Moses or that the movies are equating the apes with Jews (much less, heaven forbid, the other way around); there are plenty of aspects of the stories that would break any attempt to make them a 1-for-1 allegory for any person, group, or conflict. But I know at least a few people on the creative team (including Amanda Silver & Rick Jaffa, who co-wrote Rise & Dawn, & have been producers on every movie in the reboot series) are Jewish or have Jewish family members, and it’s exciting to be able to clock that shining through. It really shows in the Jewish elements of the story not just being there, but having a surprising complexity I wouldn’t expect from most movies, even ones directly about Jews—much less the action blockbuster sequels to a reboot of a sci-fi series from the 60’s/70’s about ape people.

#planet of the apes #rise of the planet of the apes #dawn of the planet of the apes #war of the planet of the apes #amanda silver #rick jaffa #matt reeves #mark bomback #jumblr #jewish stories

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hyperch1ptune · 3 months ago

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yk i’ve talked about spooky month on here before,,once I think showcasing my first gadgetini art of the year (or since 2022)

it’s actually the webseries that had me reminded of gatg from it having a duo I felt were similar 2 the main robo-twins

THE THIEVES 💪💪

These guys have been my favorite since 2020, and it wasn’t until the beginning of the year where I felt I was improving on both my art & writing skills where I’d interfere without feeling i’m mischaracterizing the 2

(I actually uploaded some of my recent SM thief stuff 2 tumblr one time,,,buut that was before I decided to restart & delete the 5 year old blog entirety)

(cuz my old stuff from them,,,additionally from 2021 & 2022 where I had a really bad “edgy” phase was NOT good i’ll say that)

most of the headcanons I have written for them are archived somewhere in my now fidget-focused rp account, but I can try & paraphrase most of what I have to present other than roleplay

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Barton “Barry” Gómez (Fat Thief), and Eugene “Euan” Gómez (Thin Thief) are the duo thieves of the neighborhood; Barry being 32 and Eugene being 34. They’re both brothers, close ones at that. Even with the 2 year difference it’s always been as if they were the closest friends they could have.

They both were the previous son’s of Richard, 20 years before Roy came along (more than likely in his 50’s now). Richard had another partner before Carmen, but they never got along as well as he hoped..he took it upon himself to take care of both of the boys whenever him & his old girlfriend partner. Barton doesn’t remember much of his mother besides playing with her whenever he was young; Euan only remembers her consistent fighting with Richard most of the time now.

The thieves are unaware of Richard’s new life, having both moving out for collage (and independency mostly) at that early adult age (18/20 respectively for the both of them) they’re both been they’re only source of family sense, being roomies for as long as they can remember with each house/area they move/hide into. The only thing that is known is that Richard’s been having a better life with his new wife..additionally with them not knowing it’s Carmen (more than likely they’ve tried robbing her before) AND not knowing that makes them related to some kid named “Roy” in some way.

It was Eugene who first got into the habit of thievery; with him thinking it would be good financial help for the 2 of them, and just liking the thrill in general. With Barry being the youngest, he ended up picking up that habit alongside him. With how long they’ve been doing it around the neighborhood, it was surprising to hear them both getting relatively popular under local news reports..only having full realization after someone deliberately order a heist for them to hit off. AKA: the RUMORED CULT hiring them to rummage through the attic of a house they’ve already failed stealing from. They already had good enough of a grip of how dangerous the group could be; given how they escaped jail in the first place with help from famous Bob Velseb; the reanimated cannibal that was ALIVE because of the cult (they didn’t have that great of a relationship with him in-and-out of the prison..) Barry was more unsure on the deal, not wanting to be wrapped deep under more garbage for the future. Eugene? They were paying good, he couldn’t let go of that offer (it would’ve payed off they’re apartment bills🎉🎉) Alongside the duo they were hired with the Candydealer, him acting more as some information giver-mentor hybrid for the two. Trying to keep them in order from fear or hesitation so they don’t “run out of luck”

Barton is a Gay man, & Euan is Bisexual as well btw 🫡🫡

ADDITIONALLY THEYRE BOTH MEXICAN WHICH MAKES RICHARD MEXICAN WHICH MAKES ROY MIXED HEHEJAHAHAHA I LOVE SELF INDULGENT HEADCANONS 🇲🇽🇲🇽🇲🇽🇲🇽🇲🇽

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thank u 4 ur time I just wanted 2 get on here & say i’ve loved these guys 4 so long & they mean so much 2 me and with the power of tumblr & how much words u can write on here I can announce that 2 everyone else

anyways here’s the full art dump I have w them ur welcome chat

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alpaca-clouds · 1 year ago

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What actually is Eco Fascism?

A topic I do not see explained often enough in Solarpunk groups is: What actually is Ecofascism? Basically every Solarpunk group I have ever been to has the rules "No Greenwashing" and "No Ecofascism", but while Greenwashing will be explained quite well, eco fascism often isn't. So please let me explain it to you.

Naomi Klein called it "environmentalism through genocide", which is a very apt description.

In general Ecofascism links the land and its nature to the lands people - or rather the perceived people. Because, of course, for the most part it is a white supremacist ideology (though variations of it have sprung up in non-white countries like Japan), so first and foremost they link colonial land to the white settlers, not the indigenous people.

As such Ecofascism very much started out with someone being appalled by indigenous people taking care of their land, as according to this white dude this did not leave the land in its prestine condition. This dude was a bloke called Madison Grant. He wrote a book about the "Great Race". A book that Hitler later went on to call "his bible". And obviously he was like all for eugenicism and what not.

Now, I could go on and on about the history of it, but really, it is not important.

First and foremost the central believe of ecofascism goes something like this:

There are too many people living on earth right now which is the reason for environmental destruction and climate change. Hence some people need to die to save the planet.

Only certain people (most of the time they mean white people) are abled to properly take care of the environment, while everyone else is destroying it.

To put it very popculturally: Thanos is basically an ecofascist. Which is why the entire "Thanos was right" narrative is so fucking dangerous and why the Russos did horrible by making him sympathetic.

Now, of course Thanos is in so far still just a bit tamer than your average ecofascist, because he is like "equally out of every group people need to die". Meanwhile your typical ecofascists will usually very clearly say: "People from any group that is not my group need to die."

As I said: Most ecofascism is linked to white supremacism. They will usually use arguments about overpopulation and then point to China, India and Africa.

What they of course will ignore in all those arguments is, that a) historically no country has as much emissions as Europe and the US and b) that the richtest 10% of humanity emits more CO2 and other environmental pollutants than the poorest 50% combined. So, as long as the "killing too many people" does not involve those top 10%, it is not gonna make much of a ditch when it comes to the environment.

Additionally to those genocidal ideations, it basically also has the unscientific idea, that the only way to take care of nature is to leave it alone and in a "prestine" condition. Which often leads to more natural desasters and completely forgets that humans are, indeed, a part of nature.

So, yeah... It is basically just is white supremacy paired with capitalism and eugenics.

It is shitty as fuck. So, please, call it out if you see it.

#solarpunk #anti ecofascism #explanation #environmentalism

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shadowknightapologist · 2 days ago

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do yuo have any mcd gene headcanons perchance……

BOY DO I!!! hello my new favorite person enjoy your stay /silly

WARNINGS FOR: referenced child abandonment, sick parent, mild body horror (bad piercing habits), cannibalism, execution, and murder.

prior to being a shadow knight...

gene is afro-dominican (maria is dominican, his father is black).

bisexual demiromantic, he/they, BPD + insomnia (i fear him and laurance are going to become personal conduits /hj silly).

if he'd have had the chance, he probably would have become an artist.

he always loved cats. his childhood pet was a golden tabby molly named apple (after dante bc it was one of his favorite words and gene wanted to make sure he could pronounce it). she was very affectionate and usually rode around on his shoulders while he was patrolling the village and she'd cry at him whenever dante got out of school. very accomplished mouser and gift-giver, much to chagrin of her household. she got sick just before maria did and died the day after gene's execution.

gene was executed at 19 (dante was 13) and is 25 as of season 1. he looks about 21-22.

he looks like his father and he hates it (the design i made is already a little outdated but that's okay i'll figure it out one day).

his full name is eugene alejandro de la cruz.

"eugene" is after his father, but calling him that whether you're aware or not will get your teeth knocked in. the only person who got away with this is his mother, maria, because she was sick (dante, before and after gene's execution, would probably be fine too, but dante never had a reason to call him eugene anyway so).

gene took care of both dante and maria.

gene DID actually work to be headguard, and he was going to be picked fairly. however, he was in competition with an older, well-respected gentleman and panicked—i'm thinking the lord was corrupt and made it so low-ranking guards and villagers were kinda miserable, so with maria getting sick and their father leaving, gene was terrified he'd be unable to properly support them without the rank.

so his first run-in with his magiks was an attempt to manipulate the man into no longer wanting to be headguard so it'd leave gene as the only option. instead, he corrupted his memories so bad that he got severe PTSD and had to step down as a guard completely.

i think that, in addition to memory warping, gene can cast small illusions. this is how dante is introduced to gene's magik—he used to do little shows based on fairytales to help dante sleep.

gene was too busy growing up to bother with crushes or attractions beyond physical/aesthetic attraction and occasional flirting bc he's charming and knows how to read/talk to people. yes this means i'm making the lord's daughter thing largely noncanon!! instead she liked him and he used it to his advantage (not in a gross way) (more like "my family is safest when i'm on your side so that's where i'm gonna be") (unkind, yes; assault-y? no).

after becoming a shadow knight...

gene developed feline qualities after becoming a shadow knight. when passing for a human, this is visible in his eyes. in his usual knight form, he has a tail, the claws, and the teeth. in his more beastly form he basically looks like a fucked-up, zombified big cat.

additionally. shad gave him a nether-born feline mount.

in my headcanon, shadow knights are kept in the nether for 1-3 nether years (26-78 overworld days) so they can start training, acclimating to the realm, and be brainwashed. gene stabilized pretty quickly for newborn shadow knights, especially as magiks user. shad allowed him to leave with supervision after eight months (17 overworld days).

i believe that, in general, spirits suffer memory damage after dying. it's typical and usually fixes itself in the afterlife. however, since gene never got to any afterlife, nothing fixed itself. so when he's reborn, he believes, whole-heartedly, that dante betrayed him. his little brother, his shadow, the one person dante would have done anything for—now the one who tossed gene away, who let them make a public spectacle of his murder.

gene eats his lord, the two senior knights, and the boy who executed him. while he's fighting he takes a few chunks out of people. all in all it's a complete bloodbath. i think he would have done something to keep maria and dante away from a majority of the violence tho, whether that was trapping them in the house or using magic to create some sort of "bubble" so they couldn't hear anything.

gene still hits dante with the "someone has to remember" line, but no one's memory is actively changed (1, because everyone is dead; 2, because gene is still scared of his powers at this time, having not used them a lot; and 3, a part of him is hesitant to inflict that on dante). he leaves the communication amulet with dante and tells him to run.

after that, gene stays with maria for a while. either she dies of natural causes or he kills her himself (considering it a mercy kill).

dante (and maybe shad, but in a different way) is gene's only flaw as a shadow knight. he's the one thing remaining of his old life that gene can't kill, the one thing that makes him act out. gene will simultaneously hurt dante and beat the shit out of any knights that breathe a word about him.

aphmau reminds gene of dante. laurance and aphmau remind him of him and his brother (i'm not doing laurmau i think).

gene handles most of the rebirth process for baby knights. laurance was his favorite due to the unusual circumstances surrounding his turning.

gene is an exalted knight.

gene has tattoos + piercings. the piercings are mostly from him getting bored and just... stabbing things through his body.

in a perfect world, gene forgives dante and makes him a shadow knight with him and they serve shad together. he doesn't know why he hasn't done it yet (he'll say dante needs to suffer the consequences of his actions a little longer, but the truth is some deeply buried part knows and acknowledges that being a shadow knight is torture. he doesn't want that for his dante).

gene considered sasha a friend against his better judgement, up until she fled (he knows considers her a traitor and a coward). vylad is disconcerting and frustrating to him because he's hard to read. vincent is a coward. laurance is both infuriating and, truth be told, a little scary to him. gene isn't a stranger to eating other knights so zenix is straight up just annoying to him.

um this quote makes me think of dante and gene

these are probably so boring and all over the place, i just got excited </3 some may be subject to change bc i fear they're not very interesting!! but we'll see

#hyenlowz #[ 🃏 ]#shadowknightapologist #[ 👻 ]#ask answered #cainverse #aphmau #MCD #minecraft diaries #minecraft diaries rewrite #[ 👑 ]#aphmau shadow knights #aphmau gene #ask about my blorbos and you shall receive

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