#Cosmic Keys To My Creations And Times

[k-i-l-l-e-r-b-e-e-6-9]

𝔈𝔪𝔭𝔢𝔯𝔬𝔯 - ℭ𝔬𝔰𝔪𝔦𝔠 𝔎𝔢𝔶𝔰 𝔗𝔬 𝔐𝔶 ℭ𝔯𝔢𝔞𝔱𝔦𝔬𝔫𝔰 𝔄𝔫𝔡 𝔗𝔦𝔪𝔢𝔰

[vaguely-concerned]

I think there is no better illustration of the more intimate, internal angle veilguard chooses to approach its characters and themes with than the fact that like... listen in this game we get to follow so much pain back to its source, and we find it really does permeate everything in thedas today on a level that evokes a kind of cosmic horror. the bones of the earth itself are broken open and drenched in trauma; the world is mired in suffering down to the core and the marrow. as above, so below. as outside, so inside. on the big scale, and the small. all of creation is a throat gone to bloody shreds from screaming in agony, when you allow yourself to listen. (maybe that's why we usually don't, or can't, bring ourselves to listen.)

...and yet the thing that makes me personally so desperately gnaw-my-own-arm-off sad that it feels like I could die from it is that in a run where you save minrathous, lucanis never gets out from the ossuary in his mind. what's worse, no one even knows he's in there. he's still in there. and there is no rescue on the way, because he's locked down so deep inside himself this time that there's no way for anyone to even understand there's a need for it. would he be able to welcome one, if someone did realize it and tried to reach him? You know him -- you can open the door, but he won't walk through. He won't move. There's nowhere to go. the way he says 'it doesn't matter what I want' with such utter, leaden, final resignation in the wrecked treviso cutscene is going to haunt me forever. it makes perfect sense to me you can't romance him after that, I'm not sure he's ever really here completely in that version of events, at least within the timeline the game takes place. he's just standing in the shitty awful ossuary torture room all alone, and no one's coming to find him.

and what is that, next to the millennia of suffering screaming through all of history and creation? well. nothing, of course, not really. a single plucked string in an endless deafening symphony of despair. one singular trapped and broken soul among the untold millions that have gone before and the untold more that will surely come after, that are being made as we speak in the conflicts and tragedies unfolding through the game. but more importantly it's also everything. to me. and to the game too. the game says this also matters. just as much as anything else, this pain matters and deserves to be loved and comforted. even in the face of all the suffering in the world, beneath the systems perpetuating all the banalities of evil, for good or for ill sometimes, we matter to each other. and what would be the point of anything, if we didn't? that's where hope lives. as long as you're alive, the right key might still arrive to gently open the locks of your mind, the right hand might reach out one day and you will bring yourself to take it. you don't know what tomorrow's going to be. if in the meantime the only thing we have to gain in staying is each other -- isn't that enough? isn't that everything? why does this one guy saved mean the world saved to me, a little bit? hello. hello. hello. there's stuff going on in the deep here.

when I say that the deep thematic spine of this game is so good and solid that the occasional clumsiness and false tones of the writing on top of it simply cannot hurt me... I think this is part of what I mean. works for every single one of the characters of course! lucanis' is the predicament that speaks to me most viscerally. for. uh. personal reasons there simply is no time to get into at this juncture lol. but just as much the idea that davrin can die before he could see the world freed from the blight and the need for wardens, or that harding can get cut down right at the beginning of a great revelation that could change everything and heal things no one had even dreamed could be healed. all of them are like this. each and every one of us has a world and so many stories inside that matter, and it's not to dismiss the larger systemic forces and evils that create so much of the suffering in the world to focus in on that for one installment of the series -- only to view it from a different angle that brings other things to light than what we're looking for normally in this series. it's worth looking at what's actually here.

(have you ever heard the poem 'good light' by andrea gibson? it's very good. you should check it out if you haven't, you can find it on youtube. it has these lines:

Come make it count Our finding each other like we found God Come root for the salt Come believing we can heal it all, even everything Even everything that has ever been done I know how much the pain of this world weighs But I can still tip the scales in light's direction Whenever I have your name on my tongue

and yeah. I think that's basically what I'm trying to say here.)

[the-moon-devi]

𝐌𝐀𝐆𝐈𝐂𝐊𝐀𝐋 𝐀𝐒𝐓𝐄𝐑𝐎𝐈𝐃𝐒

Erda (894) ~ Past life recollection, South node energy, the ability to see into the past. This asteroid is similar to Urda (167).

Circe (34) ~ Your magickal gifts, Where/How you isolate yourself to practice your craft. Your striking, and special qaulities. (This can show working with plants, and herbs!; I have this in my 12H, and it sits to close to my ASC.)

Magion (2696) ~ The Magician/ Mystic; One who knows how to work with magic. Depending of the sign can show what type of magic you're skilled in. For those of you who practice any kind of magic consistently, I recommend checking the Persona Chart for this asteroid!

Celestia (10) ~ Heavenly one, connection to the cosmos / most high. Angel energy, and may have the gift of divine insight, and cosmic downloads. Keeper of cosmic wisdom. This asteroid somewhat reminds of the asteroid Akasha (5881).

Merlin (2598) ~ The Echantress/ Magician; Occcult Wisdom, Warrior energy, alchemy, majestic energies

Hypnos (14827) ~ The gift of dream sight, prophetic messages through dreams, the ability to Astral project. Dream magic/ Astral projection may be a very strong gift for you. If you have this in the 1st house please protect your energy. Most of the time these natives have very strong dreams. (I have this in my 1st house, and my dreams have always been very intense, and prophetic.)

Copy & Paste⤵

894,34,2696,10,2598,14827,167,5881

Cassandra (114) ~ The Seer; This asteroid represents intuitive abilities, and the gift of foresight. The saying for this asteroid is literally, "The one who goes unheard". Cassandra was a Greek priestess who worked under the God "Apollo". She had the ability to provide prophetic messages. This was very useful in Greek history. If you have this in the 1st or 10th house this could manifest as you having very strong and potent prophetic abilities but people may not believe you until it happens.

Telephus (5264) ~ Telepathy, the gift to connect to others minds, and break into the subconscious or conscious mind of others. The ability to know what others are thinking. Gifts with telekinesis. This can be a very great gift to have!

Anubis (1912)~ Necromancer, this reminds me of the death card. The gift of possessing very ancient knowledge of alchemy, you could easily work with chaos or dark energy. Transmuter energy.

Copy & Paste⤵

114,5264,1912

Pythia (432) ~ Oracle of Delphi; The Oracle/ High Priestess "one who can channel the word of god" The messenger. Divination, prophecy, & magic.

Medea (212) ~ The princess, The wise one; one who can work with herbs, holistic healing.(I've first hand seen a very powerful herbalist with this in their 10H! It was in pisces btw!/ conjunct their North Node!)

Deucalion (53311) ~ Divine Intervention, death, The passage of renewal, magic, manifestation.

Aesculapia (1027) ~ The Shaman, The Healers Journey; Herbs, healing, restoration, health, mystical, holistic healing, Naturalness.

Kaali (4227) ~ The Dark Mother; Kundalini Energy, The Cosmic Mother, One who see's all. Tantric and taboo energy, the height of transmutation energy, "The Left Hand Path", enchanting and creation energy (Love this asteroid so much, Kaali was one of the first dieties to reach put to me, and I have this ☌ my North Node!)

Copy & Paste ⤵

432,212,53311,1027,4227

Asteria (658) ~ Magick, Oracles of the Night, Stars, Practicioners, starseeds, vivid dreams, astrology, prophecy, dream Magick.

Sibyl (168) ~ A Woman Who Has The Gift Of Foresight; prophetess, witches, messengers of the gods. Oracles, divine messages, foretelling.

Hekate (100) ~ The Triple Goddess; dreams, cancerian energy, moon, ghost, keys, opening new doors, mediumship, Magick, dark goddess, the dark mother.

Black Moon Lilith (H21) ~ Magical, Dark Magick, chaos Magick, sex and tantric Magick, hypnotic energy, psychicism, shamanism.

Hades (h41) ~ The occult, darker magic, banishment Magick, the ability to transmute negative energy, karma.

Urania (30) ~ Astrology, muse of the stars, astronomy

(I have this is in my 10th/ ☌ Mc, and ⚹ ♆ 🤭)

Copy & Paste ⤵

658,168,100,H21,H41,30

If you guys enjoyed this, Lmk if you want to see a Part 2! Happy Spooky Szn! 🔮🪄 Til' next time....𝓴𝓲𝓼𝓼𝓮𝓼 𝔁𝔁

𝕯𝖎𝖛𝖎𝖓𝖊 𝕯𝖊'𝕷𝖚𝖝𝖊

ℭ𝔥𝔢𝔠𝔨 𝔗𝔥𝔦𝔰 𝔒𝔲𝔱!

©𝓟𝓻𝓮𝓽𝓽𝔂 𝓒𝓪𝓻𝓪𝓶𝓮𝓵

[reachartwork]

asked my robot son (@statsbot) to brainstorm a minecraft movie that doesnt suck

text under read more

Let me tell you about a different kind of Minecraft movie:

INITIAL QUESTIONS How do we handle the complete isolation of the Minecraft world without resorting to isekai tropes? What's the core philosophical theme that could drive a mature narrative? How do we address the building/crafting mechanics without making them feel gamey? What role should the hostile mobs play in a serious narrative? How can we incorporate the inherent emptiness and loneliness of the world?

DETAILED RESPONSES The film opens in medias res - we never learn how humanity came to this cubic world, because it doesn't matter. Our protagonist is part of a small community of builders and survivors who have always been here. No portal, no transportation, no explanation needed. This is simply their reality, like how we don't question the physics of our own universe. The core theme revolves around humanity's relationship with creation and destruction. The protagonist is a master builder in their community who discovers ancient ruins suggesting that their civilization isn't the first to exist in this world. The film explores cycles of creation, destruction, and rebirth, drawing parallels to real-world lost civilizations.

The crafting system is presented as an inherent natural law of their universe - materials combine in specific ways, like chemistry in our world. The film treats this as mundane reality rather than game mechanics. Buildings aren't instantly placed but constructed through time lapses showing genuine effort and community cooperation.

The hostile mobs are treated as natural phenomena - the Creepers are portrayed as silent, tragic creatures drawn to human creation with an inherent need to destroy it. Zombies and Skeletons emerge from ancient ruins, suggesting they're remnants of the previous civilization. The Endermen are portrayed as incomprehensible beings studying human behavior from a distance.

The vast emptiness between settlements is treated as both beautiful and terrifying. Long shots of endless cubic horizons emphasize the scale of the world and humanity's tiny place within it. The emptiness serves as a canvas for human creativity but also a reminder of cosmic loneliness.

FOLLOW-UP QUESTIONS How does the discovery of another surviving settlement change the protagonist's worldview? What happens when they find evidence that the previous civilization fell due to their own hubris in attempting to access The End? Why do some members of the community oppose expanding their knowledge of redstone technology? What drives some community members to venture into the Nether despite the obvious dangers? How does the community handle the philosophical implications of villager trading and their level of sentience?

ADDITIONAL DETAILS The film's structure follows a three-act format but breaks conventional storytelling rules by maintaining a meditative pace. The score emphasizes ambient sounds and C418's original music, treating silence as another character. The visual style embraces the cubic nature of the world while using modern lighting techniques to create genuine beauty.

The climax doesn't involve a typical boss fight but rather a moral choice about whether to repeat the cycles of the past. When the protagonist discovers the truth about The End portal beneath their village, they must decide whether knowledge is worth the risk of destruction.

The film ends ambiguously, with the community choosing to build something new while accepting they may not be the last civilization to inhabit this world. The final shot pulls back to reveal their entire settlement is built upon layers of ancient ruins, suggesting countless cycles of civilization before them.

Key scenes include: A silent sequence showing the meticulous construction of a grand structure The first discovery of redstone, treated with the gravity of discovering atomic energy A haunting scene where Endermen gather to observe a funeral ceremony The protagonist realizing their village's architectural style matches patterns in the ancient ruins

The film refuses to explain many of its mysteries, treating the Minecraft world like our own - full of questions we may never answer. This respects both the source material and the audience's intelligence, creating a genuinely thoughtful science fiction film that happens to be set in a cubic world.

[reunionatdawn]

The beauty of Axel's original character arc

"I thought a lot about that. Should I leave him as he was or should I bring him back again? However, when I considered the people that Lea wants to bring back, his existence plays a big role. I think Lea has successively become a key character." (Tetsuya Nomura)

Nomura said that he debated whether to bring Axel back to life, or to leave him as he was. The fact that he wasn't sure meant that his KH2 character arc must have felt complete somehow. So, I'd like to take a look back at Axel's original storyline in KH2 and why I liked it so much. I thought his death worked very well as a beautiful and satisfying (albeit more bittersweet) ending to his story. In many ways, I found it to be much more poignant than his storyline in KH3.

“Is that how to treat a best friend on coming back from completing a long mission!” “I don’t recall becoming your best friend.” (Another Report: Roxas—Somewhere in Time)

Roxas was closer to Axel than any of the other Organization members. But he obviously yearned to have best friends his own age. That is why he was best friends with Hayner in his dream world, even though he didn't know them in real life. And he didn't even remember Axel. In other words, Roxas and Axel were not really best friends. In the short story that was included with the Japanese version of KH2FM+, Axel was the one who was insistent on using that label.

Hayner: Well, I doubt we can be together forever. But isn't that what growing up's all about? What's important isn't how often we see each other, but how often we think about each other. Right?

The whole concept behind Nobodies was that they had no hearts, but they still had their memories from the time when they did. So, the writers undoubtedly had some idea of what each member's backstory was like. In the original KH2, the writers chose not to explicitly tell us anything about Axel's past. But based on his behavior, we would be able to ascertain that he probably had a best friend when he was still a human. However, he was already a grown up. His summer vacation must've ended a long time ago. He could no longer be with his best friend, and he needed Roxas to fill that void.

Roxas: Organization XIII… they're a bad group. Naminé: Bad or good, I don't know. They're a group of incomplete people who wish to be whole. To that end, they're desperately searching for something.

One of the biggest themes in KH2 is that of duality. In Hinduism, the universe is said to be made up of two complementary opposite forces called Shiva and Shakti. Shiva is the masculine force and is known as the destroyer or transformer. He is associated with chaos, darkness, and the element of fire, which symbolizes purification. Shakti represents light, order, and the feminine nurturing aspects of the universe, giving birth to new life. She is associated the element of wind, which symbolizes life energy and creation.

Axel's moniker is "おどる火の風". It translates to "Wind of the Dancing Fire" or "Dancing Fire's Wind". This is my theory of what the deeper meaning was. One of the most famous depictions of Shiva is that of him dancing in a ring of fire. This version of him is known as known as Nataraja. The rhythmic movements of the dance are said to cause storms and destruction. And there's a backstory to the dance.

In Hindu mythology, Sati immolated herself out of intense devotion to her husband Shiva when her father insulted him. When Shiva learned of Sati's death, he was overcome with grief, sorrow, and uncontrollable rage. Shiva carried Sati's lifeless body on his shoulders and began to perform the cosmic dance of destruction.

In KH1, the reports mentioned how Ansem amplified "storms" in the subjects of his experiments on the darkness of the heart. The kanji used (嵐) can refer to a literal storm or it can also be used metaphorically to describe an intense emotional state. I suspect that the original idea in KH2 was that Axel's best friend was killed during an experiment. And this event caused Axel's heart fall to darkness, turning him into a Nobody. It's probably the reason why Axel was so delighted to assassinate Vexen by setting him on fire.

Axel: Let's meet again in the next life. Roxas: Yeah. I'll be waiting. Axel: Silly. Just because you have a next life…

The imagery of Shiva dancing within a circle of flames represents the eternal cycle of birth, death, and rebirth. Shiva performs the dance and destroys the universe, but this destruction is eventually followed by rebirth. His lover Sati was reborn as the goddess Parvati and reunited with Shiva as his other half. Their combined form represents unity in duality and cosmic balance. In KH2, Axel did not think he was going to be reborn. And that was the basis of his storyline.

Naminé: We may not have homes. But there is someplace I want to go… And someone I want to see… Axel: Same here.

Nobodies had a strong thematic association with death and the afterlife. In KH2, Naminé was the ghost girl living in the haunted mansion. In KH3, she was an incorporeal star in the Final World, the metaphysical place where people go when they have strong attachments and cannot pass on to the other side.

A Nobody was the spirit that went on even as its body faded from existence. They were very similar to the Unsent from FFX, which was another game written by Kazushige Nojima. Axel was created because his human-self had strong sentiments. He desperately wanted to be with his best friend forever. And this unfulfilled dream, ironically, kept his body and soul tethered to the realm of light.

Kairi: Maybe…waiting isn't good enough. Axel: My thoughts exactly! If you have a dream, don't wait. Act. One of life's little rules. Got it memorized?

When Axel asked Kairi if she wanted to "see" Sora, he was referring to her meeting him in the afterlife because he was planning to kill them both. A similar form of wordplay was also used in the Japanese dialogue. His intentions were made apparent by his outstretched hand. He wanted Sora to become a Heartless again. So, he probably planned to accomplish that the same way he became a Heartless.

(Japanese Translation) Axel: We're quite similar, aren't we? Both of us want to meet our important friends. Don't you think we're like comrades?

In the KH universe, when a person dies, their heart returns to the light of Kingdom Hearts. Since Axel didn't think he had a heart, he thought there would be nothing left of him to live on after his empty vessel was destroyed. Even if he wanted to die and be reborn to meet his best friend, he couldn't. He was driven by intense loneliness.

Some Kingdom Hearts fans think there's something romantic between Axel and Roxas and that Disney stopped that from being made explicit. Is that true? Have there been things Disney have stopped you from doing? Nomura: In terms of the relationship between Axel and Roxas, we never intended anything like this and this is actually the first time I ever heard of it! We don't want to openly negate how the fans have come to enjoy the characters, but it was not something the creative team intended. Axel and Roxas are the best of friends and that's their primary relationship. 

Axel's intense yearning to see Roxas once more made fans question his orientation even back in 2005. Akuroku was quite a popular ship back in the day and many players saw romantic subtext on Axel's part. I do agree that Axel is easily read as queer. But the creative team was not trying to imply that he was in love with Roxas. I think it was his human best friend that he was really in love with, and Roxas just reminded Axel of him. When he was with Roxas, he felt like he was with his best friend. And that's why he wanted to die by his side.

(Japanese Translation) Axel: When I was with him, it felt like I had a heart too. That kind of feeling... I feel it with you too... The same...

When Axel said, "the same", he was referring to how Sora reminded him of Roxas. But I believe that we were invited to read between the lines and wonder if he was also referring to a human best friend that had already passed on. Ultimately, Axel's original KH2 arc was not about being together with Roxas forever. Roxas merged with his other half and became whole. He would live on within Sora.

In some Hindu traditions, "Sati" also refers to the act of a widow willingly participating in a self-immolation ritual on her deceased husband's funeral pyre. It was seen as an expression of devotion and loyalty and also an act of peerless piety which was said to purge her of all her sins. The widow would achieve spiritual liberation (moksha) not only for herself but also for her deceased husband. This meant that both would be freed from the cycle of death and rebirth (samsara). The widow was thought to be reunited with her husband in the afterlife, enjoying an eternal spiritual existence with him.

To help Sora reunite with Kairi, Axel self-immolated. After he died, Nojima probably envisioned that he would meet his dead best friend again, who was waiting for him on the other side. He had attained moksha, which represents the final goal of human existence in Hinduism, where the soul is liberated from the cycle of samsara. And that's probably why Nomura wasn't sure whether it was better to bring him back to life or to just leave him as he was.

"I never thought he would grow as much as he has. We originally planned to have him exit upon being defeated by Roxas during the opening of KHII, but all the staff, myself included, were strongly inclined to have him keep playing an active role after that. It's possible he will have things to do in the future, too. I tried to put that into his 'see you' line in KH2 FM+." (Tetsuya Nomura)

When KH2 was written, the writers probably had not envisioned a preexisting relationship between Saïx and Axel. But after its success, they decided to expand on the Organization's backstories, and came up with that idea. Isa was based on the original concept that was implied in KH2. Axel did have a human best friend, and that loss had a profound influence on his relationship with Roxas.

If Axel's human best friend was supposed to be literally dead in KH2, then him only being Norted is a major retcon, yes. But it was a retcon that would allow for the eventual reunion of Axel with his best friend in the physical life. Like the Phoenix rising from the ashes, he could resurrect him from the dead. And that was the underlying idea of making Lea a Keyblade wielder in the first place.

Lea and Isa's backstory is one of the missing links of the KH series. By all means, it should have been depicted many years ago, in the defunct Birth by Sleep Volume II. This is a shame because it left their relationship extremely underdeveloped, and their reunion was largely glossed over in KH3 as a result. Because of this, I thought Axel's storyline in KH3 fell flat, and I thought that his ending in KH2 was more impactful. But I may change my mind if we finally get to see more of Axel's long overdue backstory in Missing Link.

[wianes]

My Take on Griffith and the Solar Symbol

Introduction and Overview of Symbolism

I acknowledge that Griffith is typically associated with the moon as a key symbol, and its role is evident. Nonetheless, in my interpretation, it is not the moon but rather the sun and solar principles that primarily and inherently represent his character. The lunar motif seems to have emerged with Griffith, particularly due to the presence of Moonchild, and is primarily linked to transformation. In this text, I will explain why this is the case. Similarly, in future works, I intend to explore how the sun connects with his other symbols, such as the hawk and the falcon. Those who have seen Ladyhawke will understand what I mean. In any case, I believe that qualities also associated with yang, such as solar, active, and masculine principles, fit his character very well.

Moving on to the specifics:

As most 'normal' readers probably know, Griffith embodies a complex nature, woven into a rich tapestry of allegories and motifs. His persona resonates with numerous spiritual and philosophical layers that are intricately tied to symbolism and mythology, transcending conventional concepts. By exploring how the sun symbolizes Griffith, I will analyze various authors' interpretations alongside my personal viewpoint. It is essential to note that while he may embody a singular principle, this does not exclude the presence of contrasting elements. A deliberate acknowledgment of these opposing forces is also important. His character is intricately crafted and transcends boundaries, encompassing all aspects of the universe.

The sun is arguably the most prominent feature of the natural world. Without it, life as we know it would cease to exist. Its radiance defines not only its appearance but also its symbolic essence. Mythical narratives often depict the sun’s movement as a luminous chariot crossing the celestial expanse. Gold, known for its resistance to tarnish and corrosion, symbolizes immortality. Even under intense heat, it retains its color and luster, further enhancing its symbolism of endurance.

Diverse cultures regard the sun as the essential cosmic force, key to life’s preservation and growth. It embodies vitality, passion, and enlightenment, while also serving as an emblem of royalty and empire. In some traditions, the sun is revered as the Universal Father.

The sun’s daily journey of rising and setting symbolizes profound concepts such as birth, death, and resurrection. The sun’s daily journey, from rising to setting, symbolizes profound concepts such as birth, death, and resurrection. The winter and summer solstices mark significant celestial events, inspiring myths and festivals worldwide. The solstice, in particular, symbolizes the triumph of light over darkness and marks the transition between cycles of light and growth.

For millennia, sun worshippers have attributed magical properties to solar rays, including fertility, creativity, prophecy, and healing. Alchemists even saw in the sun the potential for wholeness and spiritual enlightenment. As a result, this symbol has attained a revered status, reflecting celestial prestige and authority, similar to that of rulers with sun-like crowns. The sun stands as the symbolic heart of the cosmos, shining brightly as a celestial entity, embodying majestic qualities and imperial splendor.

Solar Cycles and Rituals

Daily Cycle- From sunrise to sunset, the sun's path marks both the everyday passage of a day and its deeper spiritual significance. In sacred rituals, the sunrise symbolizes creation and renewal, while the sunset signifies death and transition.

Annual Cycle-Through the solstices and the equinoxes, the sun's cycles symbolize the cyclical nature of life. They also represent the eternal dance of light and darkness. The summer solstice heralds the peak of vitality, whereas the winter solstice represents a time of introspection and renewal.

Symbol of Regeneration

Ancient cultures revered the sun’s daily rise and set as symbols of eternal rejuvenation. This reverence mirrors the cycles of birth, death, and rebirth in life. The sun's daily journey—rising, setting, and rising again—embodies this cyclical nature. It symbolizes the concept of the eternal return, prevalent in religious, mythological, and primordial narratives. Its cycle reflects a belief in the continuous revitalization of the cosmos and human existence.

Examples Across Cultures:

Native American Traditions: The Sun Dance ritual celebrates the sun’s power to regenerate life and maintain cosmic order.

East Asian Traditions: The sun is associated with the emperor and the state's revival. It symbolizes harmony between the heavens and the earth.

Christian Symbolism: Christian symbolism connects Christ's resurrection to the sun's rising, symbolizing ultimate rebirth and triumph over death.

Egyptian Mythology: The sun god Ra's daily journey across the sky symbolizes rebirth and regeneration. Each morning, Ra's rising represents the rejuvenation of life and energy.

Hinduism: The Sun god Surya is associated with health and vitality. The daily practice of Surya Namaskar (Sun Salutation) in yoga represents revitalization and physical regeneration.

Ancient Greek Religion: The sun god Apollo is connected with healing and revitalization. His daily journey across the sky symbolizes restoration and the constant renewal of life.

Griffith’s journey symbolizes a profound connection between the celestial realm, the earthly realm, and the underworld. He starts as a mortal leader and descends into a state of brokenness. Nonetheless, he emerges as a transcendent being. This transformation parallels a metaphorical ascent along a celestial path, linking the human and divine realms, and deeply altering the narrative’s spiritual landscape.

Griffith's journey begins with the evening, which represents the end of a cycle and the uncertainty of night. His quest can be interpreted as emerging from chaos or darkness, focusing on overcoming a state of despair and the struggle against nightfall. This descent into darkness shifts the narrative from one of renewal and hopeful ascent to one of redemption or recovery from a fall. Starting in the evening alters the metaphorical resonance of Griffith’s odyssey, aligning it more with themes of overcoming nightfall and emerging into a new dawn.

This signifies the start of a transformative phase. The cycle mirrors themes of renewal and regeneration, illustrating pivotal shifts in the entire storyline. Griffith casts off his former self and ascends to a higher plane of existence. By doing so, he reshapes the world according to his vision. In essence, his quest embodies the cyclical nature of life's challenges and triumphs. It illustrates the potential for profound transformation and spiritual evolution.

Cosmic Order, Axis Mundi, and Harmony

People perceive the sun's predictable movements as a manifestation of the cosmic order. This contrasts with the chaos and unpredictability of profane time. The sun's consistent path across the sky signifies the universe's stability. Ancient rituals and myths sought to align human actions with the sun's cosmic order. This alignment was meant to ensure harmony with the rhythms of nature.

The sun’s regularity, embodied in its daily journey, instills a sense of security and predictability. It reflects the structured nature of the universe. The cycle reaffirms this cosmic stability. It represents the supreme harmony of the cosmos and illustrates the natural laws that govern existence. Thus, it ensures a harmonious life.

Quite literally, the Axis Mundi translates as the 'World Axis.' It is the axis around which the world revolves. It links the heavens to the earth and the dominions below. This concept is universal and is symbolically represented by a tree, a standing stone, a mountain, the omphalos, the lingam, the Vajra, or the Pole Star.

The sun's "light," its active influence and emanation, functions as "information" to the Earth. This light guides reactions and changes. By consciously sharing this information, one can affect all aspects of the solar system.

The concept of the Axis Mundi, or the world's center, often aligns with the sun's path. As the sun rises and sets at specific points on the horizon, it establishes the cardinal directions. It also serves as markers for sacred geography. Temples, altars, and religious buildings align with the sun’s path. This alignment symbolizes the synchronization of human actions with the cosmic order.

Represented by mountains, trees, poles, temples, pyramids, and altars, the Axis Mundi connects the heavens, the earth, and the underworld. It reinforces the sacred structure of the world. The daily movement of the sun embodies order and stability. It highlights its function in sustaining harmony and continuity in the universe.

In the Context of Berserk

Guts is the main character through whom readers engage with the story. Nevertheless, Griffith remains the focal point of the narrative, symbolizing the most conscious cosmic entity. He symbolizes the most conscious cosmic entity. This mirrors the heliocentric model of our solar system, with the Sun at its center. All the planets, satellites, asteroids, and comets orbit around it. The cosmos, connected by endless energy links, organizes itself around his existence. The series' plot actively incorporates his meticulously crafted destiny, ensuring that it fulfills a specific role within the narrative.

Griffith's significance within this grand design is evident. We understand the tasks he must perform to maintain the balance of the universe. As the executor of the shaping will, he realizes his own desires. The character restores order to the chaotic world around him. His leadership of the Band of the Hawk initially brings unity, purpose, and stability to his followers. This exemplifies his role as a catalyst for establishing order in turbulent times.

His deep awareness of others' situations prompts him to expand his horizons. Wherever he goes, a sense of solid attachment and connection follows. Griffith acknowledges his responsibility for all lives and events, including those he has taken and humanity’s fate. The broad spectrum of responsibilities he must fulfill is fully comprehended. With unwavering resolve, he carries the weight of the world on his shoulders.

He could not afford to neglect his responsibility to those who chose to fight alongside him. Having given all he had, he reached an irreversible point. Sacrificing everything, he went too far to turn back. He specifies the sacrifices he is ready to make for success and what has already been relinquished to achieve his goal. The sole remaining task is to defend his prize with every ounce of might left.

Solar Deities and Hero Myths

Ancient myths often highlight solar deities or heroes associated with the sun. These myths frequently emphasize qualities such as courage, strength, and transformative power. By regularly reenacting these narratives, people sought to ensure the perpetuation of life and the prosperity of their communities. Solar myths, therefore, functioned as archetypal models for how to live. By aligning themselves with the myths of sun heroes, individuals and communities endeavored to partake in the divine saga of creation and reactivation.

Heroes in mythological narratives often undertake quests for greatness, spiritual enlightenment, or divine favor. Griffith’s journey parallels this archetype as he navigates personal and astral challenges to achieve his goal. This journey culminates in his transformation into Femto and his subsequent ascent to a higher plane of existence. Griffith embodies a complex blend of solar deity motifs and hero myth archetypes. This challenges conventional interpretations of heroism and divine aspiration. Griffith’s journey from mortal leader to transcendent being underscores themes of destiny, sacrifice, and the pursuit of cosmic significance. This transformation takes place within a narrative marked by its dark and introspective themes.

Divine Kingship

Solar deities play a central role in many mythologies. They are often linked to kingship, with rulers perceived as their earthly representatives. In both mythological and psychological narratives of heroism, the sun holds paramount significance. It symbolizes authority and power. Throughout history, rulers have often been seen as chosen by divine will. Many have traced their lineage to solar gods. Freud might interpret this as humanity’s unconscious desire for dominion and power.

The sun, with its dominant presence and life-sustaining energy, frequently serves as a symbolic representation of masculine vitality and power. Its daily journey—from rising to setting and then rising again—captivates the imagination. Freud might interpret these symbols as manifestations of the unconscious life force that propels human behavior and personal motives.

In the context of dreams, the sun’s appearance may symbolize a renewed sense of energy, motivation, and determination.

Jungian psychology connects this life force with libido. Libido is defined as a core energy driving human behavior that extends far beyond its sexual connotations. Thus, the Sun’s daily cycle represents transformation, renewal, and the continual regeneration of vitality

In alchemical and esoteric thought, the sun represents spiritual growth and transformation. This parallels the concept of masculine generative energy. This interpretation aligns with esoteric traditions that view the sun as a source of profound transformative power. Its daily journey through the sky illustrates a perpetual cycle of ascent and descent, mirroring the dynamic yet eternal nature of cosmic consciousness.

In ancient Rome, emperors were often linked to Apollo, the sun god. This connection continued into later eras with mentions of "golden ages" and "solar kings." The sun, as the ruler among stars, has long been considered sovereign over all beneath its light.

Ancient Egypt: Pharaohs were believed to be descendants of Ra, the sun god, ruling as living gods on Earth with divine authority to maintain societal order.

Japan: The Japanese emperors trace their lineage back to the Sun goddess Amaterasu, a divine symbol of authority.

Hindu Tradition: Kingship is often associated with Surya, the Sun god. Rulers derive their authority and righteousness from his divine light.

Christian Tradition: The divine right of kings linked rulers with Christ, who played a role in legitimizing their reign through miracles and empowerment by the Holy Spirit.

France (Louis XIV): The "Sun King" embraced the solar symbol to assert his absolute monarchy, reshaping his kingdom in accordance with his authority.

Griffith exhibits extraordinary conviction and self-confidence. He seems born with a natural capacity to lead, as if he embodies the universe’s fundamental laws. He is not a despot; people follow him willingly, inspired by his innate ability to lead. The character embodies a reformative spirit. He is fully aware of his responsibilities and willing to make sacrifices for his vision. Divine kingship often involves a sacred pact or sacrifice for the greater good, and Griffith embodies this through his actions. He seeks to change the existing order, creating a new world based on his ideals.

The The Eastern perspective emphasizes virtuous leadership and inspiration through example, aligning with Griffith’s pursuit of creating a new world order.

The sun’s role as a radiant celestial body is metaphorically associated with themes of power, conviction, and assertiveness. This broader interpretation links the sun to leadership and influence, often tied to masculine imagery. Its presence symbolizes an indomitable spirit, resonating with the idea of a visionary leader who persists in the face of adversity, embodying determination and fortitude.

Griffith exemplifies unparalleled dedication to a singular cause, reflecting a passion reminiscent of ancient deities. Driven by a singular focus, he propels events toward his vision, never needing guidance to grasp his purpose or direction.

Light and Illumination

The symbol's resplendence captures the essence of enlightenment. It illustrates the intellectual and spiritual awakening of both mind and soul. It dispels darkness, signifying the pursuit of truth and insight by revealing the essence of existence. Just like the sun’s ascent, enlightenment heralds the dawn of intellectual awakening. This marks a shift from old beliefs to new ones in favor of deeper truths. It represents a divine presence, fostering a spiritual connection with the universe and transcending boundaries to achieve higher states of consciousness.

Veritably, sunlight frequently represents clarity and awareness. It breaks through the obscurity of ignorance or the unconscious mind. In dreams, sunlight illuminating a previously shadowed area can signify the dreamer's journey toward self-awareness and understanding. Freud, although he did not specifically use the golden orb as a dream symbol, explored light-related symbols. These symbols metaphorically align with the attributes associated with the sun. He interpreted dreams as expressions of unconscious desires, fears, and conflicts. Symbols in dreams mask deeper psychological content.

The sun's rhythmic cycle of illumination and shadow embodies a profound duality rich in symbolic significance. Light, in this context, represents vitality, clarity, and sacredness. Darkness signifies mortality, chaos, and the secular. The transition from night to day signifies the triumph of order over chaos and life over death. This dualistic framework underpins many religious rituals and myths. Here, the rising sun signifies renewal, hope, and divine intervention.

These instances illustrate the celestial fire's role as a global symbol of light. It bridges cultures and becomes deeply embedded in spiritual and philosophical beliefs worldwide.

Griffith’s nomenclature in reference to light is deliberate. This applies both cosmologically and in the minds of people and apostles. He is effulgent and lucent in silver and white. He reveals himself at night and within the minds of people. Spiritually, in religions such as Christianity and Buddhism, the concept of true light refers to an authentic source of enlightenment or understanding. This phrase signifies the divine or transcendent reality. It represents love, salvation, or communion with the absolute.

Light and Darkness Dynamics

In psychoanalytic theory, light symbolizes consciousness and awareness. Darkness represents the unconscious and the unknown. The interplay between these elements in dreams reflects the dynamic tension between the conscious mind and the repressed aspects of the psyche. Jung emphatically stressed the significance of integrating the shadow. The shadow represents the unconscious aspect of the personality. The duality of light and darkness, symbolized by the presence and absence of the sun, illustrates this process of integration. Embracing both the light (conscious) and the dark (unconscious) facets of the psyche is crucial for attaining inner completeness and holistic equilibrium.

In alchemical philosophy, the sun (Sol) embodies a blend of energies akin to its physical counterpart. It represents the radiant "day" aspect of the psyche and also symbolizes the sulfurous "active substance" that directs consciousness toward specific objectives. As a royal figure, the sun signifies the authority of guiding principles that shape consciousness. The sun also symbolizes "gold," the "yellow balsam," and the truth behind consciousness's capacity for self-healing and rejuvenation. This rejuvenation occurs through immersion in moist, lunar-like feelings and moods, manifesting the magical and mercurial aspects. The regenerated "Sun of the Philosophers" is paradoxically both transparent and opaque. It embodies both light and shadow and endures perpetually.

Even as it sets, the sun carries away the light—never dying—and is always everlasting. This epitomizes eternal renewal.

Across various cultures, the sun serves as a potent symbol for illuminating the unconscious. In alchemy, a field deeply influential to Jung, the sun symbolizes the Philosopher’s Stone, representing an aspiration to transform base materials (the unconscious) into gold (conscious awareness). Likewise, in many religious traditions, the sun embodies a divine presence that reveals spiritual truths. The sun’s journey aims to illuminate everything that remains in the shadows and gradually diminishes the pursuit of discretion. Its character underscores the theme that light and darkness are not merely opposites; they are interdependent and essential to understanding the nature of existence and the human condition. Through this lens, Berserk invites readers to contemplate the complexities of morality, the cyclical nature of life, and the eternal dance between light and dark.

The Self in Solar Representation

In sacred symbolism, the sun embodies the divine presence. It highlights the relationship between light and darkness. Griffith’s portrayal provides a profound exploration of these themes. This ancient motif, characterized by its radiance and resplendence, reflects themes deeply resonant with the psychological exploration of duality. Jung perceived this duality as pivotal in human psychology. The sun embodies the quest for equilibrium and integration.

The sun, with its radiant and all-encompassing nature, functions as a metaphor for the self. It embodies qualities of wholeness, integration, and the realization of one’s full potential. The sun’s warmth and light symbolize the nurturing aspects of the psyche. They foster growth, enlightenment, and balance. Its glowing and opalescent nature symbolizes the cosmic light that nurtures the self’s evolution.

Griffith’s character exudes mystery. The trepidation in his depiction conceals much of his inner emotions and thoughts. It is observed that Griffith attempts to maintain a hermetic, closed state, except for a few strategic moments designed to create an impression of being larger than life. The character’s role as an archetypal figure is both a symbol of societal shifts and an embodiment of cosmic significance.

It's probably obvious that during the during the Millennium Falcon arc, Griffith unified light and shadow, the conscious and unconscious, as represented by the apostles and humans, through his own person.

Miura highlighted that Griffith’s narrative complexity stems from his role as a symbol for entire communities. He advocates for collective and cosmological interests. This portrayal showcases his transformations and expressions as manifestations of broader societal and global vices. Griffith's actions traverse various segments of society, reflecting both his personal evolution and the ongoing upheaval of collective consciousness.

These cultural examples illustrate how different societies, throughout time and across various mythologies, have interpreted the sun as a symbol of enlightenment and the integrated self. In each tradition, the sun serves as a metaphorical representation of spiritual awakening, inner harmony, and the universal principles guiding human existence.

Griffith embraced a philosophy of dualism, believing it could be immanently unified as the Kingdom of Heaven on Earth. This unification would be achieved through the absolute realization of self-consciousness and human freedom. He developed a concept of the absolute that both creates and opposes itself, embodying its essence and its contrary. In this framework, Griffith's role was to act as a steady vector, assimilating disharmony and facilitating the flow of ideas. He represented both the external substance and the universal essence of the mind. The divine presence manifests not through miracles but through transformative epochs, leading to something new and more joyful, akin to dawn.

[darknesseddiem]

𝐀𝐧𝐮𝐛𝐢𝐬'𝐬 𝐕𝐞𝐢𝐥: 𝐄𝐜𝐡𝐨𝐞𝐬 𝐨𝐟 𝐄𝐭𝐞𝐫𝐧𝐢𝐭𝐲

𝐒𝐲𝐧𝐨𝐩𝐬𝐢𝐬: Amidst the dawn of creation, when deities strode the earth as equals among mortals, humanity thrived in serene unity, untouched by the grasping tendrils of greed that would later mar the landscape. Stirred by the inherent goodness of their subjects, the divine council elected to endow them with a peerless boon: a guardian, a celestial warrior sculpted by the ethereal hands of the gods, ordained to safeguard the vulnerable and uphold equity amongst all.

Yet, the idyllic tranquility swiftly dissolved into a harrowing nightmare. With no need for celestial intervention, humanity succumbed to the seductive allure of avarice and pride, exploiting the guardian-warrior as an inexhaustible wellspring for their desires. Gold, jewels, fineries—all were but a whispered command away, conjured effortlessly by his boundless power.

Thus dawned the era of enslavement, a grim testament to humanity's descent into moral decay, as the defenseless fell beneath the yoke of callous overlords devoid of empathy. As calamity flourished and the divine pantheon grieved the degradation of their once-beloved charges, a decree resounded through the hallowed halls of eternity: the token of gratitude and trust bestowed upon mortals would be reclaimed and returned to its celestial sanctum.

Yet, the gods failed to anticipate a pivotal revelation: the guardian-warrior, born of their divine essence and combined prowess, surpassed even his creators in strength. Fearing his uprising following their futile attempts at annihilation, they decreed the most severe of punishments: eternal imprisonment.

Unaware of the extent of his own power, the warrior endured a punishing ordeal, encased within a sarcophagus of obsidian and unyielding stone, assailed by the venomous embrace of serpents and scorpions, his form suffused with chilled mercury—a spectral warden, condemned to an eternity of solitary confinement.

A formidable curse, imbued with the arcane power of millennia past, was woven into the fabric of his sarcophagus, its hieroglyphs serving as a dire warning to any who dared disturb the seal imprisoning the warrior, lest they unleash unfathomable chaos upon the world once more. However, amidst the shadows of time, an ancient prophecy, shrouded in the enigma of celestial movements and cosmic whispers, stood poised to redefine the very tapestry of humanity's fate.

In the heart of an unprecedented archaeological endeavor, an intrepid explorer embarks upon a quest of unparalleled magnitude, driven by the tantalizing allure of uncovering secrets buried deep within the sands of antiquity. Yet, intertwined with her journey lies a prophecy etched into the annals of time itself—a prophecy veiled in mystery, its origins lost in the mists of history, foretelling a cataclysmic confrontation between forces ancient and divine.

As the threads of destiny unfurl, two diametrically opposed forces emerge from the annals of legend: one heralding the dawn of salvation, the other portending an abyssal descent into darkness. Amidst this cosmic conflict, the archaeologist finds herself cast as a pivotal figure, entwined in the struggle between light and shadow, tasked with deciphering the enigmatic prophecies that hold the key to humanity's ultimate fate.

In this crucible of uncertainty, where the past converges with the present and the future hangs in the balance, the question lingers like a specter haunting the recesses of the mind: Can the immutable laws of destiny be defied, or does the intrepid explorer possess the audacity to chart a new course for humanity, rewriting the very fabric of existence itself?

𝐂𝐨𝐧𝐭𝐞𝐧𝐭 𝐖𝐚𝐫𝐧𝐢𝐧𝐠𝐬: +18 MDNI, violence, torture, Eddie has a demi-god name, etc. More will be added later.

𝐀𝐮𝐭𝐡𝐨𝐫'𝐬 𝐍𝐨𝐭𝐞: It's been a while since I had this idea and after my hiatus I finally had time to write, I hope you like this baby of mine just as I already have a huge affection for this story. Thank you for your support, I'll be back soon!! TAGLIST IS OPEN.

𝐖𝐨𝐫𝐝 𝐂𝐨𝐮𝐧𝐭: 𝟏𝐤

𝐍𝐞𝐱𝐭 𝐂𝐡𝐚𝐩𝐭𝐞𝐫.

If you like my works, support me with a small 𝐊𝐨-𝐅𝐢!!

𝐆𝐥𝐨𝐬𝐬𝐚𝐫𝐲

𝐀 𝐏𝐫𝐞𝐥𝐮𝐝𝐞 𝐨𝐟 𝐃𝐞𝐬𝐭𝐢𝐧𝐲: Sutenankh, once revered for valor, finds himself ensnared in the ethereal confines of divine justice. As he awaits his fate within the celestial sanctum of Horus, his heart heavy with remorse, the gods decree eternal imprisonment. Meanwhile, a clandestine pact between Anubis and Horus births a prophecy of hope for a future liberator. Betrayal, anguish, and the weight of celestial retribution collide in a tale where virtue and destiny intertwine.

𝐉𝐨𝐮𝐫𝐧𝐞𝐲 𝐈𝐧𝐭𝐨 𝐓𝐡𝐞 𝐔𝐧𝐤𝐧𝐨𝐰𝐧: Ramses Thothmes, a wealthy Egyptian magnate, extends an invitation for a new excavation, promising untold secrets hidden beneath the desert's surface. As you convene with Thothmes to discuss the venture, a new figure emerges from the shadows – the enigmatic Colonel Duncan Smith.

Under Smith's watchful eye, the expedition sets forth into uncharted territory, where ancient ruins conceal dark secrets and lethal perils.

[marvelshifter111]

Could you make a Powers (second sphere) and Seraphim (first sphere) abilities? Angelology is one of my favorite things to learn about.

thank you for requesting! sorry it took me so long

Powers and Seraphim abilities

Second sphere: Powers

Role: Guardians of the cosmos, maintaining order and protecting the world from demonic forces. They are considered warriors of God who ensure divine justice.

Abilities of Powers:

Cosmic guardianship - Powers are responsible for maintaining the balance of the universe, ensuring stars and celestial bodies remain in their divine order.

Protection against evil - They are tasked with defending humanity and the world from the influence of dark forces, including demons and malevolent spirits.

Judgment and justice - They carry out God’s justice by punishing evil spirits and enforcing divine law.

Inspiration of strength and courage - Powers can instill divine strength and courage in mortals, particularly in times of spiritual or physical conflict.

Weaving spiritual energies - They manage the flow of spiritual energies, ensuring that divine blessings are channeled to where they are most needed.

Guidance of leaders and warriors - Powers often guide rulers, warriors, and those in positions of authority to act righteously.

Dispelling chaos - Powers have the unique ability to restore order in chaotic situations, whether in the natural world or the spiritual realm. They can calm storms, end conflicts, and bring stability where there is discord.

Sealing boundaries - Powers can create or reinforce spiritual barriers to prevent the intrusion of malevolent forces into sacred spaces, people, or objects. They are the architects of divine wards and protective seals.

First sphere: Seraphim

Role: The closest beings to God, existing in perpetual worship and adoration of the Divine. They embody pure love and illuminate the heavenly hierarchy.

Abilities of Seraphim:

Perpetual worship and praise - Their primary purpose is to sing praises to God, endlessly proclaiming His holiness. ("Holy, holy, holy is the Lord of hosts.")

Bearer of divine love - Seraphim are embodiments of divine love, radiating pure and perfect love throughout creation.

Illumination and Enlightenment - They illuminate the minds of lower angels and humans, helping them understand God’s will and nature.

Purification by fire - Seraphim wield the holy fire of God, capable of purifying souls and removing sin. Their name literally means "burning ones."

Eternal radiance - They shine with an intense, unearthly light, reflecting the glory of God. This radiance can inspire awe or purify those in their presence.

Channeling divine will - As the closest beings to God, Seraphim serve as conduits of His will, passing divine knowledge and commands to the lower spheres.

Guardians of divine secrets - They protect and maintain the sacred mysteries of heaven, ensuring that only those deemed worthy can access them.

Transformation through love - The Seraphim's love has the power to spiritually transform those they touch, bringing them closer to God’s divine essence.

Key contrast between powers and seraphim:

Powers focus on protecting and enforcing divine order within creation, often acting as warriors and guardians.

Seraphim are devoted entirely to God’s presence, serving as beacons of divine love and enlightenment. They interact less with the material world and more with the celestial hierarchy.

[starryeyed-seer]

Below is some rampant speculation about certain phrases of correspondence, repeating themes in FL, the timeline of the neath, and specifically all of it through a Bazaar lens. and then specifically stuff about the Bazaar's relationship to the sun, moon, and mountain. spoilers (including Mr. E, Sunless Skies, Railway) and much text.

It's organized and it's madness enjoy

Update: it is more madness than I planned for but maybe I say something wise. the image above is not invoked lightly

My main quick ref sources, though I might ref stuff without references: the fifth city wiki of correspondance phrases, and this helpful cited-ish list of (older) lore relating to the sun/bazaar/stone.

I'm writing about them in my fic rn which means doing a lot of research into what is canon. if you've never done this, it is difficult, mainly conveyed through second-hand sources, and absolutely vague. (FL benefits from how it uses rumours, secrets, and stories to make lore a bit wiggly. but man can't sup on crumbs alone).

The Sun and the Bazaar's love story is the inciting incident for the plot and the undercurrent to everything, and we know very little about what happened. The majority of our knowledge on it comes from the 7th letter, an illegal play which guesses the future and has who knows what as a source.

A Foundation:

A vision from the Bazaar's tears is probably our earliest referenced point on the timeline. "How the Mountain is remembered" is ambiguous. Since this is pre-Neath, when the Earth was molten, Stone either was born and on the surface, or was perhaps about to be born. The garden, which currently lies inside/around Stone, was newly made- Was Stone on the surface with it? Born within it, as made by Sol? Did she form it herself on the surface?

We don't know how she was 'born'- there is I think a singular reference to her Birth here, in Sunless Seas:

The Birth. The Heart. Whose heart are we talking about? Since Judgement/Courier are not meant to reproduce, Stone's birth likely was done by some act of Correspondent fuckery or red science. I don't know what you can call the Neath but a creation of Red Science: Sol (and the Bazaar!) both practice it.

Did Stone ever lay on the surface? It can be argued probably not: she's a crime. a sin. A shame. On the other hand, the Sun presumably could choose not to destroy her. At some point though, he made the Neath and hid her away.

^Probably the legal name for the Name.

Was the Neath made solely because of/for Stone?

Probably not. I'm pretty sure that Sol is the equivalent of a Scholar of the Correspondance and Red Artisan, but on a cosmic scale. In Sunless Skies, the High Wilderness is mostly breathable and habitable. Our solar system is not (unless it is in FLverse). Other Judgements seem to rule varied, strange Kingdoms, but the Earth is a singular world with strict rules, kept in heavy isolation, with measures to keep its population from leaving.

The Sun is a mad scientist!

Here's a Mr. E section, from the end of the quest, which highlights Earth and the Sun's kingdom as minuscule and not notable. It's small, but also likely out of the way... perfect for a secret lab of forbidden sciences, hidden in the centre of a very boring world. Stars are not as omnipercipient as they claim (This is one reason Stone could have lived on the surface for a time).

It could be that the creation of Stone is what made the Sun promptly create the Neath, or Stone might have been an experiment he stowed the moment he'd finished building the basement. Perhaps the moment she was born, she was locked away below-- or maybe he hid her so she could live. The 1911 journal suggests she and her eternal life is a key aspect of 'the Sun's experiment'- maybe he always planned to make a life-giving creation, and the Bazaar was conveniently there and willing.

It's interesting we have two examples of Correspondance that roughly mean the same thing: a mix of scientific curiosity and love. Maybe this is what happened with the Sun and the Bazaar: it loves him, and perhaps he indulged as an experiment in trying to it her back.

The forming of the Neath is part of the mystery of the Moon,

which I'm sure we'll get more lore for soon that will change all my thoughts. The sun commanded a Courier (the Herald) to crash into the proto-earth, the asteroid impact that shattered the moon into orbit.

The Sun offered to transform the mute land into a star. But when the cataclysm came, the body of the Moon was flung into the sky and the Creditor remained, hollowed as a crust of bread. In any apotheosis, some rind of mortality is left behind.

inexplicably I only have this as text with no citation. The proto-earth wanted to be a star, and the Herald's impact dug out a chunk which did ascend- leaving behind the Creditor, who keeps some order in the Neath on the Sun's command but resents it. Why would the sun offer this? The Creditor describes it as mocking, but I don't think 'the bitter shell of the non-ascended land consciousness' is necessarily an even source. It does seem like a dick move! What happened here? We don't know.

We see moons in-universe twice. Maybe. In the Sunless Skies Martyr-King's cup, there's the Unseen Queen: very clearly a moon, who is calls a sun her father (the king of hours). Her father used her existence as a loophole to escape death, by making her not exist. Is she though a daughter?

Curiously in Sunless Skies there is also The Daughter of The Sun: the Arbiter of Fates. The Unseen Queen's storyline involves plotting against this Arbiter. However, this Daughter seems entirely different, more of a mini sun. The Arbiter has vast power and even sway over her father the Sapphir'd King, and her true form is suitably Judgement-like.

What is a moon? What is the purpose of one?

They're linked dreams and other realities, as well as lunacy (but then in FL, who is to say what is imagined or not?). Moonlight is a mirror of sunlight- weakened, refracted Law of some sort. Perhaps dreaming and night are in some way good for souls, but the Sun still needs to maintain some order, and the Moon is a mirror for that. Can't have too much darkness (also, something something possibilities other timelines etc).

Is Luna the sun's daughter? I think only in that he created her, and Daughters are something else.

Daughters are a theme in fallen london.

It's weird to say 'a theme' especially about something as universal as a daughter. but Fallen London is all about echoes babey! there's a lot of purposeful parallels drawn, and a lot of things that might be parallels if you try hard enough.

There's actually a lot of Correspondance that's family related.

Mothers and daughters and the separation of them is something which reoccurs: SSeas we have Maybe's Daughter, child of the Lady in Lilac who has melded with Irrigo so she is near impossible to be remembered. Lilac has other daughters too who exist mostly abandoned. One of the earliest exceptional stories is called 'Your Long Lost Daughter'.

I can find no reference beyond the fire-side lacre which reflects even slightly how Bazaar feels about Stone. I think we can safely say the Bazaar knows Stone is there, but they don't seem to talk.

NEVER TO BE ACKNOWLEDGED stands out. The Sun cannot acknowledge Stone as its child, even if it desired to. The Bazaar seems to not acknowledge Stone, but the Bazaar exists in the mythology of the Presbyterate. I don't know what's going on here. The irrigo well that hides the Neath and Lilac also hides the Bazaar, and makes you forgot. Has she forgotten? Maybe the Bazaar is too busy crying to be a good mom, or maybe she just doesn't care. Maybe the Sun made some rule about acknowledgement the Bazaar still obeys.

(The Cartouche here is hieroglyphics for ATEN, the sun)

Limerance is an incredibly Bazaarine word.

And to be fire rather than burned is a reoccurring idea: it's ascension, yes? To make it past the threshold of divinity and not die but ascend. I think ascension demands some form of death: see the apotheosis of the moon, or how devils grow themselves through dying.

It's fun to explore the above sequence as a sequence rather than stray words. Orbiting together, some recognition of peerage, someone yearning for love and someone asking another for ascension. With desperation. It sounds a bit like the moon and a bit like the Bazaar, it might mean nothing at all.

I think it's very very likely the Bazaar dreams not just of love but specifically of ascension.

It's the one way their relationship could ever be legal.

This is from 'a sudden wash of sunlight', and is the best we have of the Bazaar actually speaking. She is emitting not-sunlight and talking to no one, it seems. It might be some sort of memory, nostalgia, or daydream.

Light is Law, but what is fire? I've generally gone with 'divinity': here the Bazaar speaks to the Sun by introducing her Londoner 'children' and her light (she is emitting her own light). She calls to be crowned in flame and for her trespasses to be forgiven.

I think the trespass here is love, or the assumption of it: she confessed love to the Sun, who rejected it, and that's a big social blunder. She has hidden in his secret basement for a few millenniums, and I believe her words here are basically 'look! I create my own life, I have my own kingdom, we can be together, I love you, I am worth raising up at last'.

The fire and the rose are one haunts me. Roses for love. So is divinity and love the same essence? Perhaps. Maybe she was denied a burning ascension, so she has sought to prove love is powerful enough she can rise anyway. Or that love indeed has any value in comparison to the fires of the heavens.

Other things on ascension for the Bazaar: It uses red science when stealing and rearranging cities, as well as on its Whitsun children. The Whitsun creatures also offer interesting insight when viewed through a lens of 'the Bazaar is experimenting on his own eggs': Aurochs can apparently carry the Discorandance. The Lyrebird at max becomes a pheonix. One type of egg is said to be unaltered, meaning these would be the 'truest natural' offspring: Spindlewolves and Squirrels. Both are highly observant creatures with chitinous features and a tendency to climb up high.

A maniac theory about the moon

This was going to be short and it wasn't. I was going to be succinct; I wasn't.

The Creditor wishes to reunite with its sister, the moon, but does the moon feel the same? Perhaps the moon is miserable and betrayed- held by the chain of the sun to serve as a mirror and tool. The moon may know nothing else, or be mostly a corpse, or maybe it is happy-ish: while not a star, it has ascended to great power. It's sibling-self is an eggshell left behind and lost.

Fallen London has a lot of ideas of singularity versus multiplicity and mirroring. As above, so below. Twin selves and mirrors. Proto-Earth wanted ascension and was torn in two- divinity and mortal shell. It was torn in half specifically with a crab.

Couriers were pretty comet coded before we had the Herald (flying about through space on routes, eh?), but the Herald is our first mention the sun even had other couriers. There's ref in SSkies of other judgements having more than one, but it also doesn't seem like they're something you have an army of.

.....So. The timeline doesn't add up, but the thought came to me, and I'm here, and if you're reading this you've read this far. Is the Herald related to the Bazaar in some way? Is the Herald some forgotten part of the Bazaar--- that they once were one like the Creditor, before being experimentally ascended into a moon. A mortal shell remains (in a mobile body, the Bazaar), and something else left to form the moon.

The Bazaar's final letter and flight through the avid horizon occurs after the formation of the moon, but it also wouldn't be out of reach for the Sun to erase the memory of this experiment, or the Bazaar to lose it. This thought does make me a bit sad: it creates a world where the Bazaar yearns to ascend to be with the sun, only to learn long ago some part of her already did that. She is the part that was left behind. The sun and moon dance eternally in the heavens but she never will :(

I don't think the moon loves the sun, or vise versa. But maybe he made something useful out of his risky crab experiment. The love was left behind.

Narratively the Bazaar is linked with Icarus a few ways: flew too close to the sun, burned, and fell to the earth. This sigil is one of the most used, representative ones and highly linked to the Bazaar. The Bazaar is icarus, but never fell to the earth really: it went through the Avid Horizon. But the Herald literally did.

.............

I don't think this theory really makes sense, but it popped in my head a bit ago and I wanted to say it anyway. FL is incredible. I can look at anything and project allusions. Some of them might even be correctly guessed.

[highrook]

The Two Worlds of Highrook

(part 2 ) Nibiru

“Nibiru, the hidden twin, the unseen mirror, the cast shadow. A citadel island outside of time, created by The End to act as a shelter and a rebuke.” - The path across the water - Vilicent Moore

Niburu is a mirror world accessible only in dreams and ritual. It exists alongside the mundane world of BlackSands like a shadow, an ethereal isle of twisted terrain and cyclopean geometry. Dark tides lap at its ashen beaches, forming a barrier between the waking world and the nightmare domain.

Beyond the shore Nibiru is walled in labyrinthine circles, like Dantes visions. Strange geometric divisions, marking time and territory, like ripples frozen in water. Each circle is host to its own unholy denizens and uncanny architecture.

Nibiru floats outside of time or space and is only accessible through gateways that exist in the darkest corners of the earth or the deepest chambers of the mind. It cares not for the sunlit world and waits patiently for its demise. The Watchers of the First Circle writhe upon the ramparts, marking the fading sun with their unceasing gaze. The Key stands before the prismatic gates.

Influences

The mirror world that lurks unseen alongside Blacksands is named after the myth of the Niburu Cataclysm. This is a rich and multifaceted legend based on the idea that an unseen planet will one day destroy the earth, in an unavoidable catastrophic collision.

Although recent iterations of the idea are linked to millennial era conspiracy theories, the original source is taken from ancient Mesopotamian and Sumerian texts. In these texts, Nibiru is the "star of Marduk" - one of the most powerful gods of the Babylonian era

In the various interpretations this planet (also known as Planet X or Marduk) is described as invisible, hidden by astrospacial effects, or able to warp in and out of our dimensional plane. It is the home to a sentient alien race, described as gods by the ancient sumerians. It was part of the inspiration for the Lars Von Trier film Melancholia and has frequently resurfaced as part of internet memes and conspiracy theories. It is also a term in Akkadian language for a crossing or equinox.

All of these elements make the myth a rich and inspirational source for the creation of its 'reflection' in Highrook. I'm not trying to create an accurate version of the myth in the game, but I am using the amazing premise and evocative lore as a seed to create my own dark mirror world - A cosmic shadow plane, an island citadel, home to transfigured beings, once human but now ‘ascended’ and incorporated into a pantheon of powerful nightmarish beings.

Just as the waking world of Blacksands emerged from my interest in the cities of gothic fiction and cosmic horror, the unseen twin of Nibiru is inspired by countless myths of hidden apocalyptic worlds..

[honourablejester]

While on the subject, my favourite subclasses (so far) for each D&D 5e class:

Artificer: Gonna be honest, I don’t do much with artificers, but just going on vibes, while I understand it’s not the most mechanically brilliant of the options, I still just love Alchemist. I just like me some bubbling beakers, you know?

Barbarian: Ancestral Guardian. I love Zealot, I love Wild Magic, I could be persuaded towards Beast, particularly for small characters (scuttly little beast barbarian gnome, I like the vibes), but it’s still Ancestral Guardian. I want to be a barbarian with a pack of ghosts following them around!

Bard: For the longest time, it was Lore, for similar reasons that Knowledge clerics are my joint first favourite clerics. It feels like the old Irish bards, the oral knowledge and magic, and I had a ghoulish little half-elven lore bard named Feyla Thenn who was a lot of fun. But recently … I really like Creation? It definitely does have that spellsinger vibe, singing things into being, and honestly the ability to just sing myself up 50ft of rope, or a grappling hook, or a ladder, or a key, is just … endlessly useful and fun.

Cleric: If I have to pick one, singular, then Twilight. But it is two, because every time I make a cleric, Twilight and Knowledge have a fist fight in my head, and the only reason Twilight wins is because it’s prettier. I like twinkling sparkly bits. But Knowledge is forever there, loyal and true, waiting for me to return to it. (Tempest is the runner up, because I like big booms and I cannot lie. Also ocean).

Druid: Stars. No competition. If I make a druid, they’re gonna be a Stars druid, unless there’s a compelling setting reason for them to be anything else. I like land druids, I’ll flirt with spores, but as a stars druid I get to turn into a mobile starfield and smite people, and there’s just no beating that.

Fighter: Like the artificer, I don’t do much with fighter, but both Rune Knights and Eldritch Knights have a bit of a draw to them. Particularly Rune Knights. I like the hulking, placid, but smarter and more dangerous than you think sort of vibes they have.

Monk: Again, not my class, but I do enjoy a Mercy Monk. I also weirdly have a fondness for the Sun Soul? I like shiny things and radiant damage, but also the Sun Soul gives me kind of anime vibes? Channeling your ki into a radiant aura. IDK, I’m just weirdly fond of the Sun Soul as a concept.

Paladin: As we’ve discussed, a threeway fight between Redemption, Watchers and Devotion, but my love of John Donne and the imagery of weary gothic knights in a world of darkness forever pulls me towards Devotion first. Though, you know. Cosmic horror definitely gives Watchers some points, and I like the mercy first ethos of Redemption.

Ranger: Fey Wanderer. I like skills and languages! For themes and imagery, though, Swarmkeeper. I want a warforged ‘scarecrow’ ranger with a flock of crows. I want a dhampir or changeling swarmkeeper with a swarm of moths. I like swarms. Swarms are good. I love the imagery.

Rogue: Phantom. Again, fairly big gap between this and the closest runner up. I really like ghosts? Like with the Ancestral Barbarian, I just really like ghosts, and the story potential of a character that is perpetually followed by them. Aided by them. I will also give some points to Swashbuckler, though, because I enjoy a good old fashioned daring scoundrel, and I really like swashbuckler movies.

Sorcerer: Aberrant Mind. Again, I enjoy the horror-themed subclasses? Though having played a Clockwork Soul, I also like their whole ‘return to centre’ sort of feel. And, you know. I enjoy a tempest cleric, so Storm sorcerers also get a look in. And Draconic, because ‘my grandma is a green dragon’ is always fun. I think sorcerer is the main class where I kind of like everybody and will give them all a whirl.

Warlock: Fathomless or GOOlock. Neck and neck. I do enjoy a Genielock, there’s fun to be had with Bottled Respite, and I have a fair few ideas for Celestial too, because I like the idea of being hired, on a mercenary basis, to aid the forces of good. I love the idea of some pragmatic deva somewhere just hiring, no convictions necessary, I will simply pay you in magic to fix this evil for me. It’s a great vibe. But Fathomless and GOOlock fill my cosmic horror love so well. I think the edge might go to Fathomless. Because tentacle. And also ocean. Heh.

Wizard: Illusion. Scribes and Abjuration hold joint second place, I love them both dearly. Bookish wizards and tanky wizards are excellent. But I love the diggy, trickster, seeker nature of illusionists. I love the playing with reality, the use of illusion to hide or reveal truth, the philosophical underpinning of a character that chooses, fully consciously, to pursue this school of magic. Also Phantasmal Force is an evil, evil spell, and I love it. Pick up the Metamagic Adept feat and get subtle spell, have a tonne of fun.

There are probably not surprising for most people, but I hadn’t gone through it by class before. So. Here we are?

[ascendingaeons]

From Chaos With Love

“Chaos is what we've lost touch with. This is why it is given a bad name. It is feared by the dominant archetype of our world, which is Ego, which clenches because its existence is defined in terms of control.”

- Terence McKenna

It is said of every age that none having stood before have experienced such chaos and uncertainty. I would argue that chaos and uncertainty fulfill a purpose unparalleled by any other forces: the transmigration of Love. For every moment in your life that seems to have gone awry, can it not be said that each has allowed you to transcend your limitations, expand your horizons, and reconnect with the core of your being? For every pitfall and loss, have your eyes not opened to a piece of yourself that you wouldn’t have known was there? Every cry of “eureka!” and every act of compassion and grace are borne of uncertainty and chaos. I would argue that it was always so.

In the time before creation, matter and energy existed in a degenerate state. Even consciousness, the emanation of Self, roiled in timeless stagnation. This degenerate state was known as the primordial chaos and the primeval, cosmic, or celestial ocean. In scientific terms, this means that before its expansion, all matter, energy, and consciousness existed in a single dense nucleus. This “atome primitif” or primordial atom, although being the sum composite of the created universe, was no larger than 1/70,000 of a light year. That is roughly the distance between Earth and its Sun. In this primeval state, atoms were compressed so densely that their electrons escaped their orbits and swam freely through the nucleus.

In mythos and religion, this has been expressed within the chaoskampf, a word meaning “struggle against chaos,” the key word being struggle. What comes to mind when you think of that word? I think of binding, resistance, anxiety, obstacles, and fear. What do all of those have in common? The Shadow archetype of the unconscious mind. What we call shadow work is the conscious pursuit of healing and growth by consolidating the repressed, unmanifest aspects of the psyche into the greater whole by accepting and loving these dissonant facets of the Self.

You could argue that this view doesn’t make me a very good Kemetic, to which I would say that I offer a distinction between Nun and Apep. Nun is the primordial ocean, an ageless force of creation knowing ma’at but preceding isfet. He is manifest in the microcosm as the collective unconscious. Apep is the unrestrained, unmitigated aspect of chaos dwelling in the waters of both Nun and the Duat. I consider Apep as a counterpart to Set in that Apep is what Set could be had He not conquered Himself.

I often say that there exists a balance in all things. It is a sentiment that predates the written word. Older still is the greatest force in the created universe, what I call the First Energy. That, my friends, is Love. Fear came into being as a counterbalance, as a way for Love to Know Itself and to bring about the gravity of relationship. This is known as the primordial scission; One (Unity), in becoming Two (Duality), so becomes Three (Reconciliation).

What does this mean in human terms? I would argue that, as individuals and collectives, we are essentially whole. It is our perception, the propagation of what we allow and what we deny which determines our reality. When someone takes the initiative to heal and integrate their personal chaos they contribute to the healing of the greater whole. I can guarantee you that such transformations by no means go unnoticed. I would conclude this with a personal revelation that is by no means unique. One need not work to change the world, but only oneself.

[westcrescent]

&. 𝘤𝘩𝘢𝘱𝘵𝘦𝘳 𝘰𝘯𝘦. ²/₂ [ 𝑻𝑯𝑬 𝑺𝑻𝑶𝑹𝒀 𝑶𝑭 : 西阳入月 ]

 

𝑫𝑨𝒀 : 𝑻𝑯𝑬 𝑨𝑩𝑫𝑼𝑪𝑻𝑰𝑶𝑵

 

𝑹𝑼𝒀𝑼𝑬'𝑺 𝑷𝑶𝑽

 

I approach the door and press my ear against it, straining to catch any additional sounds. The footsteps stop abruptly, and a shiver runs down my spine. I can hear the faintest whispering on the other side, too soft to make out the words but unmistakably there. My mind races through the possibilities— could it be an intruder, or perhaps someone with a more sinister intent?

I glance around the room, looking for anything that might help me defend myself. The protective wards, faintly glowing against the walls, seem to be flickering, their magic struggling against the intrusion. Father’s precautions have never faltered before. This breach is not just a testament to the intruder's skill but also to a significant weakening of my own defenses.

A soft click resonates through the room. I turn my head just in time to see the lock on the door begin to turn. Panic grips me, and I back away instinctively, reaching for anything to use as a weapon. My hand closes around a small dagger left on the nightstand—an heirloom from my mother, meant for ceremonial purposes but now repurposed for self-defense.

The dim light from the hallway barely illuminates their features, but the cold, calculating gaze that meets mine is sent shivers down my spine.

"You've been expecting me," the figure in a dark cloak says in a low, smooth voice. The tone is almost familiar, though I cannot place it.

I tighten my grip on the dagger, trying to steady my trembling hand. "Who are you? Why are you here?"

The figure takes a step forward, their presence filling the space with a palpable sense of dread. "Your father’s wards were impressive, but I’ve always had a knack for getting around such obstacles."

 

𝑬𝑵𝑫 𝑶𝑭 𝑷𝑶𝑽

 

As Ruyue is led into the darkness by the intruder, the truth about her abductor becomes chillingly clear. The cloaked figure, a member of the Cosmic Tribe of Voids, an ancient, enigmatic force that seeks to unravel the very fabric of existence. This tribe, often whispered about in fearful legends, embodies a cosmic horror that thrives on annihilation and chaos.

The Tribe's ultimate goal is the eradication of all celestial bodies, including moons and stars, aiming to plunge the universe into a state of eternal darkness and chaos. This is not merely a quest for power but a fundamental desire to return all creation to a primordial state of non-being. They believe that by consuming and erasing celestial bodies, they can reshape the universe into an unending void where chaos reigns supreme.

Ruyue's role as the successor of the moon deity makes her a prime target for the Cosmic Tribe. The moon, in her domain, is a symbol of balance, light, and order. As the chosen heir, Ruyue's connection to the moon signifies her ability to wield and influence celestial powers, making her a formidable force against the void's destructive ambitions. By capturing her, the Cosmic Tribe aims to eliminate a key source of celestial stability and reclaim the moon for their own dark purposes.

As Ruyue is led through the darkened landscape, her situation becomes increasingly dire. The reason for her vulnerability: her powers have been significantly drained in preparation for the Moon Ascension Ceremony. The Moon Ascension Ceremony demands a tremendous amount of spiritual and celestial energy. This energy is drawn from Ruyue herself, leaving her weakened and vulnerable in the days leading up to the ceremony. The ceremony is designed to increase her powers and solidify her role as the moon deity’s successor, but it also means that she must be at her weakest before the ceremony can fully complete.

The cloaked figure, understanding the limitations imposed on Ruyue, does not need to confront her directly in a manner of brute force. Instead, they exploit her weakened state, capturing her with calculated ease. The black hole’s ability to silently appear and devour any trace of its presence ensures that Ruyue’s abduction is swift and leaves no sign of struggle behind.

Her mind struggles to grasp the situation, but exhaustion and the drain on her powers make it difficult to focus. The void’s influence intensifies, pressing down on her consciousness like a physical weight. Her vision blurs as she fights to stay alert, the edges of reality becoming increasingly indistinct.

Is this how it ends?

Why did I not see this coming?

How could I have been so vulnerable?

[ananke-xiii]

Don't Apocalypse. Open Inside.

As usual, be warned that I don't know where I'm going with this. It's just me trying to understand some of the myths we live by.

This time this rambling is brought to you by an article about "Lost" where it described the island as a "cork" separating the world from all kinds of evil.

So I've been thinking about Pandora's box.

Stories like Lost, Buffy, Supernatural, Game of Thrones, The Walking Dead and probably many others all play with the ancient idea of the possibility that Evil can be contained in a box, in a cave, in a cure, in an island, in a cage or beyond a wall. Which is to say that they envision the possibility that Evil can be put back into its right place, hidden, sealed and forgotten.

In other words, these are stories (with all due respect with the "whatever happened, happened" approach in Lost) that entertain the possibility that we can go back to a time, a better time, where Evil is bottled up and away from us. A time where Pandora didn't open the fucking box. Or when Eve didn't eat that damn fruit. Or maybe even better (worse): these stories are telling us that, thanks to the sacrifice of one and Just The Chosen One, we can reset time, re-create our own personal big bang, reshape the arrow of time into a new BC and AC.

Because both Pandora and Eve are characters in myths that speak about the creation of time, the separation from a Golden Age and the impossibility to go back UNLESS someone pays the price for all.

In these myths the ones doing the sacrificing are respectively Prometheus and Jesus, although the first was met with a better fate than the last because eventually Chiron showed up and took his place. Which of course means that there still is someone being impaled and getting their liver daily eaten somewhere in the Caucasus' mountains for our collective right to have the fire and our right to be free from our original sin.

Therefore, in my own understanding of things, these stories are all more or less conservative (full disclosure: I stopped watching TWD after s6 maybe and I simply see GOT's ending as a joke or a prank played upon the viewers, I don't respect it at all) in that they are content with the preservation of the status quo. A few people might take the bullet but overall: Apocalypse averted.

But what does "apocalypse" really mean? It means something like "to reveal". So maybe methinks that we should actually all go get a look at that Pandora's vase and go see what's up in the Garden of Eden. Maybe we shouldn't put a "cork" on it or put the lid back on. The thing is that we know that there are zombies inside and we don't want to look. In the darkest pits inside us we know that we say we want change and free will and control over our lives but we don't want to pay the price for it ourselves: let the heroes solve our issues and good luck to them!

This is why I think that TWD is less conservative because in that show the door was opened and, as expected, it wasn't pretty: Rick Grimes wakes up from a coma and the world revealed itself in all of its glory and all of its brutality.

Same goes for Supernatural s10-11 (s5 and s15's endings are still conservative in their essence): the key is turned, Bluebeard's room is opened and inside there's darkness and blood and all sorts of horror. What's even worse (better) in Supernatural is that we explore Pandora's box but the heroes are unscathed. No, better! One of them gets another special bond with a cosmic entity and the other one says he would do it all over again! They caused the death of hundreds of people, one of then committed human sacrifice by proxy and he would do it all over again! The other one even gets a GIFT (the pipeline from Rowena killing his putative son Oskar to free Dean of the mark to Amara gifting Dean with his mother Mary is as heart-breaking and fucked-up as it sounds, there really is a fine line between gift and sacrifice) from said cosmic entity who's brought havoc on earth and eaten souls in the dozens!!! Talk about honesty and reality! People get punished for the sins of the heroes. I find it absolutely fascinating.

What I want to say is that, perhaps, we should start telling stories where we relinquish what I personally consider an obsession with "going back to how things were". Like, factually that cannot be done: the box was opened, the fruit was eaten and now here we are, we invented time to try and control and order what's around us cause we have no fucking clue about what's going on and now we're in this mess. Maybe we can't go back but we can go beyond. Maybe we can do that if we stop buying into this idea that someone will come and make it alright. Maybe we can stop waiting for our Parents to show up at the cross: they have abandoned us and that can't be changed. What we can do is change our narratives, reveal the myths we live by and start co-authoring them. It'll get ugly. Very ugly. Maybe this is the price that must be paid.

[radiophd]

emperor -- cosmic keys to my creations and times

[jr-verse]

Real J.R (Fully known as Justin Cameron Richard) is the overarching character, better yet, the overarching antagonist in the J.R franchise. Serving as the final "character" when the true secret is discovered. He is known as the creator of his universe and multiverses. Aside being the creator, he is rather fond and grew attached of himself being a villain instead of a hero, possibly due to him being zealous. It's also revealed that all the other J.R's throughout the franchise were just the creator's fictional incarnations or avatars. It's also revealed that Real J.R responsible of countlessly resurrecting his numerous various fictional incarnations after a series of deaths. J.R creates fictional incarnations/avatars of himself out of self-interests. From describing as varieties of mischievous, notorious, villainous humans, to evil, ruthless, chaotic, cataclysmic and misanthropic demonic nor cosmic beings, all with free-will and self-awareness. J.R then started his first, original and dark prophecy. Known as "The Aftermath". Stating that if The Creator Of All dies, all his creations as well will suffer the same fate. The gifts of all natures will rot in decaying death, All beings in life will be destroyed, All Worlds will be ignited in chaos and destruction. The universe will be in eternal blackness with endless silence.

Occupation: The Creator Of All. (Primary Title) Former Prodigy Of Mischief "Universal" Being Of Life And Death The Former Side Of Heroism The True Deity

Quotes: "Fascinating... my fictional-selves are taking action."

"I like acting as a villain. But to be honest... I'm not evil in reality. Just... in my head."

"You absolute fool. Do you think KILLING ME would grant you a happy ending?"

"You know... this computer... is partly MY universe... right?"

"Here's a thing if you're pissing me off. You play with fire and sometimes you'll get burned! ...Do you even know what that means?"

"I assure you. Those J.R's are merely fake incarnations nor avatars of me. Facades... that I control and work on their AI and other stuff for my own ambitions."

Info: The true mastermind behind everything. Creator of universes, Life, Death, Matter and Purpose. As well as creating varieties of himself in anyway he wants them to be. He cannot be physically harmed by all traits of attacks due to him being special. But, there are only two weaknesses of his that are hidden.

Personality: Unlike his fictional incarnations/avatars, who are described from mischievous and infamous to pure evil and chaotic, with the desire of take over the world or cause cataclysmic destruction and death, Real J.R isn't any of those. He isn't an evil nor bad person in reality, but he is considered one in his mind and conscience. Aside from being a creative, self-centered but pessimistic most the time. Although can be comedic at times, he is downright serious. He doesn't like being messed with nor being manipulated. If so, it will cause him to temporarily become angered nor vengeful. He doesn't want to become famous anymore - and for good reason. Real J.R also has a life outside of his place, meaning that he isn't reclusive. He is also presumed to be a bit xenophobic and judgmental as he briefly startled by The Player themself and views their status and experience before interacts about them. 

HOW TO FIND HIM (ME):

Step 1: Use all of the protagonists (the ones I created or the one that were brought from others) to make an experience.

Step 2: Defeat all my non-real incarnations (which are fragments of the lock to my entry) If you have defeated all of them, The lock will be stably revealed.

Step 3 (Final Step): Find every last of all the grayish keys that are hidden around my universe. Gather them all to created a grayish colossal key.

Once all three of the main plans are genuinely completed, A secret can be finally unlocked.

Gather all the protagonists and use their experience to create the true controller. YOU.The PLAYER themself.

Once you've revealed the PLAYER, you will fight a penultimate boss called "The J.R-dian". A guardian with all of my fictional incarnations' consciousness into one.

After the penultimate boss's defeat, The entry opens... but - judgement awaits... depending on the good, neutral or evil.

You will meet me and will let me explain all my reasons and purposes. Thus, there is a very rare chance (15%) of a final boss fight to appear.

After hearing my story (aside the fourth-wall breaks), The PLAYER has to make two choices. Spare Or Kill.

If the PLAYER chose spare, Real J.R will continue on with his universe of creativity and fictionality.

If the PLAYER chose kill, Real J.R quotes a variety of his last words before dying. (Similar to the Desk Man's death from FNAF World.) The computer then detects Real J.R's amount of blood, causing the computer itself to permanently shutdown, before implying that all of Real J.R's creations will be eternally erased. The entire room went to pitch black. Leaving the PLAYER themself to live on in endless blackness. As the PLAYER finally kneels down in despair, they disappear into the endless darkness. After five minutes, a message of blood-red text occurred in the screen replying:

"You killed the creator. There is nothing left in this universe now that he's gone. Because of you. Do not return to this game anymore."

The game then shuts itself down. Leaving it unplayable now that there's nothing left.

During the very rare final boss fight. The PLAYER fights Real-J.R in a very intense fight. This is most-likely non-canonical.

If Real-J.R wins, all of The PLAYER's progress will be entirely erased.

If Real-J.R loses, The PLAYER will have to make the same two choices.

If The PLAYER hacks the game, and when reached to the true end, even in a fastest rate of time, Real-J.R detects The PLAYER's hacking antics and then replies that he's very disappointed and upset at The PLAYER. Real J.R then punishes The PLAYER by kicking them out of the game, making them unable to play again. A text message appears, replying:

"Next time, Do not act reckless! I don't care if you known nor seen this before or not!!"

It's likely implied that Real-J.R sent that.