#Marduk Inspiration

[nastasya--filippovna]

WHO IS CROWLEY AFTER THE FALL (PART2)

Here it is finally.

So what is the Leviathan.

In mythology and theology the Leviathan is a sea-serpent and is mentioned in several books of the Hebrew Bible such as the Book of Job and Book Isaiah and Book of Enoch. The Leviathan of the Book of Job is a reflection of the older Canaanite Lotan, a primeval monster defeated by the god Baal Hadad. Parallels to the role of Mesopotamian Tiamat defeated by Marduk have long been drawn in comparative mythology, as have been wider comparisons to dragon and world serpent narratives such as Indra slaying Vrtra or Thor slaying Jörmungandr.

Once again we see the pattern of Biblical creatures being “inspired” from pagan ones.

Thomas Aquinas described Leviathan as the demon of envy, first in punishing the corresponding sinners. Peter Binsfeld likewise classified Leviathan as the demon of envy, as one of the seven Princes of Hell corresponding to the seven deadly sins. Leviathan became associated with, and may originally have been referred to by, the visual motif of the Hellmouth, a monstrous animal into whose mouth the damned disappear at the Last Judgment, found in Anglo-Saxon art from about 800, and later all over Europe.

In the Book of Enoch, The Leviathan is a female giant chaos serpent that lives deep in the ocean, while her mate, Behemoth, is a male giant chaos beast (based off of a hippopotamus or water-ox) who lives in the mythical desert of Duidain, East of Eden.

Ring any bells. Chaos mongering (fomenting), ox, eastern gate of eden…. 

The Hebrew word that translates to Leviathan (Livyatan) appears six times in the Old Testament. One of them is in Job 41. The word is derived from the root Iwy or ‘ twist, coil’ and means ‘the sinuous one.’ So I think we can establish that this creature is at least indicated to be snake-like. Scholars trace the etymology of whale and crocodile 

In the Book of Isaiah it is mentioned that the beast will rise from the water and will be defeated by God on the Last Day. However, quite interestingly nowhere in the Old Testament is the Leviathan written as evil. Only later scholars have equated it with the devil so that the battle between God and Chaos can be interpreted as the battle between God and the Devil.

Now let’s make this more interesting: The Gnostic sect venerate the biblical serpent of the Garden of Eden as a symbol of wisdom, which the malevolent Demiurge tried to hide from Adam and Eve. They identify the Leviathan as the serpent of Eden and in this belief system the Leviathan appears as an Ouroboros, separating the divine realm from humanity by enveloping or permeating the material world.

I mean I don’t even need to say anything further.  

And he does show up in GO Season 2. The matchbox.

Here 

When did this happen, I wonder……hmmmmmm

Oh YES!

Crowley wearing Aziraphale’s face

     

Here’s the rest of the passage from Job

1 Canst thou draw out leviathan with an hook? or his tongue with a cord which thou lettest down?

2 Canst thou put an hook into his nose? or bore his jaw through with a thorn?

3 Will he make many supplications unto thee? will he speak soft words unto thee?

4 Will he make a covenant with thee? wilt thou take him for a servant for ever?

5 Wilt thou play with him as with a bird? or wilt thou bind him for thy maidens?

6 Shall the companions make a banquet of him? shall they part him among the merchants?

7 Canst thou fill his skin with barbed irons? or his head with fish spears?

8 Lay thine hand upon him, remember the battle, do no more.

9 Behold, the hope of him is in vain: shall not one be cast down even at the sight of him?

10 None is so fierce that dare stir him up: who then is able to stand before me?

11 Who hath prevented me, that I should repay him? whatsoever is under the whole heaven is mine.

12 I will not conceal his parts, nor his power, nor his comely proportion.

13 Who can discover the face of his garment? (penetrate his coat of armor)  or who can come to him with his double bridle?

14 Who can open the doors of his face? his teeth are terrible round about.

15 His scales are his pride, shut up together as with a close seal.

16 One is so near to another, that no air can come between them.

17 They are joined one to another, they stick together, that they cannot be sundered.

18 By his neesings a light doth shine, and his eyes are like the eyelids of the morning.

19 Out of his mouth go burning lamps, and sparks of fire leap out.

20 Out of his nostrils goeth smoke, as out of a seething pot or caldron.

21 His breath kindleth coals, and a flame goeth out of his mouth.

22 In his neck remaineth strength, and sorrow is turned into joy before him.

23 The flakes of his flesh are joined together: they are firm in themselves; they cannot be moved.

24 His heart is as firm as a stone; yea, as hard as a piece of the nether millstone.

25 When he raiseth up himself, the mighty are afraid: by reason of breakings they purify themselves.

26 The sword of him that layeth at him cannot hold: the spear, the dart, nor the habergeon.

27 He esteemeth iron as straw, and brass as rotten wood.

28 The arrow cannot make him flee: slingstones are turned with him into stubble.

29 Darts are counted as stubble: he laugheth at the shaking of a spear.

30 Sharp stones are under him: he spreadeth sharp pointed things upon the mire.

31 He maketh the deep to boil like a pot: he maketh the sea like a pot of ointment.

32 He maketh a path to shine after him; one would think the deep to be hoary.

33 Upon earth there is not his like, who is made without fear.

34 He beholdeth all high things: he is a king over all the children of pride.

The Leviathan is a magnificent creature. And the very fact that God goes to so much trouble to describe the magnanimity of this creature is to show what God has created and hence Her magnanimity must be even greater in comparison for the Creator is always superior to the Creation. And if God can so easily abuse and humiliate this beautiful monster, then God must be worshipped and feared.

Though to the unsuspecting eye these passages may ring no familiar bells, a closer look makes you realize how Crowley-coded they are. And to think that in a story where Neil has never witten or shown anything that wasn’t woven in finely with the characters, I alwsy wondered why he chose the Book of Job for the minisode when he could have included any other one.  

But it reminded me that Crowleys character is truly unrelenting. He’s a nether millstone. He won’t give up that easily. He absolutely won’t submit to anyone, and he’s shown time and time again that his vociferous litanies about running away disappear as soon as someone or something he cares about is in danger (i.e. Aziraphale). And the second coming will also threaten his creation (the universe). His refusal to submit to authority, the refusal to be subjugated is the reason he fell in the first place. And quite interestingly he doesn’t own Hell either. He resists that too. For him it’s not Heaven or Hell that matters but the resistance to Power.  

I also think it’s also fitting that the Leviathan is perceived to be a monster that must be slain or enslaved but in reality is another of God’s creations just like the sun and the stars and the rivers and the mountains.  

And it makes me think of how Crowley has always been labeled as evil because he fell. I think of how, at heart, he is truly gentle and kind, he’s a starmaker. But his fall, his appearance, his desire to be autonomous and his grey moral campus make him feared and a target. And that has made him the embodiment of chaos. His refusal to submit himself to the uniformity of both worlds, to the rules and guidelines that create this illusion of order sets him apart from them. He embraces the chaos that grayness offers, that being ‘human’ brings. And hence the final battle will be between God and chaos with God justifies as being the battle between good and evil because, well, he’s a demon.    

The Leviathan being historically associated with the sin of envy is again I think written into the plot very carefully. He is envious of humanity’s ability to question God, to have choices to not be doomed to heaven or hell for all eternity. He is envious of what Maggie and Nina have. He’s envious of what Beelz and Gabe have.

“I mean if Gabriel and Beelzebub can go off together…..”

And then him rejecting Azirapahle’s offer— he has spent his life (a long, long life) rejecting power and authority. In his relationship with Aziraphale he found his sanctuary, a relation clean of power dynamics. Up till now they were both equal. But this new offer jeopardizes that.

And I love how his ego and pride come to play here. He would never accept being “second in command to anyone”. And his envy of how God’s mercy is free for some but wholly denied to him.

[yamayuandadu]

Is there more information about Melam, besides 'the substance that covered the gods in terrifying splendor,' which makes humans experience 'the physical creeping of the flesh'?

You’re citing a subpar wikipedia article like it’s a primary source. Please don’t do that in my ask box.

Melam(mu) is an ordinary word referring to the abstract notion of radiance of deities (as well as certain other supernatural entities, most famously Humbaba; rulers; places and objects regarded as numinous, like temples, statues and cultic paraphernalia; and so on). Since terms like melam(mu) and puluḫtu have a more specific meaning than the generic namru, “shining”, more poetic translations like “awe-inspiring radiance” are fairly common. For more context see Radiant Things for Gods and Men: Lightness and Darkness in Mesopotamian Language and Thought by Shiyanthi Thavapalan (esp. p. 14-15). A deity could be described as possessing a plurality of melam, though this is generally rare (most famously, Humbaba has seven, but there are isolated attestations available for Nergal and Marduk too) and the term is typically left singular.

In textual sources melam is already attested in the Early Dynastic period (see the Reallexikon entry by Manfred Krebernik for a list of attestations), but in visual arts it only shows up in a coherent, consistent way in the Neo-Assyrian period, where deities are often surrounded by a so-called “nimbus” (The Melammu as Divine Epiphany and Usurped Entity by Mehmet-Ali Ataç, p. 295). Literary texts can present melam as something tangible - a divine garment, crown, wig and so on (for some examples see A New Occurrence of the Seven Aurae in a Sumerian Literary Passage Featuring Nergal by Jeremiah Peterson) - or even as logs of wood (in the Humbaba narrative; see The Babylonian Gilgamesh Epic: Introduction, Critical Edition and Cuneiform Texts by Andrew R. George, p. 10). However, this holds true for many abstract concepts.

[talonabraxas]

Marduk is an ancient Mesopotamian god who ascended through the ranks of the Babylonian pantheon to become one of the most powerful gods. Babylon became the epicenter of the Euphrates Valley during the Hammurabi period, about the 18th century BCE. By the second millennium BCE, he had become the patron god of Babylon, and his temple, the well-known ziggurat, is thought to have inspired the biblical Tower of Babel.

He was known in the first century as Bel, which means “Lord” in Akkadian, although his name translates to “bull-calf.” Marduk was a god with 50 different names, each one denoting a divine trait. His supremacy over the other gods began when he defeated Tiamat, goddess of the sea, earning him the nickname “warrior god.”

Marduk was associated with the planet Jupiter in Babylonian astrology. In addition, he was identified as the equivalent of Zeus or Apollo in Greek mythology for the Babylonian pantheon and Jupiter himself in Roman mythology.

Marduk "solar calf" Mesopotamian God Talon Abraxas

[satoshi-mochida]

Moonana announces fantasy strategy RPG Clowned King for PC - Gematsu

Virgo Versus the Zodiac and Keylocker: Turn Based Cyberpunk Action developer Moonana has announced Clowned King, a fantasy strategy RPG coming to PC via Steam. A release date was not announced. Development started in 2024.

Here is an overview of the game, via its Steam page:

About

In a world made of glass… …an exiled Prince conceals his bloody past behind a mask of laughter. Clowned King is a turn-based tactical fantasy RPG in which you lead a performing troupe of clowns through The Moonlit Kingdom, currying favor with lords in support of your rebellion against your father, the Mad King Marduk. Your success will be determined in the battlefield as you take on your foes in Tactical Grid-Based Combat and prove yourself worthy as a successor to the throne of glass, in this fantasy tactical adventure inspired by Disgaea, Fire Emblem, and Brazilian culture.

Key Features

Battle Formations – With a unique take on the tactical genre, Clowned King features its own Formation system where being surrounded by allies on advantageous spots will enable your units to join forces in a FORMATION. This formation unlocks a special attack or defense that is unique to the kind of formation they created. This could act as a large shield barrier or a magic powerhouse.

Your Choices Matter – As Clown Prince Matheus, you will be faced with difficult choices along the path towards the throne. The decisions you make in those moments will determine the course of the story in this rich narrative with multiple endings.

Manage Your Troupe – Build your party of entertainers as you travel through the floating islands of glass, making friends, allies and enemies, with a large variation of units featuring unique combat styles. This game will also feature an immense amount of mage class types.

Make Powerful Allegiances – Bond with leaders from opposing realms to help support your fight against the Mad King.

Build Your Own Campaigns – A fully featured campaign editor will allow players to create their own Custom Campaigns and share with others to play.

Watch the teaser trailer below. View the first screenshots at the gallery.

Announce Teaser Trailer

[black-metal-artists]

⚔️ PUTRESCENT KNIGHT - "Lamenting Visage" ⚔️

Vile, disgusting black metal hailing from the depths of East Tennessee. Putrescent Knight takes inspiration from second-wave pioneers like Darkthrone, Marduk, and Judas Iscariot. Their five-track debut, "Lamenting Visage," is a relentless assault on the senses, with distorted vocals, dissonant guitars, and punishing drums.

Bandcamp: https://putrescentknight.bandcamp.com/album/lamenting-visage

Instagram: https://www.instagram.com/putrescent_knightrbm

Prepare yourself for an auditory onslaught, as Putrescent Knight weaves a grim tapestry of rot and decay, seldom heard in modern black metal.

🎧 Available now on all streaming platforms. Embrace the darkness. 🌑

#PutrescentKnight#BlackMetal#LamentingVisage#SecondWaveBlackMetal#Darkthrone#Marduk#JudasIscariot#EastTennesseeMetal#UndergroundMetal#MetalCommunity#supportblackmetal

[eesirachs]

I ended up watching three or so videos about the origins of Yahweh (idk if you mind it being written but idk how else to be more specific, excuse me). And it was talking about ancient pantheistic religion in the Levant and the other gods of the time (El, Ba’al, Asherat?). And, anyway, I found it all quite interesting. Even hearing about, idk, what life in that region was perhaps like at that time. And the time period of the transition from pre-history to recorded history. Do you have anything to share about this? Hope you’re having a good winter, Ty.

hashem—the god of the israelites—was a good ancient near eastern god. he, like his co-equals, hosted a divine council of heavenly bodies. he, like his co-equals, was a familial god, a storm god. fiercely loyal, jealous, violent in his love, natural in his theophanies. the israelites who composed and were composed by the hebrew bible drew great inspiration from marduk, el, ashera, ištar, on and on. this god is figured in this way—a way like so many other gods of the ancient near east—because it worked. it met bodies where they were. it filled the hole just below the ribs

[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..

[teethinvitro]

MOLOCH

What is MOLOCH?

Moloch is a point-and-click horror adventure game currently being developed in Godot Engine by radiohotline (https://teethinvitro.neocities.org/).

The game takes visual inspiration from the likes of Machinarium, Fran Bow, and House of Leaves, and stylistically from many classic point-and-click adventure games, notably Fran Bow and Night in the Woods. The game will be progressed through small puzzles and interactions of wide variety with the trinkets left behind by people who no longer exist.

The story (non-spoiler)

The protagonist finds themselves in an unfamiliar room, and soon learns that they must make it to the Core of the world to go back wherever home is. What will they learn of the civilisation and their creations? What is the role of Marduk? Why do so many people choose to stay and where did they come from? I hope you enjoy following the protagonist's journey with me as they navigate the desolate world they woke up in.

This blog and the game's status

I am hoping to release the first chapter this year, then the other 3 possibly in one go. It is not a large project, but it's one I find value in and hope to express my world through. This blog will be used for devlogs for whenever something major is implemented, hopefully to motivate me to keep working on it.

A demo of the first chapter's first scenes will be distributed privately when it is ready, and by the first chapter's completion, the game will have an itch.io page.

[orangesavannah]

⫸ P I N N E D P O S T

I'm an ambitious dweller from Finland who works as a 3D artist by day and a 2D artist by night. Feel free to call me NK, Sav or Savannah.

I do plenty of webcomics, OC art, fanart and the occasional yearly art challenge. Once in a blue moon I might even surprise you with 3D art or animation.

@nk-os is my side blog for shitposting and inspiration @chroma-game is a blog dedicated to a game project @dandelionmischief and I are working on

⫸ L I N K S

Tapas Deviantart Instagram Bluesky

⫸ T A G S

#nk - #nkos - #orangesavannah - All my artwork are tagged these #step aside - #sa - Step Aside comic related #apathy - Apathy comic related #ittri - The funky ocs without faces, both shown in Apathy and Step Aside #four of shards - Cool looking armored beings who may or may not get stories sometime in the future #shard to a flame - A four of shards romance comic featuring Marduk and Lumi (made by me and @alopex26) #chroma - Visual novel game related #other people's art - #art for me - Self explanatory #fanart - Most often transformers related or anything else I happen to be geeking out over at any given time

[malfeitorworldender]

A fresco "Trionfo della Morte" (Triumph of Death) made by Giacomo Borlone de Buschis in 1485.

Inspiration for MARDUK - Rom 5:12

The album title refers to a verse in the Bible, Romans Chapter 5, Verse 12:

"Therefore, just as sin entered the world through one man, and death throught sin, and in this way death came to all men, because all sinned."

[goblininawig]

Part 2 of 7 @endlesshistoriesfest

The Birth of Guilt (or Why Delight Became Delirium)

In which humanity changes, and Delight becomes Delirium.

Rated T | 401 Words | A03 | Masterpost | CW: Religious Guilt/Trauma

This story was inspired by Leonard Schlain’s The Alphabet Versus the Goddess: The Conflict Between Word and Image, in which he theorizes that written language fundamentally changed how human minds work, allowing patriarchal ideas to flourish. In Chapter 6, “Cuneiform/Marduk” he states, “The Seven Tablets of Creation replaced previous creation myths around 1700 B.C. and was recited every spring in Babylon for the next thousand years as the most plausible explanation for how the physical world came into existence.... Babylonians embracing this myth would forever be burdened by guilt; they owed their very existence to the martyrdom of a god.” This myth, along with the Code of Hammurabi, Schlain argues, caused Babylon’s cultural and mental shift towards patriarchal principles and biases.

Dream's appearance in this ficlet is a callback to Delight's brief appearance in Sandman: Overture.

The illustration is influenced by ancient Babylonian relief carvings & sculpture.

The people didn’t want to believe the story, but it could not be denied. It was clearly etched in stone tablets. That myth was now unchangeable, immoveable, same as Hammurabi’s laws that now ruled their daily lives. Every year, the story was read aloud, in case they had forgotten. The weight of those words seemed to press down on them, heavy as the stone on which it was written, causing a burdensome new emotion, for which they had no name. (But one was guilt, and the other shame.)

As Babylon’s empire spread, the myth was told and retold to more and more people, from Hittites to Aryans and beyond. As they accepted its authority,, they fell under its heavy psychological weight. And as their burden grew, their joy fled from them.

Wherever they may seem to be, the Endless are always bound to those they serve. Delight was walking in her garden, when suddenly she trembled and so did the ground beneath her. Something was shifting. And somehow it was her.

In the chaos of the moment, a familiar voice called out to her: “ Delight? ”

“I can’t come right now,” she rasped. “I’m changing. I’m sorry.”

“... changing? ” Dream’s voice echoed, and then she was alone again.

Delight cried out. She fell to her hands and knees on the soft moss. Beneath her, it began to dissolve. Blooms fell with petal-soft sounds. Something twisted and broke inside her. Pain screamed through her and she screamed, loud and wordless.

When the biting pain had passed, Delirium looked up with eyes that now were of two different colors beneath the sheen of her tears. She saw her garden falling into decay, everything dying, dropping, morphing into nonsense shapes and never-before-seen colors.

She stood and looked around. Her realm was no longer a garden of delight, and she was someone else.

As Delirium stood on wobbly legs, she sprouted wings to keep her balanced. She took a step and then another, wings fluttering, hurrying her along. She couldn’t think of what she’d just been doing. Or why she’d stopped. But she supposed it must not be important, if she couldn’t recall. Giggling, she leapt into the air, letting her wings carry her. Iridescent bubbles of all shapes and sizes rose with her into the maelstrom of color that was the sky.

She was Delirium. This was her Realm. She was herself and she was home.

[kazeofthemagun]

Marduk, god of Soil

[@shiroi---kumo inspired me to do a take on Kaze far in the future, when he comes to accept his godly persona of Marduk-alihkar. The custom syajhir represents the deity's attributes - various glyphs of Soil magic, as well as the sigil of kiichimarichuril, the "red haired children" and "red cattle of the sun", the heritage of which was demonized by the Windarian High Temple. The four wings of Marduk's cape represent the Four Winds (wind. Navo Rorahmi) - holy messengers of the Soil Spiral. The Divine Wind Weapon, Magun (wind. Imhullu) is kept hidden under the cape.]

[Inspirations below cut]

[Various iconography associated with the real world Marduk, a patron god of Babylon.]

[krimsonkatt]

Intangir

A cut enemy from "Imprisoned Chain", a project currently in it's very early stages of development. Imprisoned Chain is an SRPG/life sim/horror hybrid heavily inspired by SMT Devil Survivor, Danganrompa, Zero Escape, and FNAF. Originally the game would be a lot more inspired by Devil Survivor with a law, chaos, and neutral route, but this was changed to instead be a death game that quickly goes off the rails when no one wants to participate and evil demonic animatronics have to be engaged to take everyone out.

In the original version of the game Ingangir was the original final boss of most of the routes, being a corrupted form of the god Marduk who wanted to destroy humanity. The new plot could no longer fit him in due to being a death game with killer animatronics and being a lot more based in sci-fi nonsense and horror rather than religious stuff like before, so he was cut. The new final boss is a massive spoiler for the game, (they're the imposter/mastermind and one of the 9 playable characters) but the placement of Imprisoned Chain in the official timeline stated somewhere in this blog may hold a clue.

[that-gay-jedi]

Maybe we should bring back (some kind of secular thing inspired by?) that ancient Babylonian ritual where once a year the priest of Marduk was supposed to slap the king as hard as he could (and it was considered a bad omen if the king didn't cry from the blow) and the king would have to throw himself down on the floor and be all like "I've protected the poor and haven't terrorized anyone this year with my authority and have been merciful and never cruel and have prioritized fairness and the good of the people in all my decisions" etc etc with the understanding that if he's lying he'll be swiftly punished and likely die, and if he can't sincerely claim to have abstained from abusing his power then when he walks out of the temple the people gathered for the yearly festival are probably gonna tear him apart before the gods even get a chance to

[frogonamelon]

Dr Fate Reimagining

A little before Young Justice season 4 had come out, I decided to reimagine Dr Fate as a better foil to that version of Klarion. The main inspiration here was 'if chaos is a monochromatic boy in puritan clothes, order should be colorful and theatrical' and decided that the idea of the helmet of fate as a Venetian carnival mask was fun.

Her color scheme is jewel-toned green, teals, and blues with gold accents. She is near every color of the rainbow but green is the most prominent, contrasting Klarion's red. Her magic would also be white in part to balance out her very colorful design.

Another thing I wanted to change after seeing season 4 is Nabu... I don't think he should Nabu. Its comic accurate but I'm already changing so much. In canon, the spirit possessing the helmet is Nabu and his father in life was Marduk, also known as Vandal Savage. Personally, Savage makes more sense as Marduk's father in the mythology, Enki, god of water and creation. This would make the spirit possessing the helmet Marduk, who defeats primordial chaos and has many names, one of them being Bel (meaning 'lord') a god of order and destiny.

Story-wise: This young girl (roughly 10-13 when she takes up the mantle she's drawn older on the right) would probably know Kent a year or so before his death by more natural causes. She becomes Fate in his absence but doesn't really make any public appearances. This would worry the JLA (given that they don't know he's dead) and they would send The Team to check on him.

She'd be a more prominent presence, but I don't see her joining the team as she wouldn't really fit in during this point of the story (that and she is younger than they recruit).

From a creation standpoint, drawing something like the mask is awful in my more simplistic style but it does have all of the swirls in the reference image. It would also be gold and white, instead of just gold.

Speaking of references, I wanted to include mine as I don't feel as though I portrayed what I was imaging in my drawing. The third arm is a motion thing and not an actual or magic arm.

[draconesmundi]

are you gonna do mushussu? (BTW mushussu isn't only seen in Mesopotamian art, but in Chinese art as well.)

I am re-adding Mushussu soon, yes, I have it more or less designed how I like it, it's just putting it into the dragon family tree, and I think it does have a place! I'm not solely basing the Dracones Mundi Mushussu on the dragon on the Ishtar Gate, I'm going to draw a lot of inspiration from the little dragon that hangs around Marduk in a few images.

I am curious by 'it is in Chinese art as well', what do you mean here? Are there Chinese dragons that look similar to Mushussu? Do you have a source? I am curious! I love it when different cultures have similar dragons!