#PARALLEL ENCYCLOPEDIA 1

[wildoute]

[indigovigilance]

Anthony, Anthony, Anthony

What does your Anthony mean, exactly?

I feel like your Anthony and my Anthony are different Anthonies…

In 1941 we learn that Crowley has named himself Anthony J. Crowley (Aziraphale doesn’t pronounce the H but closed captions write it and Neil Gaiman hashtags #Anthony and also it’s Anthony the script book so I guess Michael Sheen is just doing a thing idk). I haven’t seen extensive discussion of this topic but I’m going to jump in with both feet.

I propose that Anthony actually has a double meaning; that is, Crowley chose this name for one reason, but Aziraphale believes he chose it for another.

(I cite as indirect inspo a wonderful Tumblr meta about how the ineffable blockheads have completely different interpretations of Jane Austen and how this informs their S2 decision-making).

Read or bookmark for later on Ao3 because this got away from me and now it's a 2,888 word meta on people named Anthony what am I doing with my life

~~~

First and foremost, let it be stated that there is no canon for when Crowley anti-christened himself Anthony. Neil Gaiman himself won’t know until he writes it.

Secondly, let it be known that I am not an historian nor a literary scholar of any kind. So people who actually know these stories may find themselves cringing at my surface-level summaries and inaccurate interpretations: I’m just piecing together what I could find easily. I invite someone else to revise and republish if they can delve deeper on these topics. 

Part 1: Mark Antony

There is a bust of Marc Antony in Mr. Fell’s bookshop as of S1E1 modern day (2019) which is still there at the end of S2E6, where it features prominently in the center of a shot. In 2019, the bust is adorned with yellow ribbons; in 2023, it is naked. The flashback to 1941 doesn’t give a good view of the part of the shop where the bust would normally be located so I have no idea when the bust actually got added to Aziraphale’s collection. I’m going to assume, for argument’s sake, that Aziraphale acquired this bust after the Blitz. I’m going to further propose that he acquired this bust because he believes that Crowley named himself Anthony after Mark Antony.

Why would Aziraphale think that? Two reasons.

1) Mark Antony was the loser of a civil war for liberty

Mark Antony was a good and loyal Roman citizen, serving Caesar with distinction, even attaining the title of Master of the Horse (Caesar’s second-in-command). See additional metas on horse symbolism seen throughout S2. After the death of Caesar, however, Octavian and members of the senate turned on Antony, starting a civil war. You know, much like a certain someone we know that was involved in Dubious Battle on the Plains of Heaven.

Mark Antony was loyal to Caesar’s political mission, which was to establish a Roman republic, where the voices of the citizens would be heard through their representatives [a suggestion box, if you will]. But Antony’s defeat marked the end of the republic, ushering in an age of autocracy. Octavian, following his victory over Antony, crowned himself the first Emperor of Rome.

2) Mark Antony was a libertine, but also the loyal, ardent lover of Cleopatra

Mark Antony was an infamous, lascivious, debaucherous, womanizing lush. He was also Cleopatra’s lover and closest ally. Though Mark Antony could not often meet with Cleopatra, their affair was allegedly very romantic, and from afar Antony did everything in his power to support Cleopatra politically, expanding her territorial holdings even while they were apart for years. 

So legendary was Antony's wanton hedonism that when he went to Athens, he was deified as the New Dionysus, mystic god of wine, happiness, and immortality. Religious propaganda declared Cleopatra the New Isis or Aphrodite (mythic goddess of love and beauty) to his New Dionysus. The ineffable emperors, if you will. [source: Encyclopedia Britannica]

Parallels arising after 1941:

After Antony had officially divorced Octavian’s sister, Octavian formally broke off the ties of personal friendship with Antony and declared war, not against Antony but against Cleopatra. Much like how Shax, after her S2E1 “you scratch my back I’ll scratch yours” proposal, threatened Crowley that if he did not assist her search for Gabriel, Hell would declare war not on him but on Aziraphale.

The legacy of Mark Antony, therefore, is one of hedonism, romance, fighting for a cause that you believe in, and losing that fight. It’s easy to see how Aziraphale drew the conclusion that Anthony J. Crowley took his inspiration from this historical figure.

Part 2: Antony & Cleopatra

How is this a part 2? Weren’t we just talking about Mark Antony and his relationship with Cleopatra? Hear me out.

Crowley has never expressed much interest in politics. Every time something of political import happens, he declares that the humans made it up themselves while also taking credit for it with Hell. This includes 1793 Paris and the Spanish Inquisition. If I forgot any, drop them in the comments. 

But Crowley has a deep and pervasive interest in stories, especially romance stories. If he can keep the Bentley from turning it into Queen, he listens to the Velvet Underground. He watches Richard Curtis films (to the degree that he identifies them by director rather than by title). Though book canon is not show canon, it’s worth mentioning that his favorite serial is Golden Girls; while not a romance, it is certainly heartfelt storytelling at its finest and a homosexual staple.

We know, too, that Shakspeare stole a line from him, with an adjustment for pronouns:

"Age Does Not Wither, Nor Custom Stale His Infinite Variety”

Let’s first talk about Crowley’s context for the quote.

Picture it: the Globe Theater, 1601, the house is empty because it’s one of Shakespeare’s gloomy ones and an irritated young Burbage, in the role of Hamlet, is droning out his lines like he would rather be anywhere else.

Burbage: To be or not to be. That is the question.

Aziraphale: To be! I mean, not to be! Come on, Hamlet! Buck up!

Aziraphale looks at Crowley, grinning with delight. Crowley stares back at him, shaking his head slightly, but a smile tugs at the corner of his lip. He wants to be embarrassed, but cannot help being charmed.

Aziraphale: He’s very good, isn’t he?

Crowley: Age does not wither nor custom stale his infinite variety.

Crowley is looking up at the stage, and speaks immediately after Aziraphale has made a comment about Burbage. But is Crowley talking about Burbage? Does it stand to reason that age would not have withered, or custom not staled, this twenty year old (yet somehow jaded) stage actor?

I propose that this is a poetic inversion of the S2E1 cold open, wherein the Starmaker, looking out upon creation, says: “Look at you, you’re gorgeous!” and Aziraphale erroneously thinks the statement was directed at him. Here, even though Crowley isn’t looking at Aziraphale, I believe that Crowley is actually talking about Aziraphale when he delivers that iconic line. Unlike Burbage, Aziraphale is old, very, very old, and we know that he has a penchant for custom, wearing the same clothes and listening to the same music for century upon century. Yet here is this precious angel being a cheerful little peanut gallery of one, continuing to surprise the demon after all this time. Neither age nor custom has staled Aziraphale’s infinite variety.

When Shakespeare commits the line to a play written 1606-1607, a few years after this event, Crowley will recognize his own sentiment about Aziraphale issuing from Antony’s mouth about Cleopatra. The actual historical events will not have left much of an impression, but the immortalization of his own admiration of the angel in human romantic fiction will have.

It must be mentioned that Antony & Cleopatra is a tragedy, where the star-crossed lovers are kept apart by warring factions that demand loyalty to the state at the preclusion of each other.

There are also some (as far as I can tell) nearly copy-paste plot points from Romeo & Juliet about a misunderstood faked suicide followed by actual suicide and the lovers dying in each others’ arms. It does not have a happy ending. Anthony Crowley deliberately choosing his “Christian name” from this play embodies not only his deep love but his hopelessness that he can ever get the happily ever after he desires.

In Summary

Crowley was an admirer, in one respect or another, of Mark Anthony, though he relied more heavily on Shakespeare’s portrayal and reimagining of the character than Aziraphale gives due credit. Nevertheless, the difference…

Wait a minute…

What’s that?

Is that…

A piece of canon evidence that completely undermines my argument??

This screenshot will only be visible to Tumblr users (sorry Ao3), but at some point we get a good look at the Mona Lisa sketch that Crowley has hanging in his apartment. It is signed (translated from Italian) “To my friend Anthony from your friend Leo da V.”

The problem with this is, the Mona Lisa was painted 100 years before Shakespeare penned Antony & Cleopatra.

However, Neil Gaiman reblogged this transcription and translation, posing the hypothetical, “I wonder if Crowley knows what the A in A.Z. Fell stands for.”

Could it be that the Notorious NRG is jerking us around and sending us on wild goose chases? Absolutely a possibility. But. Let’s give a little grace for a moment, and assume that this comment was made in good faith. A bold assumption, I know. But humor me.

We know that Crowley and Aziraphale both knew Jane Austen, but from completely different perspectives. It stands to reason that Crowley knew da Vinci the scientist, but that Antonio Fell knew Leo da V., an artist with a heart that yearned for an unavailable lover. I’m just making wild conjecture that Lisa Gherardini (aka Mona Lisa), the wife of Florentine cloth merchant Francesco del Giocondo, was a love interest of da Vinci, but it could be true in the GO universe and would make for a great story.

Aziraphale also collects signed items from famous people; the inscribed books of Professor Hoffman to a wonderful student, and the S.W. Erdnase book, signed with his real name, come to mind. The Mona Lisa draft fits in much better with that collection of souvenirs than with anything in Crowley’s apartment. So it stands to reason that it could actually be addressed to Aziraphale.

There remains the question of how or why Crowley has it, but I won’t subject that to speculation here. All to say. Neil Gaiman’s implication-by-redirect is… possible. So let’s assume that it is the case, just for a moment.

If the Mona Lisa sketch is signed to “Antonio” Fell, then this allows the above theory regarding Crowley’s self-naming to remain intact. But it brings up a few questions regarding Aziraphale, not the least of which is: why did he name himself Antonio/Anthony?

Part 3: Saint Anthony of Padua

Anthony was the chosen name of a Portuguese monk, taken upon joining the Fransican order. Anthony rose to prominence in the 13th century as a celebrated orator, delivering impassioned and eloquent sermons. He is also associated with some fish symbolism, since he preached at the shore and fish gathered to listen. He was, incidentally, a lover of books:

Anthony had a book of psalms that contained notes and comments to help when teaching students and, in a time when a printing press was not yet invented, he greatly valued it.

When a novice decided to leave the hermitage, he stole Anthony's valuable book. When Anthony discovered it was missing, he prayed it would be found or returned to him. The thief did return the book and in an extra step returned to the Order as well.

The book is said to be preserved in the Franciscan friary in Bologna today. [source: https://www.catholic.org/saints/saint.php?saint_id=24]

This miraculous incident, wherein the thief not only returns a valuable book but also has a change of heart and returns to the bosom of organized religion, smacks of angelic intervention. But that is neither here nor there. 

Saint Anthony is the Patron Saint of the Lost, and is prayed to by those seeking to recover lost things. What is “lost” in this context is usually an item, rather than a person or an intangible concept, however he is also “credited with many miracles involving lost people, lost things and even lost spiritual goods,” such as faith. [Edit: @tsilvy helpfully contributes that "Here in Italy Sant'Antonio is commonly not just the saint patron of lost things, but, maybe primarily, the saint patron of lost *causes*."] He died at the age of 35, and in artwork is typically depicted with a book and the Infant Child Jesus.

It’s a defensible position that the thing that gives Aziraphale the most consternation across the millennia is Crowley’s loss of his angelic status, and it could even be framed such that Aziraphale does not consider Crowley actually fallen, but rather simply lost. It is a fact that he finds difficult to reconcile and, depending on your reading of the Final Fifteen, the offer to restore Crowley’s angelic status is one that is so pivotal to resolving his internal conflict that he cannot refuse. If this conflict is so central for Aziraphale, perhaps he did name himself after a booklover and the patron saint of lost things, hoping that the name would carry with it some of the power of the blessing, and return Crowley to the light, and in turn, to him.

But wait.

Because I googled “St Anthony” to look for some images and….

St. Anthony of the Desert

I shit you not there are multiple St. Antonies and we’re going to talk about another one of them with respect to Aziraphale because this guy is bonkers. The story traces to the Vitae Patrum, yet another fringe biblical text and I cannot even get a quick answer on whether it is canon or apocrypha because it’s so fringe. Anyways. I think the best way to explain St. Anthony of the Desert comes from the wikipedia page on the Desert Fathers: 

Sometime around AD 270, Anthony heard a Sunday sermon stating that perfection could be achieved by selling all of one's possessions, giving the proceeds to the poor, and following Jesus. He followed the advice and made the further step of moving deep into the desert to seek complete solitude.

[He] became known as both the father and founder of desert monasticism. By the time Anthony had died in AD 356, thousands of monks and nuns had been drawn to living in the desert following Anthony's example, leading his biographer, Athanasius of Alexandria, to write that "the desert had become a city." The Desert Fathers had a major influence on the development of Christianity.

Let’s all agree that this guy is not Aziraphale; this whole becoming an ascetic and living alone in the middle of a desert thing? Not his cuppertea. But St. Anthony is interesting not just for his decision to go into the desert, but what happened when he got there.

The Torment of St Anthony is a 15th century painting commonly attributed to Michaelangelo. It depicts demons crawling all over and attacking a hermit.

But the first round of demons are scraping the bottom of the barrel, practically the damned. Anthony’s journey continues and he meets another demon. Actually he meets two; a centaur, who is not very helpful, and then a satyr who is. It is much easier to find paintings of St. Anthony and the Centaur than of St. Anthony and the Satyr, so you don’t get an image, but I find the satyr to be a much more interesting character, so you get that story instead:

Anthony found next the satyr, "a manikin with hooked snout, horned forehead, and extremities like goats's feet." This creature was peaceful and offered him fruits, and when Anthony asked who he was, the satyr replied, "I'm a mortal being and one of those inhabitants of the desert whom the Gentiles, deluded by various forms of error, worship under the names of Fauns, Satyrs, and Incubi. I am sent to represent my tribe. We pray you in our behalf to entreat the favor of your Lord and ours, who, we have learnt, came once to save the world, and 'whose sound has gone forth into all the earth.'" Upon hearing this, Anthony was overjoyed and rejoiced over the glory of Christ. He condemned the city of Alexandria for worshiping monsters instead of God while beasts like the satyr spoke about Christ.

St. Anthony, then, is entreated by a demon to ask forgiveness from God upon the demons, and St. Anthony, seemingly, agrees to do it. He’s overjoyed to ask God to forgive demons. In connection to my analysis of the origins of the Metatron, and how Aziraphale and Crowley’s potential beef with him is that, as a human put in the exact same situation, he did the opposite, refusing to take the demon’s petition for mercy to God but instead taking it upon himself to confirm their unforgivability (yes that’s a word now) and damnation.

That seems like it would be pretty important to Aziraphale.

In Summary

I give up. I have no idea what’s going on with this show anymore. Here are two options each for both of our ineffable husbands to have given themselves the same God-blessed/damned name. You guys tell me what you think, I just have a pile of evidence and no spoons to evaluate it. 

[brf-rumortrackinganon]

Maybe some of your anons hadn’t been born yet when Fergie married Andrew. Fergie’s parallels to MM are huge. As are Harry’s to his uncle.

1. He was the second son and beloved of the nation, younger and less solemn than Charles, handsome and a war veteran.

2. Fergie was funny and lighthearted and the papers adored her. Hence “a breath of fresh air” was coined for her. She was so popular even Diana started getting jealous of her.

3. Their wedding was more “approachable” than Charles’s and Diana’s and they seemed to complement each other well.

4. Sadly, Fergie was bullied relentlessly by the press when she gained weight and they both made horrible decisions that brought shame to the BRF.

However, Fergie has never said a bad word about any member of the family. Yes, she tried to sell access to Andy, but she didn’t accuse them of the “R” word. The Ophra interview cut deep, and it was a dangerous thing to say in the political climate back then. Hardly comparable to being photographed getting your toes sucked.

In my book, intentions count, and Fergie’s intentions were never to destabilise the monarchy. The same cannot be said from the Harkles.

Intentions matter for a lot of people. As does what you do when you're caught.

And when Sarah was caught, she owned up to it and took her consequence (divorce) with grace, asking only for The Queen's friendship. And the result is that (other than Philip) the BRF kept her around. She was still included and invited to events. She was still considered part of the family. She was still allowed around principal royals and into the royal residences. Heck, she still lived with Andrew most of the time.

(Even when she was caught the second time selling access to the BRF - sure, she complained about not being invited to William's wedding, but then she noped off to Thailand, licked her wounds in private to give the BRF the space, then came back and told everyone about it.)

Compare that to Meghan.

When Meghan was caught, she doubled down on everything and tried to negotiate her consequence by becoming judge, jury, and executioner in a public trial-by-feud. Nowadays, Meghan is still married to Harry, but she's not considered part of the family, she's not allowed in royal residences, and she's not invited to events. But a divorcee who was caught publicly cheating on her royal husband is.

I don't know about you, but that speaks an entire encyclopedia about intention.

[sydmarch]

seeing people on here designing their own skill sets had me soooo inspired to make one too. kept feeling like there was too much overlap between intellect/psyche and physique/motorics so i split mine into just mind/body. some ended up more heavily inspired by harry's skills than others which don't draw from them at all. none of the 'portraits' are actually portraits bcus for the way my mind works i felt more abstract/object based representations just worked better. full breakdowns of each skill, which of harry's it takes after if any, etc below the cut bcus long lol. image descriptions in alt are hopefully helpful i kinda struggled writing them since some of these were pretty abstract lmao.

SALESMANSHIP: one on one people skills. a bit of rhetoric, suggestion, drama, and empathy. reading people, debating, mimicry, understanding what people want and how to act to get what you want in return. represented as it is because sometimes when you're neurodivergent you owe the majority of your people skills to the training you once got on a sales floor. masking falls under this skill along with composure.

CONVERGENCE: people skills in group settings and crowdwork. the ability to find a group of friends anywhere from school to workplaces to parties where you only know one person. reading crowds and the feeling of safety in numbers. finding the best route through packed subway tunnels and sidewalks or leading your friends to barricade at a show. gets +2 from alcohol.

ACUMEN: learned information or book smarts. a mix of encyclopedia and logic. memory, information recall, etc.

WEB WEAVING: conceptualization, but with a heavier emphasis on connecting patterns and drawing parallels. understanding where your creativity comes from and how to connect things that inspire you in new ways. +2 from weed.

INTUITION: protective instinct. somewhat of a half light and inland empire mix. less of an emphasis on gut feelings and more on careful evaluations - often too careful & veering into overthinking. will keep you safe but will also make you paranoid.

CRAFTSMANSHIP: interfacing, but with a focus on tools/artistic mediums rather than machines. familiar mediums like sewing needles, palette knives, and mirrors feel like an extension of yourself. the ability to quickly pick up & acclimate to new mediums through trial and error.

COGNIZANCE: perception, but more than sight hearing and smell. heavy emphasis on touch and a higher than average sensitivity to vibration where many sounds can be felt more than heard. extremely sensitive color vision and innate sense of color theory. synesthesia. a clinical or practical awareness of the body.

FLIPPING EVERY BEETLE: a weird name for a weird and hard to describe skill lol. some of you already know the name comes from part of the clj lyric i have tattooed on my foot. whimsy, childlike wonder, unselfconscious enjoyment of things. allowing your body to lead you. an awareness of the body that feels positive and playful. gets a +1 from alcohol and a +2 from weed or molly.

COMPOSURE: the same as harry's (since I already identified pretty strongly with that skill as is - those who've seen my jacket know) but combined with pain threshold and endurance as I feel all 3 stem from a similar place. keeping emotions in check, nt masking, sitting unfazed through long tattoo sessions, using drugs without getting sloppy or sick.

ELECTROCHEMISTRY: once again, the same as harry's. sex and drugs, but also dancing and stimming. urges and impulsiveness. my version has very different ideas around sex and also different prioritization of substances where out of all the things i partake in alcohol is of least importance.

[bleachbleachbleach]

The post was getting very long, so I started a new thread, but this comes from this meme post here. Thank you for the tag, @dreaming-about-seireitei!

I'll no-pressure tag @withoutteamalice, @inkyperson, @crysuzumushi, and @mikansei, using the very scientific metric, "the last 4 people who left narrative tags on one of our posts/reblogs." Also anyone else who wants to!!!! (Please feel free to tag us so I can read your lists!)

list 5 things you can talk about for hours without preparing any material:

I’m bad at these kinds of memes because I know they’re hypothetical, but then my brain is like, “Well, I would not do that.” XP I wouldn’t talk for hours about something unless I were completely convinced my conversation partner was 1) equally interested in the thing, and, specifically, 2) open to being engaged for that duration. I don’t want to be too much and burn them out on me and then not get to be friends with them anymore. 😖

But five things I would really love to be in dialogue with people about for hours, Bleach edition:

The maps and calendars of Soul Society — Especially the potential for maps that engage with space-time in interesting ways, and don’t fit the form of what most people on Earth envision as a ‘typical’ map.

Any kind of municipal/regional service in Soul Society (mail, foodways, billing, professional services) — Stuff that would show up in the Encyclopedia Soulttanica, essentially.

Ecology/evolution in Soul Society — Both in terms of biome/weather/flora/fauna and also in terms of how shinigami came to be. I’ve been back to thinking recently about shinigami having had a very different form prior to modern human development. But have also been wondering about the possibility that Soul Society (not just the Yamamoto-created society, but the place in general) potentially being a much younger universe than ours, and despite the “longevity” of shinigami as individual units, their world actually being much younger than life on Earth. And also like, if it is a true reflection/shadow of the Living World, is their ecology complex enough to weather sharp changes? Or is it more prone to ecological collapse because it lacks the ecological complexity to support different epochs of life? (Re: the existential threat of Yhwach.)

Regional foods/holidays/accents in Soul Society — Possibly in contrast to the musings above, but (mostly) Rukongai culture as NOT just a reflection of what exists in the living world, and life not just being a waiting game, but the possibility of rich life/culture/time worth having in Rukongai.

My fanfic, your fanfic. — I miss having writerly community. It’s rare and difficult to come by in any fandom, in any era, but I feel like the parallel play aspect of fandom has only increased, and that’s a huge bummer to me!

[inkyami]

21, 60, 90

21. obsession from childhood? Typical 90s kid — dinosaurs, mythology, horses, random biology trivia. One of the kids who read encyclopedias for fun over and over. Fun story time — I was really obsessed with mythology and spent most of the time reading and rereading and giving non-stop lectures to adults about various cultures' myths, pantheons, parallels and what not. My great-grandma was a devoted eastern orthodox and always took me to the church when she could. One time she wanted to by an icon of my patron saint for me. Church shop asshole lady: Is she baptized? No? How can I possibly sell an icon for this unbaptized child? What is she dies right now, huh?1 Great-grandma: Oh come on, girl needs to have a saint, she is so devoted and interested in all of it! She knows all the gods! Indignant swearing ensues. Love you, monotheist grandma.

60. if you were a character in an anime, what kind of anime would you want it to be? Every day I feel like I'm in Bakuman (sans the success and romance XD) (Just in case — it's a shonen about manga artists and their work) I honestly think like I'd pick any genre as long as I could experience found family trope.

90. luckiest mistake? Dog's leash being the exact length of three flights of stairs. Always have a wave of unease in the elevator and carry a box knife for dog walks now. Weird asks that say a lot (x)

[raivaughn]

Etheos Masterpost

(trying out this as a better way to catalogue lore and things for those not wrapped up in my google docs hellscape)

"The Server of Etheos is a world of its own, a world of hidden magics, hybrids, monsters, dimensions, and kingdoms. Surrounded by great seas, filled with lush jungles, thick forests, wide plains, towering mountains, and stifling deserts… For centuries, it has existed as such. People claimed the lands, waged wars, took lives, and toppled empires. Inversely, people settled, fell in love, gave life, and led the people of the lands. Etheos is rich in history, told through many stories and confined to legends or lost to time altogether.

To you, worlds can be created with the tap of a finger, the whim of a creative mind. To you, they are pixels on a screen, moving lights creating a picture of a world at your mercy.

To them, it is real.

To them, this is their world, this is their home, and they know nothing more.

They are the players.

This is the game.

Thus begins a new story, a tale untold, of travels and wars, of secrets and brotherhood, of quests to alter the very course of the universe.

May the adventure begin."

Etheos is an incredibly developed fantasy world built on the foundations of Minecraft mechanics, creatures, and lore created by myself and @howcow47. I (Vaughn) am the main writer and artist of the series, with HowCow being my beta reader and fellow story architect.

And no, I have poured too much time and creativity into this story to even THINK about abandoning it (approx. 23 google docs + 3 spreadsheets + so much more). Updates might be slow, however.

Maps

The Overworld (includes some versions with/without nation labels and borders, all S1 compliant) [Nether maps in progress] [End maps in progress] [City maps in conceptualisation]

Main Story

The Server of Etheos (Series link, AO3) Etheos: The Encyclopedia (Lore and worldbuilding information, spoiler-free up until the current point of the written story, AO3)

The main story is divided into seasons which are divided into works which are groups of arcs.

Season One: Dark Lies (COMPLETE) Of the Memories That Keep Us Moving (ONGOING) [spoiler] [spoiler] [spoiler] [spoiler] [spoiler] [spoiler] [spoiler] [spoiler] [spoiler] [spoiler]

Season Two: [7 works planned + 2 one-shot interludes + epilogue]

Season Three: [6 works planned + 3 chapter epilogue]

Season Four: [10 works planned + epilogue, although season four is still not properly organised so]

Side Stories, Prequels, Alt POVs Sometimes, the Player Dreamed - a collection of alt POVs that will be posted whenever they're written or relevant. [not posted yet.] [spoiler] - prequel/parallel [will be posted after the conclusion of Season 1] The Favour - prequel [probably will be posted in the season 2 era] [spoiler] - prequel [probably will be posted in the season 3 era] Tales From the Order - prequel/parallel [will be posted after season 2]

[eventually I might link posts from/to character descriptions/information as they become relevant.]

[ragnarlothcat]

Okay okay inspired by puss in boots the last wish no spoilers aside from the themes of the movie but I was thinking of an au where Anakin is death aka the grim reaper especially 5 times Obi Wan has a brush with death + 1 where death saves him

And I don't mean these as Anakin hunting Obi or puts Obi Wan in life threatening situations but is an observer of Obi Wan life and the moments where he is close to death

And Obi Wan takes comfort of Anakin being with him, where he thinks oh these is it. Even if he thinks Anakin is possibly a hallucination/illusion of his mind his still grateful of his company that his not alone

And the one time Anakin saves Obi Wan from Palpatine who thinks is above death but Anakin has come to collect his debt

Also Obikin hades and persephone vibes jznksksks Anyway thank you for reading I hope your having a great day!!!!!

Okay I will admit my very first reaction to this was "they've made another Puss in Boots movie????" But you're right, it came out like a month ago and has been nominated for awards. I have no explanation for how I was unaware of this other than a parallel universe theory.

But I like this idea! You know I love a good 5 + 1 fic (you might not know that, it is possible you don't keep an encyclopedia of my preferences) and this is a really neat one. I like making Anakin something otherworldly and poor Obi-Wan does have a rough go of it in canon. Anakin gets electrocuted the most but the universe is out to get Obi-Wan specifically. We could easily pull 5 times he nearly dies straight from the source material and just filter out the ones Anakin is directly responsible for (fewer crash landings).

Also I'm a big fan of Anakin "I can totally save my wife from dying, I just have to betray the entire galaxy and everyone who cares about me" Skywalker being the grim reaper. It's a nice change of pace! Maybe it's penance for having tried to cheat death in the past or something, idk. But I like it!!! And yes he does kill Palpatine and then he and Obi-Wan live happily ever after (or, well, Obi-Wan does) and then when Obi-Wan dies he joins Anakin and I guess helps ferry people to the space afterlife too? That feels very Obi-Wan since in canon he helps Anakin become a ghost 🤔

Anyway I have a lot of thoughts about this clearly but I love it! The real question, even more important than all the character work and interesting discussions about mortality: what does grim Anakin wear??? (I'm joking but also I bet he's very handsome in a moody sort of way)

[swakopmund-online]

Baumstammweitwurf: Eine Einführung

Das Wichtigste in Kürze

- Herkunft: Traditionelle schottische Sportart, auch bekannt als "Caber Toss". - Länge des Baumstamms: 5-6 Meter. - Gewicht: Zwischen 35 und 60 kg. - Ziel: Den Baumstamm möglichst gerade werfen, nicht unbedingt weit. Der Baumstammweitwurf, auch bekannt als "Caber Toss", ist eine faszinierende und traditionelle schottische Sportart, die seit Jahrhunderten ein fester Bestandteil der Highland Games ist. Diese spektakuläre Disziplin erfordert nicht nur immense Kraft, sondern auch Geschicklichkeit und Präzision.

Ursprung und Geschichte

Der Baumstammweitwurf hat seinen Ursprung in Schottland und ist seit Jahrhunderten Teil der Highland Games. Diese Spiele sind ein kulturelles Highlight in Schottland und ziehen jedes Jahr zahlreiche Teilnehmer und Zuschauer an. In den letzten Jahrzehnten hat sich dieser Sport auch in anderen Ländern verbreitet, darunter Deutschland, wo er bei verschiedenen Festen und Wettbewerben ausgeübt wird​ (Wikipedia – Die freie Enzyklopädie)​​ (Academic dictionaries and encyclopedias)​.

Regeln des Baumstammweitwurfs

Die Regeln des Baumstammweitwurfs sind spezifisch und verlangen von den Teilnehmern sowohl Kraft als auch Technik: - Anlauf und Wurf: Der Werfer hält den Baumstamm mit beiden Händen senkrecht vor sich. Beim Anlauf darf der Stamm nicht kippen. Der Wurf erfolgt so, dass der Stamm in der Luft eine 180°-Drehung vollführt und mit dem ursprünglich oberen Ende zuerst auf dem Boden aufkommt. - Ziel: Der Baumstamm sollte möglichst gerade fallen. Eine schräge Lage führt zu Punktabzügen. Wenn der Stamm zurückkippt, sind die Abzüge noch höher​ (Wikipedia – Die freie Enzyklopädie)​​ (Academic dictionaries and encyclopedias)​.

Wettkampfformate und Techniken

Es gibt verschiedene Techniken und Herangehensweisen, um den Baumstamm zu werfen. In der traditionellen schottischen Form wird der Stamm aus dem Stand geworfen, wobei die Füße parallel zueinander stehen. In Deutschland sind die Stämme oft kleiner und leichter, was das Werfen erleichtert und auch für jüngere Teilnehmer ermöglicht​ (HELPSTER)​​ (Academic dictionaries and encyclopedias)​. Wichtige Aspekte beim Wurf: - Kraft: Der Werfer muss in der Lage sein, den schweren Stamm anzuheben und zu werfen. - Geschicklichkeit: Eine präzise Technik ist notwendig, um den Stamm korrekt zu drehen und fallen zu lassen. - Balance: Während des Anlaufs muss der Stamm stabil und aufrecht gehalten werden.

Regeln für den Wettkampf

Hier sind einige Regeln, die bei einem Baumstammweitwurf-Wettkampf beachtet werden sollten: - Stammlänge und Gewicht: Die Stämme sollten zwischen 5-6 Meter lang und 35-60 kg schwer sein. - Anlaufzone: Der Werfer darf nicht über eine festgelegte Markierung hinauslaufen. - Wurftechnik: Der Stamm muss eine 180°-Drehung vollführen und gerade fallen. - Punktesystem: Je gerader der Stamm fällt, desto höher die Punktzahl. Abweichungen führen zu Punktabzug.

Fazit

Der Baumstammweitwurf ist mehr als nur ein Test der Stärke; er ist ein kulturelles Erbe, das Geschicklichkeit, Präzision und Tradition vereint. Durch die Einhaltung der Regeln und Techniken können Teilnehmer die faszinierende Mischung aus Sport und Kultur erleben. Fragen und Antworten zum Thema Baumstammweitwurf 1. Was sind die Ursprünge des Baumstammweitwurfs? Der Baumstammweitwurf stammt ursprünglich aus Schottland und ist seit Jahrhunderten Teil der Highland Games. Diese Spiele sind tief in der schottischen Kultur verwurzelt und symbolisieren sowohl Stärke als auch Geschicklichkeit​ (Wikipedia – Die freie Enzyklopädie)​. 2. Wie unterscheiden sich die Regeln des Baumstammweitwurfs zwischen Schottland und Deutschland? Während in Schottland längere und schwerere Stämme verwendet werden (5-6 Meter, 35-60 kg), sind die in Deutschland genutzten Stämme oft kleiner und leichter, um das Werfen für ein breiteres Publikum zugänglich zu machen. Die Grundtechnik bleibt jedoch ähnlich, wobei Präzision und korrekte Drehung des Stammes im Vordergrund stehen​ (HELPSTER)​​ (Academic dictionaries and encyclopedias)​. 3. Welche körperlichen Voraussetzungen sind für den Baumstammweitwurf notwendig? Teilnehmer benötigen eine erhebliche Körperkraft, um den schweren Baumstamm anzuheben und zu werfen. Zusätzlich sind Geschicklichkeit und Balance entscheidend, um den Stamm während des Anlaufs stabil zu halten und korrekt zu werfen​ (Wikipedia – Die freie Enzyklopädie)​​ (HELPSTER)​. 4. Welche Rolle spielt der Baumstammweitwurf in der modernen Sportwelt? Der Baumstammweitwurf ist heute nicht nur ein fester Bestandteil der Highland Games, sondern hat auch weltweit Interesse geweckt. Er wird bei verschiedenen kulturellen und sportlichen Veranstaltungen gezeigt und ist ein Symbol für traditionelle Kraftsportarten​ (Wikipedia – Die freie Enzyklopädie)​​ (Academic dictionaries and encyclopedias)​. 5. Wie kann man sich auf einen Baumstammweitwurf-Wettbewerb vorbereiten? Die Vorbereitung auf einen Baumstammweitwurf-Wettbewerb erfordert spezifisches Krafttraining, um die notwendigen Muskeln zu stärken. Auch das Üben der Wurftechnik und das Training der Balance sind wichtig, um den Baumstamm stabil zu halten und korrekt zu werfen. Viele Athleten trainieren zudem ihre Ausdauer und Flexibilität, um Verletzungen vorzubeugen und ihre Leistung zu optimieren​ (HELPSTER)​​ (Academic dictionaries and encyclopedias)​. Read the full article

[leedsomics]

A workflow for targeted proteomics assay development using a versatile linear ion trap

Advances in proteomics and mass spectrometry have enabled the study of limited cell populations, such as single-cell proteomics, where high-mass accuracy instruments are typically required. While triple quadrupoles offer fast and sensitive nominal resolution measurements, these instruments are effectively limited to targeted proteomics. Linear ion traps (LITs) offer a versatile, cost-effective alternative capable of both targeted and global proteomics. We demonstrate a workflow using a newly released, hybrid quadrupole-LIT instrument for developing targeted proteomics assays from global data-independent acquisition (DIA) measurements without needing high-mass accuracy. Gas-phase fraction-based DIA enables rapid target library generation in the same background chemical matrix as each quantitative injection. Using a new software tool embedded within EncyclopeDIA for scheduling parallel reaction monitoring assays, we show consistent quantification across three orders of magnitude of input material. Using this approach, we demonstrate measuring peptide quantitative linearity down to 25x dilution in a background of only a 1 ng proteome without requiring stable isotope labeled standards. At 1 ng total protein on column, we found clear consistency between immune cell populations measured using flow cytometry and immune markers measured using LIT-based proteomics. We believe hybrid quadrupole-LIT instruments represent an economic solution to democratizing mass spectrometry in a wide variety of laboratory settings. http://dlvr.it/T7kCQV

[wildoute]

[foggynightdonut]

Meaning of Tur Shur

Firebrand in Direction of Tur الطور  (Shur שׁ֑וּר)

Moses saw a firebrand in direction of Tur (Q 28:29), which showed he was facing Tur, although we cannot assume the firebrand was in the Tur, it can be positioned in between where he stood and Tur.

Tur translated by many Muslim translators as “mountain” and passionately associate it with Mount Sinai. Two verses are pairing Tur and Sinai together, one of them is in Surah 95 At-Tin (The Fig). In verse 2: “By the Tur Siyniyn” وَطُورِ سِينِينَ,” most often badly translated as “by Mount Sinai.”  

Once again, Tur is not a mountain at all. The Arabic word for “mountain” is Jabal جبل. Tur is the same Shur mentioned in Genesis and Exodus, a geographical location in the south end of the land of Midian where the land meets the Red Sea.   

So, what does “Siyniyn” mean in Q 95:2? (By the Tur Siyniyn وَطُورِ سِينِينَ.) The semantic[AF1] [l2]  meaning of Siyniyn (Arabic) or Sinai (Hebrew) is obscure. Some suggest Siyniyn is an adjective meaning “blessed, beautiful, or fruitful.” In contrast, according to Rabbinic tradition, the name "Sinai" derives from sin-ah (שִׂנְאָה), meaning “hatred.” As such, the word would reference the animosity other nations held for Jews. Since the Hebrew nation received the Word from YHWH, other nations would be jealous. (Breslov, Perspective on the Holy Land, Talmudic Shabbat 89b). Contradictions aside, both Sinai and Siyniyn are adjectives used to describe Tur (noun/place). 

Therefore, compared to traditional translations for “Mount Sinai” (a construction like Mount Everest).  I suggest the “Tur” represents a unique term (instead of “Sinai”), the name of a geographical location. Siyniyn is an adjective used to describe Tur.  Thus Q 95:2 (waturi siyniyn) could be translated: “By blessed Tur” or “By beautiful Tur,” or “By fruitful Tur or “By marvelous Tur”. Arabic Tur طُو = Hebrew[AF3] [l4]  šūr שׁ֑וּר = Shur is a specific geographical location in the South of Mid’ian.

There is phonetic equivalence among Hebrew and Assyrian. “Sh” is frequently represented in Aramaic by “t” (th[AF5] [l6] ), in Arabic by “th,” and in Ethiopoc by “s.” (Examples: Hebrew/shor, Assyrian/shuru, Aramaic/tora, Arabic/thaur, and Ethiopic/sur (Jewish Encyclopedia, Semitic Languages page 189).

Parallel to Semitic Shur, it has been phonetic influences exchanged, borrowed and circulated among Indo-European language family, the three largest phyla Romance, Germanic and Slavic share similar phonetic shur which might originated from Hebrew šūr or Arabic tur, such as sur means south in Spanish, sud in French, south in English, old Norse suðr, Danish: syd, Faroese: suður, Icelandic: suður, Norwegian: Bokmål: sør, syd  Nynorsk: sør,   Swedish: syd.  All refer to similar meaning: southern or southward.  [AF7] [l8] 

Tur/Shur presents challenges as well. In Genesis 16:7, we read: “And the angel of the Lord found her [Hagar] by a fountain of water in the wilderness (of Beerlahairoi), by the fountain on the way to Shur. Abraham sojourned in Gerar (Gen 20:1), a southern country between Kadesh and Shur. Recent archeological discoveries suggest Kadesh was located near Petra (in modern Jordan), on the eastern side of the Dead Sea. In sequential order from Kadesh, Bered, Petra, Gerar, Paran /Havilla, Bakka valley, finally Shur (Tur) in far south, all located in North-South axis of greater Levant, including trans Jordan, extended to far south in the land of Mid’ian.  [AF9] [l10] 

Thus[AF11] [l12]  expression “on the way to Shur” (Gen 16:7) and Abraham journey toward the south country and dwelled between Kadesh and Shur (Gen 20:1) referring to southernly region. Shur (Tur) is the land of farthest South at the edge of the Levant as to the Orientreferring to far land in farthest East of Asia. Tur/Shur might indicate a southern location.  When someone in Judea or Syria points southward, they would say “on the way to Shur/Tur).” Their mental picture of Mid’ian is the southern region all the way to southern wilderness and to the very end where the land meets the Red Sea.

As an adjective, Shur/Tur means “southward” but might have morphed into unique term of a geographical location through “nouning,” a process whereby common usage transforms y adjectives, adverbs, etc. into nouns. (“He’s not ready – he is prettying.”) The same happens in reverse when nouns becoming verbs or other parts of speech. (“Let’s movie tonight.)  However, the adjective Shur alluding southward, or southernly is preserved as Shur as a noun-place also well preserved.[AF13] [l14]   To simplify, within the Levant society, both uses of Shur/Tur (adjective and noun) are correct.   However, some Quranic translators inadvertently tilted the meaning of Tur from unique term (place) transverse into general term “Mountain” (which could be any mountain).  [AF15] [l16] 

 [AF1]Do you mean SEMANTIC or SEMETIC?

 [l2]Sorry… should be Etymology of Siyniyn

 [AF3]Odd sentence stuck in the middle.

 [l4]Is not a sentence

What I want to say : Tur in Arabic is Sur in Hebrew

Which also spell Shur in most verses of Old Testament. Gen 16:7

Gen 20:1

Gen 25:18

Ex 15:22

1 Sam 15:7

1 Sam 27:8

 [AF5]Not sure why this is here

 [l6]Should not be there.

 [AF7]Entire paragraph needs work.

 [l8]Ok … but do you understand the content?

 [AF9]Let’s find a better way to say this. Are we moving clockwise, counterclockwise? Starting where on a clock face? So, is Kadesh standing at 3 o’clock in comparison to the Dead Sea?

 [l10]See Q & A, separate doc.

 [AF11]Another sentence I do not understand

 [l12]See Q & A, separate doc.

 [AF13]Another problematic sentence

 [l14]See Q & A, separate doc.

 [AF15]Redundant

 [l16]I don’t see any redundancy.

[camerado]

Vintage Bookseller Documentary 'BookWars' Continues to Dazzle New Audiences

See the award winning bookseller documentary 'BookWars' (Terrific - LA Times) INSTANTLY on: Amazon Prime: http://amzn.to/2BZmCfI , on Tubi TV https://bit.ly/bookwars-tubi-tv and on Kanopy at http://www.kanopy.com | ('Superb'...mesmerizing - NY Film Critics Circle)

'BookWars' is: The gritty world of New York City street booksellers told in a remarkable story that chronicles their lives and loves and their unique perspectives on life.... See the Mayor, the NYPD, and the University try to shut them down!

Get more information at: https://bookwarsmovie.com/about-new-york-documentary-bookwars/  

A Flick by Jason Rosette IFP Gotham Award Nominee Winner: New York Underground Film Festival As seen on: Arte/ZDF, NHK, KCET, Bravo!, Metrochannels, Cinemapop, and other platforms Many international and domestic festival selections!

About the Bookseller Documentary, BookWars 

From Wikipedia, the free encyclopedia

BookWars is a New York bookseller documentary by Jason Rosette produced by Camerado, about the life and times of New York City street booksellers.[1] Made on an ultra-low budget in a jazzy, impressionistic style reminiscent of the films of Robert Frank and poetry of the Beat Generation, BookWars is the only first-person documentary made during then-New York City Mayor Rudolph Giuliani's controversial "Quality of Life" campaign, which sought to limit and control individuals engaged in informal economic activities on the streets of New York City.

BookWars was released in June 2000, winning the Best Documentary Award at the 2000 New York Underground Film Festival and premiering theatrically at New York's Cinema Village.[2] Despite its minuscule budget (estimated at $10,000, prerelease) BookWars enjoyed numerous domestic and international TV sales and has to date generated revenue of several hundred thousand dollars.

Synopsis

"BookWars is: The gritty, untamed world of street booksellers, exposed in a remarkable feature film that chronicles their lives and loves and their unique perspectives on life. Shot entirely on location by fellow street bookseller and filmmaker Jason Rosette, and produced by James and John Montoya, Alan Fulford and filmmaker Michel Negroponte, BookWars explores the other side of the book tables that line the streets of New York City’s Greenwich Village, the Lower East Side, 6th avenue, and elsewhere in New York City."

Plot

BookWars is a creative documentary which is told in an unconventional, narrative style. The film opens with the narrator (who is also the film's director) driving out West along a desert highway, relating to the audience his previous experiences as a streetside bookseller in New York City. The entire documentary – including the central events involving his experiences among the street booksellers in New York – is thus "told" as a long conversation.

The narrator describes his post-graduation years in New York, and how he ended up at one point virtually penniless. Driven by a desperate need to pay the rent, he resorts to wheeling his own books out to the street to try to sell them. He reveals that he was not only successful in making a significant amount of cash on that first day, but he has also met a variety of interesting and strange characters of the streets of New York – including other street booksellers.

A motley assortment of street booksellers on West 4th street, in Greenwich Village, New York City, are first introduced. Among them: “Slick” Rick Sherman, a semi-professional magician; Al Mappo, so named because he only sells maps and atlases; Emil, who says only he "escaped”, though we do not know from where; and Pete Whitney: King of the booksellers, toad collector, and collage artist.

BookWars next introduces another group of street booksellers who hawk their trade on nearby 6th Avenue. Mainly black and minority individuals, they ply books and magazines in parallel fashion to the nearby West 4th street booksellers, who are primarily white. The booksellers on 6th Avenue suffer greater exposure to the law, with many claiming this to be due to racial profiling.

Some of the significant personalities that are introduced on 6th Avenue include: Marvin, always wearing his trademark black hat; and Ron, from Jamaica – charismatic, streetwise and outspoken.

After the introduction of the primary characters (including the narrator bookseller himself), BookWars discusses, mainly through informal testimony, the various aspects of the street bookseller's life in chapter-by-chapter fashion.

The tools and tricks of the street bookseller's trade are revealed: ways and techniques to maximize income; how to deal with difficult, and sometimes dangerous customers; where and how to get more books; how the booksellers have a right to distribute literature (commercially or otherwise) in public, as per the First Amendment to the United States Constitution; and so on.

BookWars is structured as a “year in the life” style movie, although it was actually produced over several seasons, from 1995 to 1999. When Winter comes, and the streets are too snow-filled and cold to hawk books, the booksellers are shown in their various off-season modes and occupations. “Slick” Rick performs card and magic tricks at parties; Pete Whitney grooms cats for old ladies; and the narrator heads out to New Mexico to work on a Western*.

(*Which was actually the movie The Desperate Trail IMDB)

Marv and Ron, however, continue to sell books throughout the winter on busy 6th Avenue, and the film follows them as they scour for books and pornographic magazines in the trash in Soho.

Finally, Spring comes, and the booksellers emerge from their off-season to sell books as usual for another season – or so they think. BookWars proceeds to reveal the street-level effects of then-New York City Mayor Rudolph Giuliani’s controversial “Quality of Life” campaign, which sought to remove informal, unregistered entrepreneurs and other individuals from the streets of New York City.

The NYPD begins to enforce obscure technicalities which govern the uses and dimensions of the sidewalks,[3] thereby making it more difficult to earn a livelihood. A new tax identification number requirement is introduced, creating bureaucratic obstacles, especially for those street booksellers who are marginal or virtually homeless. Nearby New York University unlawfully places imposing, massive planters on the sidewalk in an attempt to drive the street booksellers away; and finally, especially on 6th Avenue where the majority of black street booksellers are active, the NYPD comes to haul away books.

The street booksellers resist and assemble to form an unlikely common front to protest against the actions of the city. Others, who have had their books confiscated, wait for hours at the police station to get them back. Still others, like Ron, rail against the futility of the city's efforts to stop New Yorkers from reading, because of their virtual addiction to books.

In the end, the street booksellers stand their ground against the Mayor, and are able to continue selling with minor adjustments to their way of life.

In the closing moments of BookWars, the narrator admits that after all the recent problems with the city, he has grown restless; he realizes that he wants to do something different, and wants to change his occupation at last. A single massive rainstorm is enough to convince him to give up his street bookselling activities.

He sells the last of his books off to his fellow street booksellers, and heads out West, on a cross-country road trip, with the audience in the passenger seat sharing the ride.

[macleod]

In a way, what I am describing is a (limited) subset of a library of babel, as self-described in the 1939 short story of the same name, where one could generate every possible combination of words, non-words, speeches, thoughts, books, tweets, posts, in the written and spoken language in one place. Every conceivable and inconceivable 1 -> 12 -> 123 -> 1234 concatenative stack of letters.

Everything will be in its blind volumes. Everything: the minute history of the future, The Egyptians of Aeschylus, the precise number of times the waters of the Ganges have reflected the flight of a falcon, the secret and true name of Rome, the encyclopedia Novalis would have constructed, my dreams and daydreams in the dawn of the 14th of August in 1934, the demonstration of Pierre Fermat’s theory, the unwritten chapters of Edwin Drood, those same chapters translated into the language of the Garamantes, the paradoxes Berkeley cerebrated concerning time and never published, Urizen’s books of iron, the premature epiphanies of Stephen Daedelus which before a cycle of 1000 years will signify nothing, the gnostic gospel of Basilides, the song the sirens sang, the faithful catalogue of the Library, the demonstration of the fallacy of that catalogue. Everything, but for a rational line or just notion there will be millions of nonsensical cacophonies, of verbal farragoes and babblings. Everything, but the generations of men can pass without finding among the vertiginous shelves - the shelves that obliterate the day and in which the chaos dwells - a single tolerable page.

Of course, such an undertaking would be near impossible for most existing systems[1], but if you were to only allow combinatorial changes for ten, twenty, perhaps hundreds of steps in every three-dimensional scale of compilation, you could, conceivable, create precognitive compilation, a step beyond JIT and AOT compilation.

On the smallest scale, this could be every single possibility with every single data type and value pertaining to the grammar of your language.

On the most useful scale, you could autogenerate all possibilities for every type of data inclusion and output for up to ten or 20 steps in every combination and include it within the binary.

If you truly wanted to go insane, you could have the system be dynamically static, in that every twenty steps it autogenerates in parallel every possible permutation and stores it, the system runs as expected, but every statically defined compile option is included in the singular binary, and for every x steps you would re-generate every possible compilation option[2].

If you wanted to go distributive, you could create an application that is deployed locally for every user (standard operation for an application not tied to a central webserv) and then create a globally shared historical generational index to save all possible options generated and to pull from.

You could perhaps tie that into some sort of hashed build system, where it generates a possible hash (think how we do md5 hashes after the fact of compilation, this is the hash for *before compilation to match upon completion) of the program to be crafted, and if the hash is already generated and uploaded, it pulls from that option when ran.

In theory possible, but absolute insanity.

You couldn't even really call this model[1] 'interpreted', this might even go beyond the definition of 'dynamic'', or 'interpreted', and become the only truly compiled program that is dynamically generative without the need for user interaction needed for any form of interpretation, but where the output changes, but remains entirely frozen in machine code.

Is it really interpreted if every possible permutation has already been hardcoded in a pipeline for execution? You would just be setting off a domino, and where it falls, falls, even if that means everywhere.

AOT and JIT are so old school, it might be time for the precognitive war of compilation.

[1]: Re:LLMs, although LLMs may open this gateway for infinite garbage and incredibly buried thoughts, even if I am long-term bullish on their current design paradigms.

[2]: I would go so far and call this model " precognitive dynamically generative statically compiled application architecture" just to make old pinheaded tech-head CS purists go insane with religious definitional insanity and persecution complex trying to describe how it is/isn't what any of those words mean.

Make every CS student cry when they reach the "Precognitive Dynamic and Stable Generative Compilation" directly after they learn about basic state management, what a function/procedure/subroutine is, and that there might be more to programming than python.

The goal of creation in engineering might just be to make the old and new cry with feverish indignity.

Early thought: A language and framework that is small enough, could conceivably self-compile itself in every form and branch possible and embed all possible permutations within itself, at the very least ten steps ahead of what is needed in that moment.

If it compiles itself in real time, but far ahead of time for every possible possibility up to x steps, is it still considered a "compiled" language, or does it begin to drift into being a compiled dynamic language?

Edit: I feel as though I should mention, I am not entertaining the idea of precognitive compilation for all possible values, although certainly possible with a grand enough machine, I am more talking on iterative workflow prediction and routing between objects and functions, not particularly the handling of the data itself as there would be too many possibilities for every type, although I do have a theory on how to reduce that complexity that I am not quite ready to place into words.

[bitd]

PERCEPTION [Sight] [Easy: Success] - As you skim the shelves, a familiar title catches your eye.

ENCYCLOPEDIA [Medium: Success] - Fisticuffs Convention, by Charles Plucky. Often stigmatized as revolutionary literature, it tells the story of a young man whose anti-capitalist and masculine urges lead him to an amnesiac double life, hallucinating an idealized alter ego.

INLAND EMPIRE - A handsome, emotionally regulated, cigarette-smoking parallel of yourself appearing alongside an amnesic episode?

LOGIC [Easy: Fail] - Come to think of it, have you seen anyone else acknowledge Kim directly? I mean, you haven't been paying close attention, but maybe…

YOU - "Kim, I think you're a hallucination of my idealized self, emerged from my subconscious to guide me in my time of need."

KIM KITSURAGI - The lieutenant, already impatient with your leisurely browsing, does not seem to agree with your theory. "Doubtful. Plucky's novel was driven by the protagonist's estrangement from his mundane and meaningless life. By contrast, you seem rather… emotionally invested."

YOU - "Hold on, emotionally invested in what?"

KIM KITSURAGI - "Most things, from what I've seen."

-1 MORALE

INLAND EMPIRE [Challenging: Fail] - Don't give up on this yet, you know that there's SOMETHING about the novel that resonated with you.

LOGIC [Easy: Success] - If Kim isn't your alter ego projection, that leaves only one option.

LOGIC - You must be his.

VOLITION - Are you guys fucking serious?

- [Rhetoric: Godly 16] Convince Kim you're his alter ego.

- No, that can't be right, my identity is too complex to be anyone else's.

⚅⚅

CHECK SUCCESS

YOU - "Kim, I've figured it all out. Why I can't remember anything before you got here, why we make such a good duo."

KIM KITSURAGI - "Oh? It had nothing to do with your activities prior, after all?" He sounds sceptical, and he hasn't even heard your genius theory yet!

YOU - "That's the thing, there were no activities prior. I'm not real."

KIM KITSURAGI - He raises an eyebrow at you, imperceptibly.

PERCEPTION [Trivial: Success] - Bullshit. It's perceptible. I'm perceiving it. It's not all of us who are completely socially incompetent and can't read facial expressions - just you.

KIM KITSURAGI - "Detective," he starts, in a tone even the most socially competent would find unreadable, "Our acquaintances at the Whirling-In-Rags would likely disagree."

YOU - "Look at yourself, Kim. Calm. Reserved. Repressed. You wear glasses. Now look at me. Cool. Wild. Unrestrained. I wear sunglasses. I'm a superstar. Would you agree that I am, more or less, everything you're not?"

EMPATHY [Trivial: Success] - He realizes where this is going moments before you get there, defeat etched into his face.

YOU - "Maybe even everything you wish you could be?"

KIM KITSURAGI - "Hm."

YOU - "Come on, Kim, it's obvious. It was you who trashed the Whirling-In-Rags, and you're projecting me while you clean up your mess!"

KIM KITSURAGI - Despite everything, he keeps his patience. "That is an... intriguing theory, detective, but there are multiple witnesses who can attest for our separate physical embodiments before and after my arrival. I also haven't lost any time, so it seems unlikely I would be experiencing some sort of latent dissociative disorder."

ESPRIT DU CORPS [Legendary: Success] But that might actually explain some things, now that it occurs to him. A previous inquiry on 'talking thoughts' flashes through his mind.

KIM KITSURAGI - He acquiesces, almost too easily, "I suppose there's no proving it either way. Perhaps tonight after we've finished our work for the day you could do some more research into the matter. I'm sure this store must have some psychological texts you could consult."

📒

TASK GAINED:

READ ABOUT "DISSOCIATIVE DISORDERS"

[kynimdraws]

Hey Kynim, what reason could the Church of Seiros, the Central Church, to interfere with more positive relations with the outside world? Do they fear that different religions could make their role less important and eventually make them bo longer in control of Fódlan or even the most wierd idea; that new branches of the Seiros religion would develop in other countries like Almyra. The last one is a funny idea, but what is your idea on why they this is the case?

Gonna put this under the cut bc it got a bit long ;w;

FYI: I do not really enjoy FE3H/FEW3H discourse but I know topics like this will probably attract that sort of crowd. My bias is for Claude/Leicester/Golden Deer, and this includes the "dreaded" GW!Claude that people dislike. 3Hopes despite all the flaws in narrative I love over 3Houses in general. The other factions/lords, while interesting, I am not as invested. So please don't label me as some apologist for anyone that isn't my stated bias. 

BTW my answer to this ask will focus more on Seiros/Rhea so don't expect much Claude in this lol

In theory, I think the Church of Seiros would be ok with being friendly with the outside world. But the issue lies in Seiros/Rhea's priority of self-preserving 1) the remaining Nabateans and 2) the following that Sothis had with humans. And given how the Nabateans were nearly driven to extinction by Nemesis, I feel like Seiros/Rhea has a deep-seated suspicion of humans despite her image as the best holy woman since the goddess herself.

For her, the only way to prevent humans from causing another massacre is to make the current humans in Fodlan to believe in the goddess Sothis and never question her tenets. This meant hindering/banning things that could potentionally "reduce faith" in the goddess as mentioned by the Abyss text "The Encyclopedia of Fodlan's Insects" which you can read here. The title may be misleading but you can see some of the odd examples of Church banning things to maintain "peace" via preventing humans from questioning their religion with devices like telescopes, autopsy, and the like. We also see in GW that technology at least Almyra is far advanced compared to Fodlan, as seen here:

So it seems that Fodlan is an isolated area for Seiros/Rhea to feel safe over trying to spread its influence. It is important to note that the Seiros Church is a shelter for the archbishop. Keeping the area that houses her shelter safe is what she wants the most, which stated rather clearly in both games. Given that her first time she had to deal with the non-believers of Sothis ended in an extremely traumatic event, you can see why Seiros/Rhea is hesitant to reach out.

"But wait," you might say. "All these foreign nations seem to be intent on attacking Fodlan so they are a victim! Who wouldn't want to isolate themselves and distrust outsiders knowing that?"

The game unfortunately only shows the Fodlan point-of-view when it comes of past events...so it might seem that way at first. But it is also interesting how Fodlan despite being a "victim" of all these attacks, usually come out on top and end up subjugating/annexing nations, even claiming their superiority over them by calling their "foreign" neighbors as monster and savages. Given how Fodlan is sort of a loose parallel of Europe and how Eurocentric certain historical events are in academic books...I just don't personally buy Fodlan being completely innocent.

While Seiros/Rhea may not have actively supported these wars/conflicts in Fodlan, she still is their symbol whether she wants to be or not.Given how long her reign has been (either as Rhea or some other alias being archibishop), this weighted reputation precedes her. Yes, the game shows she isn't a cartoon villain and can do good. Her devout followers see it and fight for her.

While the game sucks at showing this, it is clear her long leadership is not perfect and has become stagnant, letting the nations abuse the system she had initially laid out (probably with good intentions?).  Insert joke of Rhea being the late Queen Elizabeth here. 

3Hopes glosses over this but in 3Houses we see her multiple times using the Church’s influence to do take action on things, like suppressing rebellions and ousting bandits (see: White Cloud events). Still, most of these are used to protect her establishment and the order she set for the continent. Other social matters, Rhea does not really do anything unless she herself is threatened. So people like Edelgard felt justified in waging her war to just...uproot all of that obsolete system to reset everything.

Is that a great idea? I am not really sure, but it did make for two fun FE games lol.