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supercorpkid · 4 years ago

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The sun can fuck right off

Supercorp, Kara Danvers x Daughter!Reader, Lena Luthor x Daughter!Reader, Alex Danvers x Niece!Reader

Word count: 2795.

You are bored. Extremely, painfully bored. Kara and Lena are at work, Jamie is busy with Rao knows what, and Maya can’t come to your house, because her mom is the worst. So, you are bored with no idea what to do.

You also have been feeling like you need some adventures. It’s not like you got the taste for it, but every time you look at your picture with Wanda in another dimension, you just think about how great you felt protecting the world, and you just want that feeling again.

You’re not praying for trouble to come around, but when you hear a yell somewhere in the city, you also don’t complain about it. In fact, you suit up in a flash and you’re out of the house before any person can blink.

In retrospect, going out to fight bad guys without not even a heads up to your momma, or aunt Alex was a bad idea. You weren’t expecting a real villain, to be honest. Maybe some punks messing up with the city, or maybe even a fire, but definitely not a full grown-up man in a high-tech suit of armor, hitting the town with shockwaves.

You try flying closed-fist towards him at full speed, but are met with a strong shockwave before you get to him. You fall on the floor feeling a little dizzy, but you’re strong enough to get up. At least you called his attention, and he stopped terrorizing the city for a moment, to focus on you. You try flying again. You fall again. You try using your super speed, no use. Can’t get close to him without feeling an electric wave running through your veins.

Shit. Ok. Time to get serious. You shoot him with your heat vision. He is taken aback, but it doesn’t cause much damage to him, because he stomps his foot causing a mini earthquake. Not enough to destroy anything, but enough to be felt. You fly around cleaning the area for anyone who just might happen to be passing by. It wasn’t a big earthquake, but it was enough to get the DEO’s attention, and you hear when aunt Alex yells directions at the tactic team. You just have to hold him back, there is a team coming your way to help now.

Apparently, the only thing that can hold him back is your heat vision, so you try that again. Stronger. Totally focused on this one thing. You can feel heat running through your veins, like you’ve never felt before. You’ve never held your heat vision for so long and so strongly. But you know his armor is taking a big damage, so you power through. You can’t stop, not now, not when you’re so close to defeating him.

But you feel weak. You feel your legs giving in. And your body feels dry-up from energy. You hope his armor breaks before this breaks you.

When you hear DEO cars arriving at the scene, you give one final push, and hear a crack on his armor. That’s enough to make him fall on the ground and the tactic team runs to cuff him.

He isn’t the only one on the ground, though. You also feel weak, like you overused your powers. You can hear Alex’s voice somewhere close, so you know you’re safe and she’s got you. But you made the mistake of not calling Supergirl once and you’re not doing it again. Before you pass out, you press the emergency button on your watch. Just then you can let go.

You wake up, well-aware of where you are. How many times have you been in the DEO infirmary bed, under yellow sun lamps? It’s starting to look like a real thing in your life now.

“National City’ savior, everybody!” You hear your aunt's voice when you open your eyes. She comes closer with a smile on her face. “Why and how, and most importantly, Wow, kiddo.”

“Super hearing.” It’s your only response, and you look around, looking for your moms. “How badly hurt am I?”

“Not at all.” She holds your arm, and you sit on the bed, with her help. “What happened is that you got solar flared.”

“Huh?”

“You are aware your cells accumulate solar energy.” Alex says and you agree with a nod. “Well, let’s say they can soak up an absurd amount of energy, and every time you use your powers you use a little of that. It’s very hard to use ALL of that in one fight, but you just did.”

“Ok. Makes sense. So I have to soak up as much sunlight as I can?” You ask, aware that you probably need to stay out in the sun making ‘photosynthesis’ like you do, every time you get hurt.

“Yeah. That should work.” She pats your shoulder lightly, but you still feel the weight of her hands on your body. “Until then, you’re pretty much a human being. So be careful.”

“I pressed the watch.” You’re trying not to be too obvious about how upset you are that Kara didn’t show up, but Alex seems to read you easily.

“Oh, she brought you in, and went to pick Lena up, they should be arriving at any time now.” Alex says and you breathe in relief. What a superhero you are. Save the city, but still want your moms to pick you up from a fight.

“Is she ok?” Lena rushes in, talking to Alex, but then she turns to you and sees you sitting on the bed. “You’re ok.” She hugs you, and her hand goes to your hair. “You’re ok, baby. You’re ok.”

It feels so good to feel the weight of her arms around you, so you hug her back, hiding your face on her collarbone, and Lena’s hands just pull you in closer to her.

“Does anything hurt?” She asks, putting her chin on the top of your head, and you smile at the scene, at the feeling, and at the amazingness of the moment. You let go of her, and deny with your head. Kara comes to you, putting her hand on your shoulder.

“You called.” She says that with the biggest smile on her face, like you just did the most awesome thing in your life. “You stopped Shockwave all by yourself, and then you called me to go get you.”

“I did.” You smile back. “And I got solar flared, and I’m human now.”

“Oh, I once got solar flared too!” Kara raises her hand at you, and you guys high-five. “Being without your powers is not fun, but I’m so proud of you, little one! You have no idea!” It’s her time to hug you, and she does it a little too strong. You don’t complain though, is amazing that you can even feel it.

“Well, she is free to go.” Aunt Alex says, and you jump from the bed. It feels so weird. You’re feeling heavy, like Earth gravity finally caught up to you, and you feel like you weigh 200 pounds.

Sure you were once without your powers, but you couldn’t really enjoy this feeling of being human. Back then, you couldn’t really walk, because your leg was hurt, and when you did, you had a cast on. So this now, feels like being human for the first time since you were a little kid without powers.

You look at Kara with a smile on your face. “Race ya to the way out.”

And running you go, at a normal speed, and when you get there, you’re sweating and out of breath and feeling light-headed from the effort. You bend down, putting your hands on your thighs for support. Kara holds your arm, looking very worried.

“That was awesome!” You manage to say, while still trying to breathe and she laughs at you.

“You are aware that everyone in the DEO just saw you running like a freak on the corridors, right?” Kara asks, with a playful smile on her lips, and you open a big one to her.

“I know. But they all know I can take them down if I want to, so I don’t think they’ll say anything about it.” You finally stand up again, and open your arms to her. “I would like a ride home, please.”

“Sure thing, my little human.” Kara holds you, and fly home with you holding her tight. Feeling a little scared that you could fall and not be able to protect yourself. You feel a light rain starting to fall, and you look up with a smile. How great is this day?

Kara lands in the backyard, and you open your arms feeling the rain on your skin. She smiles, looking at you like you’re an alien who just now landed on Earth, and it’s experiencing things for the first time.

“Ok, go inside and get dry, and I’m going to pick up your mom before it starts raining harder.”

Kara leaves, but you don’t go inside. You’re so static that you were actually able to stop that villain -without help this time, may you add-, that the rain feels like a payment for it.

“Get inside, come on. Come on.” You hear Lena’s voice and you look behind you to see her with her suit jacket over her head. She comes to you, shielding you from the rain -like you’re not already completely soaked-, and walks with you inside from the backyard door. “Go take a shower and get out of those wet clothes before you come up with a cold.”

“A cold!” You say, like it’s the most exciting thing in the world. “Have I ever had a cold before? What is it like?”

“It’s no fun.” Lena looks at your excited face, and Rao, how well this woman can read you. It’s impressive. “Absolutely not! You are not getting a cold to feel how it is. Go take a hot shower now, and get yourself into warm clothes.” You pout at her. “I will throw you under the shower if I have to.”

“Fine.” The pouting is over at the sound of that. “I’m not getting a cold!”

But it seems that the universe has other plans for you.

“Come on, babygirl. School. Let’s go.” Lena opens the door in the morning. You try to open your eyes, but it feels incredibly hard to do so. You didn’t even wake up yet, and you can feel the most horrible headache.

“Mom. Don’t freak out.” Your voice comes out small and hoarse, and that’s all it takes for Lena to understand what’s going on.

“Please don’t tell me-” She comes closer, and you feel her hand on your forehead. “My God, you’re burning up.”

“I am?” You ask, pushing the blankets up your body. “Then why am I so cold?”

“Because you have a fever, babygirl.” Lena lets out a sigh, and you just wait until she says ‘I told you so’. But that never comes. “KARAAAA! GET THE TERMOMETER!”

It’s five seconds later when you see Kara showing up at your bedroom door. She gives it to Lena, who quickly takes your temperature and sighs at the number on the screen.

“You’ve got a high fever. What else are you feeling?” Lena asks, and you feel the mattress dipping next to you, and Kara coming closer.

“Headache. And for some reason my legs and arms hurt. Like-” You look at Kara, with wide eyes. “They actually hurt, you know?”

“Well, my love, that’s one of the symptoms.” Kara smiles fondly at you. She looks amazed at the fact that her daughter came up with a cold in the first place. “So, she’s not going to school today.”

“Absolutely not.” Lena says, picking up her cell phone from her pocket. “I’ll call the principal and let her know.” She looks back at you with a flat smile. “At least now we’ll prove to them that you’re an actual human being.”

“Yay!” You cough after such effort. “Silver lining.”

“I’ll go get something for you to eat.” She leaves the room and you look at Kara.

“I’m not hungry.” You think about it for a second and your eyes widen. “Momma! I’m not hungry! Am I dying?”

“Don’t even joke about it.” Kara throws her arms around you and gets comfortable next to you.

“Don’t you have work to attend to?” You ask, trying to do an eyebrow raise, but it hurts so badly you give up midway.

“Work?” She laughs like it’s the most absurd question you’ve ever asked her. You know it can’t be, because you once asked her how fast you had to run for your skin to warm up, like a spacecraft heats up when reentering the atmosphere and catches on fire -to which she replied a solid ‘huh?’-. “I can’t possibly go to work with you sick like this.”

“I’m not that sick. I have a common cold.”

“Shhh. They don’t need to know that.” Kara smiles, and takes her phone out of her pocket. She is typing and saying her message out loud, you know, like old peps do. “Can’t go in today. My daughter has come up with something and I have to stay in and watch her.”

You want to call her a liar, but you also want to thank her for staying with you. So instead, you settle for a smile, and for holding her hand. Lena walks in a while later with food in a tray for you.

“Ok, so I called your school and explained your absence, and I also called my assistant to let her know I’m not coming in today and-” She looks at Kara, already under the covers with you, and furrows her brows. “Don’t you have to go to work?”

Kara gives her a sheepish smile. “Guess we had the same idea.”

“Guess we did. Come on baby, let's get something inside you.” She helps you up, and you sit on your bed. You eat what she brought, and when you’re done, they help you lay back in bed. “Make space for me?”

Kara pulls you closer, and Lena lays on the other side of the bed, dropping her shoes on the floor with loud thuds.

“Rao, that hurts so much.” You wince at the sound, closing your eyes. “Can we all be very, very quiet?” You ask, and add a little later. “Oh, and in the dark?”

“Oh, my love, do you have a migraine too?” Lena whispers, kissing your forehead. “Kara, go get her a cloth, please.”

You barely feel the bed moving and Kara’s already laying down again. She blows a little of her freeze breath in it, and places it on your forehead. You also notice they had turned off the lights, and you doze back to sleep sandwiched between your moms.

You wake up much later. Kara is snoring next to you, arm over your body, making it impossible for you to move, and Lena is sitting on your desk, silently working in the dark. You smile at the scene.

“Mom.” You call her, and she stops what she is doing to go to you.

“Hey, babygirl. Listen, you have to drink lots of fluids to keep yourself hydrated.” Lena hands you a bottle of water. “How’s the migraine?”

“A little better?” You say, truthfully. She nods, putting her hand on your head to check for your fever.

“You’re sweaty. I think your fever is down. You should go take a shower.” Lena says and you just point at Kara’s arms and she knows exactly what you mean. “I always get trapped under her arms too. Let me just-” She scratches the back of Kara’s neck, and instantly her arms move and you’re free to go. “Here.” Lena gives you a hand and you sit on the bed with her help.

“I have to tell you something.” You whisper, still holding her hand. “I don’t really like the cold. You can say I told you so.”

Lena kisses your head, and lets out a chuckle. “I didn’t think you would, but I guess you had to see it for yourself. I’m glad you didn’t like it though; you’ll probably never catch it again.”

“I hope not.”

Despite absolutely hating the feeling of being sick, you look around and things are still pretty good in your life. When Kara wakes up, she wraps you up in blankets like a ‘sick burrito’, and moves you to the couch to watch your favorite movie with them. Sure, you’re surrounded with tissue papers, water bottles, and cold medicine. But you’re also surrounded with love. And that is the best thing you can wish for on a Wednesday afternoon.

Notes:

So it seems a lot of you wanted a sick fic. For this one I have to thank @beepbop122 for the solar flared idea for Superkid to get sick. Then @asiangmrchk13 asked for Supercorp taking care of her and a little bit of Alex in the middle. Also @youngjusticeimaginesus asked me for Superkid get a migraine and I think the basic idea was being cared by Kara and Lena, so I hope this works. And I threw in a fight scene for myself. I hope you all enjoy it, thank you so much!

#supergirl #kara danvers #supercorp #supercorpfamily #lena luthor #supercorp daughter #kara x lena #kara x reader #supercorp fanfic #lena x reader #reader insert

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jeeperso · 2 years ago

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D&D Quotes Without Context

Ravenloft Edition, Har-Akir Arc FINAL

“They. Let’s not misgender the horrible person I plan on burning alive.”

“At least tell them you’re the only one there because you didn’t trust us not to immediately open fire. Which, I will point out, is true.”

“Standard double boss raid tactics.”

"Our real challenge will be to locate their ring though. Didn’t they say they placed it in a hidden location?” “Ask your nerd god?”

"I've got a second broom in the hole, if anyone needs it.”

"Alright... Jonni, Marshall, and Gorbash. Come here, and I'll ask for Ioun to watch over you.” “I will try not to flash the Girls during that time. Try.”

It’s about noon, there is not a cloud in the sky, the sun is beating down. Everyone in the caravan has gone into the city to avoid the fight. Azathoth: "Wee-o-wee-woo...wa wa wa.....wee-o-wee-woo....wa WA…."

However, a barge approaches on the river bank, upon it on a throne sits a mummy in ornate gold. A crier on the skiff opens a scroll "This most supreme authority Lord Ankhtepot has been invited by the Necromancer Nima Galzona to observe their latest creation, the Sunbleacher undead. Feel free to ignore us and continue with the fight.”

Nyarlathotep: "Nima is an egg-laying mammal?”

“Oloch’s been eating his Wheeties. Somehow.”

“Also, Nima? I fucked your boots.”

Oloch: ”If the pyromancer agrees to abandon their efreeti lover to her current fate, and leave the Domains of Dread without her, then I will agree.” Jonni: “Sure.” Nima blinks. "Wow really?” Jonni: “Yup. Pinkie swear.” Marshal: "Jonni, there can be no falsehood. The Master and I WILL hold you to this vow.” Jonni: “Oh, we’ll then, fuck that.” Hex and Eldritch Blast on Nima.

You slice "Nima": to pieces, their head lands at your feet. Then its eyes open and smiles. "Get ready for a surprise!” Gorbash: “And cue the magical bullshit.”

Gorbash: “I didn't realize this was a full on asshole convention.” Jonni: “So, was that Oloch or did they fuse into a whole new asshole?” Gorbash: “I think Nima shoved an asshole into another asshole to make a Bigger asshole. And I feel dirty for having spoken those words.” Nyarlathotep: "Tha's a BIG asshole.” Marshal: "So which dispenses the ranch dressing?” "Stop saying asshole." One of the Nima says. Gorbash: “I will if you all stop being Assholes!”

“I got a shitty plan to find real Nima unless someone has a good plan?”

Three Stooges Nimas.

I should note something, after Oloch removed his cloak, the air around him feels different, dryer and hotter. The sunlight seems harsher. OOC: Does that mean fire type moves do more damage?

"Eddie, Jonni can't die. That's a rule!”

Jonni: “Guys, stupid hope to find real Nima or deal with exploding orc?” Poom: "Always exploding first!”

Anhktepot doesn't want this to play by Don King rules.

"Oh no, Oloch is using Solar Flare!”

"BURNING DEATH!” “I said the same thing to Vesh on our Anniversary.”

OSP: “I didn’t ask if my friend was out of range, I said I cast Fireball.”

“Instant gratification is bullshit. The best revenge is knowing your enemy is miserable.”

“I’m talking about an oath sworn to a major league fucking god! Do you think I want the consequences of that?” "Considering how stupid you are, yeah.”

OOC: Anybody else wanna get Yul Brynnar in play on our side?

Poom teleports to a safe distance. Like Goth Mexico.

Nima: ”Also FYI, me and Hazlik can see and hear you through the magic items we gave you.” Jonni: “I mean, I assumed they could. It’s why I kept using the rod for sexy times.” Nima: "And people think I'm a freak.”

"Darn, wish we had a cantrip to conjure up some popcorn for this.” "Admire later: we're still in the splash zone", Marshal says as he swerves to avoid a meteor.

"I've never trusted cashews.”

"I mean we're both petty, power-mad slut-mages who solve all our problem with dark magic.”

“By the way, books just a copy of the Kama Sutra I shoved in an overdue library book. Left the real one in hell.” “Huh. Wow those are some pictures.” “Yeah, this one is from the dimension where Picasso got freaky.”

Gorbash follows: Poom always knows the best escape routes.

“So… let your mom know, I just finished one blood feud, I’ve got room in my schedule for a new one.”

Irost comes running, wearing a mask and his viol from the city. "Can't talk. Priests are angry. Gotta go.”

Jonni: “Well. Looks like we’re on the road again. Next stop, killing some bitch.” Poom: "New stop, same as the old stop.”

OOC: BRB, if I seem quiet for a few minutes here and there it’s because my body has decided to stop retaining water.

OOC: I just had unexpected dogs in my apartment. OOC2: ...That is either a problem or the opposite of a problem.

OOC: I mean, Hades won't argue being an asshole.

“I DONT EVEN KNOW WHO YOU ARE AND YOUR FACIAL HAIR IS AMAZING!”

OOC: Now he knows all Nima has to do is say "Parmesian" and he will be their personal fight doll.

OOC: Considering our next stop, this:

youtube

OOC: I mean, not like the hell-child's gonna be any LESS deadly... Irost: “I'll get the elf outfits ready.”

OOC: Yeah, that necrosplosion almost wiped us.

OOC: ….Those Nimas were Saibamen.

OOC: Or we can mail ourselves somewhere, and rest while we are in transit.

OOC: Itty. Bitty. Living space. OOC2: Comes with the phenomenal cosmic power.

OOC: Speaking of next time, you guys are going to the cornfield.

#dungeons and dragons #dnd 5e #quotes with context #ravenloft #har-akir

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flickeringart · 3 years ago

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Satanism - a way to embrace Pluto?

My mind has been occupied with Pluto lately, the planet, god and symbol of “the hidden things”, the occult, the underworld, darkness, fate, rage, destruction, transformation, abduction, man’s primitive nature, life and death, power and powerlessness, fear, violation and fertility. There’s so much nuance to all planetary (archetypal) principles and there’s always more to explore. Pluto especially is a mysterious and threatening figure (force) in our lives and in the world at large. I have talked about it in previous posts, here / here and here… I’ve also explored the 8th house, which is the astrological house of Scorpio and Pluto here and here.

Many people understandably avoid anything that has to do with the darker elements of life and human nature until they are forced to deal with them. This is possibly why Pluto has been associated with violence because we are typically dragged into the depths; we don’t go there willingly. Some people, however, have lives that are marked by Pluto to such a degree that they can’t pretend that he doesn’t exist. By deciding to consciously accept him and embrace his influence it is possible to live a richer life. After all, Pluto is not only a god of destruction; he is also a god of riches. It seems to me, that the worship of Satan (as practiced by members of the Church of Satan) is very much in line with Pluto’s gifts and his riches. It’s an attempt to embrace the carnal nature. However, this Plutonian carnality is not as basic as it seems. It has its own intelligence, its own spirituality and its own laws. It seems to me that Pluto has to do with survival – psychological, emotional, spiritual and physical. He stands for survival and life at all levels of the being. As stated on the official website, “To us, Satan is the symbol that best suits the nature of we who are carnal by birth—people who feel no battles raging between our thoughts and feelings, we who do not embrace the concept of a soul imprisoned in a body. He represents pride, liberty, and individualism—qualities often defined as Evil by those who worship external deities, who feel there is a war between their minds and emotions.”

I think, that this philosophy attempts to treasure the whole (hu)man, to recognize his divinity even in his subjective thoughts and feelings. It’s an attempt to honor the darker aspects of human nature – anger, rage, and instinctual responses. It’s essentially to honor the earth, the dark void, and the merciless existence. Putting faith in external deities is robbing the individual of his divinity; it’s separating him from life. Christianity has, at least in part, made people think of Evil as an autonomous force (an external deity), corrupting good souls and creating fear and panic. By avoiding seeing reality as a whole, Christianity perpetuates fear instead of confronting it. As I understand it, Satanists don’t invest belief in any gods (symbolic of human drives and instincts) because they see that these mind-made constructs are part of their own psyche. Satanists place themselves at the center of their own subjective universe without seeking to befriend or worship mythical entities that are separate from them.

It seems to me though, from studying astrology, that there’s no way to escape deity. In the effort to not have any god, to place the self at the center, as is characteristic of the Church of Satan, one is in fact aligning or siding with an archetype. It’s impossible not to. I think this is made quite obvious when using astrology and analyzing natal charts. The archetypal energies are expressing themselves through and as the individuals.

In fact, let’s take a look at the chart of the founder of the Church of Satan, Anton Szandor LaVey. I would expect him to have a strong Pluto because of the emphasis on embracing the carnal side and the spiritual dimension of it. There’s also a big emphasis on being whole (a solar principle) through recognizing the totality of life, facing the strength and power within oneself and using the necessary tools to improve one’s own life. This would include consciously using symbols and images (like the image of Satan) in order to get the desired effect. If symbols are given autonomous power it’s a problem only if it puts the individual in a disempowered position. Personal integrity and liberty is also of utmost importance, which sounds rather Aquarian to me. Let’s have a look.

The chart of Anton Szandor LaVey, as found on astrotheme.com.

The Sun is in Aries, which is not surprising considering his strong faith in individuality, his initiative to start a “new religion”, to provide a contrasting influence, to place himself at the “center”, to go by no other rules than his own, to welcome opposition, the desire to be his own master and a leader of his own life. Aries as a sign is strongly linked to the warrior archetype, of fighting for what one believes in without compromise, to claim authority in spirit, to conquer, to place subjectivity over objectivity (because there’s no real difference from the perspective of Aries). Selfishness is the basis for existence; it is through honoring the self that one can honor other people’s independence. Mars, which is the planetary ruler of Aries, is concerned with personal strength and potency (note; Mars is sometimes referred to as the lower octave of Pluto). It seems like LaVey lived on his own terms, relying on his own natural instincts and gifts to get by in life. This is all very typical of Aries people, to live of off a self-generated optimism and conviction of one’s own ability. “The rules don’t apply to me” is the overall sentiment – the rules originated somewhere and that which originates from my own self is no less valuable or divine, even if it’s raw, ugly or imperfect it is still of “The Self”, the force that animates existence.

To no surprise, Pluto makes a square aspect to his Sun. He would’ve lived with the threat of his own destructive rage, his own inner violence and uncompromising desire. To him, it was probably difficult to consciously accept this side (the square aspect always represents a conflict) but he certainly tried to acknowledge his “darkness” through founding the Church of Satan. A person with a trine aspect between Sun-Pluto would not have been as motivated or pressed to bridge the gap between the self and the primitive and taboo because there wouldn’t have been anything to bridge. The square relationships between two planets usually motivate the individual to try to solve dilemma of conflicting principles within the psyche through external work. Squares usually force work in a very concrete fashion. When a person is serious about something, and is trying to make something happen it’s usually indicative of a square aspect within the personal chart. For example, I have a Neptune square Mercury aspect. I try to read and write and educate myself to some kind of higher state, some transcendent and elevated experience because the connection is not smooth between these planets. I try to articulate things properly in order to bridge the gap between personal mind and the nuance of collective feeling. I try to reflect the essence or feeling tone of energies through my writing.

The interesting thing about LaVey is that he truly took on the appearance of a devil – he was probably aware of the power of looks, the impact that certain clothing or symbols have. He was undoubtedly theatrical. Pluto in the 5th house might have something to do with this, as it’s the house of individual expression. The 5th house is all about personal creation; it’s the realm of children and play. In a sense, he was no different from a child dressing up in costumes and playing “the dark one”, which is probably why people mocked him for it. Even when Pluto is in the 5th house it is never light-hearted, he is all in, ruthlessly determined. Pluto placed in this house takes play seriously. He takes personal expression seriously. His creations are his and he should be at the center of them. The individual should be credited for his abilities, not the other way around, just as the individual shouldn’t be appreciated because his gifts are “of the gods”. They belong as much to the individual as it does to the deities. This is certainly the spirit of Pluto. He answers to no other god than himself and he sees life as it is, in its most vile forms, without flinching. Life is in all expressions, in the primitive as well as in the sophisticated. This is, in many ways, a deeply honest way to live. Another thing that catches my attention is the bi-quintiles Pluto makes to the MC (public image) and the AC (personal image/persona). The bi-quintile aspect is generally considered to say something about a certain talent or style, a mercurial quality or skill. He truly has the style of Pluto, both in his countenance and in his societal achievements. He looks dark and mysterious, preoccupied with the occult side of life. Perhaps he even had a certain talent for “magic”, at least he claimed to.

Satanists believe in indulgence (which doesn’t imply compulsion) over abstinence, primarily because there’s no belief in heaven or an after life. The individual is placed at the center of his own universe as his own master – through and through. Although many people would agree that self-mastery is a good thing, many also tend promote, in the same vein, that “people make mistakes” and that they “should be forgiven”. As I understand it, Satanism as a philosophy would state that mistakes are only mistakes if the self-mastered individual firmly believes it to be so in complete honesty and integrity. Self-deceit is considered to be a sin, unless of course it’s done intentionally - it would then not be a sin. Going along with roles that other people have cast one in is self-deceit – that is, for example, shouldering the role as a “sinner” because other people have imposed that label or role onto you is not indicative of self-respect, it’s a betrayal of your own reality. Notably, LaVey has an Aquarius Ascendant, Lilith in Aquarius in the 1st house and Uranus widely conjunct his Sun (both in the independent sign of Aries). He is definitely not a person to follow the herd – in fact “Herd Conformity” is one of the Cardinal Sins in Satanism. He leads life through the principle of being his own godhead, his own intellectual genius, and his own unique and separate individual, detached from the norms and conventions enough to go against them if he pleases. Aquarius is a sign that considers the map of life in an intellectual sense. This sign is also the sign of the progressive individual, someone who wants to make a difference on a larger scale. He certainly did, through constructing a thought-system that could benefit people. It’s no wonder that the first of the Nine Cardinal Sins (as found on the official website) is Stupidity. Of course it would be to an Aquarius Rising! “Think for yourself; don’t go along with everything you’re told” is the plea.

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trashcankitty12 · 4 years ago

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Stella Headcanons:

You know her. You love her.

She’s bubbly, she’s fun. (And she’s pretty funny.)

She’s Princess Stella Sol of Solaria.

(These headcanons are all in relation to my ‘main verse’, which is the New Company of Light/Balance Verse. And it can also translate into my Left verse.)

Under the cut because it’s long.

About Stella:

-Her fear of heights comes from a major fall she took as a child off of her grandfather’s pet dragon. (He was teaching her how to ride and… She wasn’t holding onto it well enough and down she went.)

-Stella is fluent in nearly 56 of the Magical Dimensions languages. (She was to stick to the languages spoken by the realms who interacted most with Solaria.)

-After meeting Bloom and spending a little time on Earth, Stella is also trying to learn a few of the Earth’s languages. (She’s mastered English and Spanish, but she’s still working on French and Russian.)

-She loves sweets. (And food in general. But considering she’s Solarian, that’s to be expected. They tend to eat more than most people in the Magical Dimension.)

-Stella may or may not glow in the dark. (It’s something she can control and she has to be focused to do it. She inherited that gift from her mother.)

-Stella’s mother was religious and has a close relationship to the Moons, while her father, despite being so close in relationship to the Suns of Solaria, isn’t religious. Stella personally has mixed feelings on religion. She likes the idea of spirituality and having a higher power to rely on, but organized religion makes her heart hurt. (They tend to talk down about those who don’t follow a ‘certain’ way of life, which to Stella isn’t a cool thing to do, unless, of course, the other people are actually hurting someone else.)

-She was almost a big sister. Her mother had been pregnant when she was seven. (They don’t ever talk about it. And, as an adult, Stella can see where this was a turning point for her parents and their relationship. Her mother just wasn’t quite the same after losing Diana.)

-Stella is a dog person and was so happy when she finally got a puppy for her birthday one year. (The dog was her best friend and her main confidant.) Unfortunately, Stella’s dog only made it to four years old. (It had an illness that not even magic could fix.)

-Stella hasn’t been able to stomach the thought of another dog since. (However, Brandon may or may not offer for them to get a dog later on. You know, as their “first child”.)

-Stella can spot patterns without trying. It’s so ingrained in her after being around fashion, and the practical applications of pattern spotting have made her life so much easier.

-Here’s the thing about Stella… She’s somewhat dyslexic. Words and reading do not come easily to her. On the flip side, Stella can give one hellova speech. Her charisma and charm make her a natural at hyping up a crowd.

-Stella had a fairy godmother until she was 13. An elderly woman named Glinda. Glinda helped Stella with her shyness and in her first fashion attempts. And Glinda was the one who helped Stella gain her magic winx the first time with encouragement and confidence. (After all, how else should a future queen bring out her power?)

-After gaining her wings, her father gifted her the Ring of Solaria. It was done in a ceremony to the Suns and Moons of Solaria and the Ring had to choose Stella just as it had Radius and their family before them. Once Stella and the Ring bonded, she shifted for the first time in public to show off her wings and magic. Her parents couldn’t have been prouder.

-She went to a private school on Solaria for her elementary and middle school education years, but she was somewhat isolated due to being the Princess of Solaria (making the other kids judge her ahead of time as some sort of prim and proper prep they didn’t want around) and due to some of her ‘uncool’ hobbies.

-(Those uncool hobbies? Stella is actually into comics and superheroes, but until meeting the rest of the Winx, she wasn’t interested in sharing that side of herself. Solarian Comics actually helped Stella with reading because of their writing structure. Stella is also a fan of learning cultures and wanting to see what benefits other places and if it could be replicated to help Solaria. And Stella was kind of a… Horse girl. She spent many, many, many summers and school holidays at her maternal uncle’s horse ranch in the Western Spaces of Solaria.)

-Stella tends to use her solar powers more than her lunar ones. It’s not because she doesn’t feel close to her mother or to her mother’s family, it’s just a little more difficult for her tap into that part of her magic. (Solar magic is easy and tapped into by thinking of warm and splendid times. Lunar magic requires a bit more… Reflection. And Stella doesn’t like having to think too long about things. Not because she can’t, but because if she starts to really think about things, she tends to overthink them which leads her down a dark rabbit hole.)

-Stella’s best friend growing up was Nova Rinae, despite being two years older than the other girl. Nova’s mother is the head of Luna’s guard, and Nova was often in the palace. (Making her one of the few children always around. And because she shared several of Stella’s interests, they clicked rather quickly.)

-(Her parents also encourage this friendship as it’s important to them for Stella to be close to those who may serve alongside her when its time for her to become queen. Friendships can be turned into unwavering loyalty, and that can mean life or death in certain situations.)

-Before she ever got her magic, Stella’s parents thought she may end up being the ‘New Host’ for the Light Dragon. (Bloom was never found, which meant no one could say for certain what happened to the Light Dragon, other than it had to be alive still. Otherwise the Balance would have been off.)

-Because of their thoughts on her having the Light Dragon, Stella was taught basic hand-to-hand skills as a child and was instructed to be wary of “golden eyes” in the shadows. She was also to learn Solaria’s history as well as Domino’s. (Though Stella mostly paid attention to how the two worlds overlapped instead of their separate histories.)

-Stella actually knew Layla, Sky, and Diaspro as children. But because so much can change from being five years old to being 15/16, she didn't recognize them when they met again. (They had all been at a major conference for the realms and while their parents ‘talked shop’, they went to play. It was their first and last time together like that until years later.)

-Despite being a princess, Stella tends to be a bit messy. At least, as far as her room itself. Her workspaces (wardrobe and vanity and tailoring areas) are the most well-kept areas in her care. (She likes to work in clean spaces… But in her room, the space where she lives, she likes it to look lived in.)

-Stella originally got into fashion at about 10 years old in an attempt to get closer to her mother. Her mother always had work to do as a queen, and for her off-time, she went to fashion shows (which in a way, were also work, because as a queen she’s expected to be aware of trends and present herself in a certain way). So to spend more time with her mother, Stella started having an interest in fashion. (Which quickly became a hobby she loved when she found the different ways she could express herself with fashion.)

-In a bid to get closer to her father, Stella took a major interest in cooking. (Her father can bake. He’s messy at it, but by the Dragons do his pastries and cookies taste of heaven.) Granted, Stella didn’t inherit the baking skill, but she can recite recipes and judge pastries and baked goods like its her job. (And for some of Solaria’s festivals, it is.)

-Have I mentioned she’s an expert equestrian in the Solarian Rodeo? Her go-to is barrel racing and square-dancing competitions, and she’s even dipped her toes into riding the bronco and in cattle roping.

-Stella has far-sightedness. She can see things far away, but things up close are blurred. She used to wear glasses, but after elementary school, she swapped to contacts. (However she does still wear glasses and keeps them close by just in case. They’re a stylish silver-blue and not quite thick-framed.)

-Stella has formal training in ballroom dancing. (Her favorite is the Eraklyon Tango. Or at least, it has been for the past few years. Wonder why…?)

-Stella also has a minor fear of spiders. (It’s not really a fear either… More like a squick. She doesn’t like them, but she doesn’t mind them being around if she doesn’t have to see them. It’s because one of her school teachers thought a great Life Lesson would be for the class to witness his pet tarantula eat a live meal. Not fun for little Stella.)

(Not fun for him either, once the parents got a hold of him…)

-Stella lied about what happened during her ‘real’ first year at Alfea. She honestly did blow up the Potion’s Lab… But it wasn’t because she was researching color theories…

-Just before Stella was meant to leave for Alfea, like a week or two before, she found out from Nova, NOVA, that her parents were getting a divorce. Luna and Radius never told her. Her friend told her.

-Stella didn’t want to leave after that, afraid that if she was gone, she couldn’t help them patch things up. (She truly believed they could work this out. She just needed to be there. She needed them to see her and remember why they fell in love.)

-They dropped Stella off, but still didn’t discuss or leave room to discuss the divorce. (Stella didn’t want to let them know she knew because she didn’t want Nova in trouble for listening in on their mothers’ conversations.)

-Which led to a panicked Stella trying desperately to pretend to be okay while in the presence of the others. (She’s a princess, she can’t show despair. Especially without reason.)

-Stella was angry that her parents still hadn’t talked to her and that they had sent her away. She was feeling left out and scared and confused. They were in love. Right?!

-So she started doing small things around Alfea to try and get her suspended. Not expelled, just suspended. (She needed time at home, before the holidays.)

-She verbally attacked other Alfea students, playing up the pompous princess act. No luck. She mocked Palladium. No luck. She even cut classes. No luck. So as a last resort, without having to go to Cloud Tower and stir trouble up there, was to mess around in the potion’s lab. It worked… Too well.

-She was expelled and sent back to Solaria. Her parents were upset with her, and disappointed (which was the worst ever for Stella who really wanted their approval in everything). Stella broke down and finally told them that she knew and that she didn’t want her family to break apart. That she was scared and shaken and angry. Angry that they could pretend so well that everything was fine when it obviously wasn’t.

-Luna and Radius decided to try a form of family counseling to try and help Stella. (They hated seeing their daughter so upset, but they knew in the long run that staying together would have damaged her further. She didn’t need to grow up with constant arguing and avoiding each other, that wasn’t a love story they wanted her to follow.)

-(They also explained the situation to Faragonda and promised to pay for the damages. Faragonda allowed Stella to return within the next school year if her progress with the counselor went well.)

-Stella, even though still upset with her parents’ divorce, was a bit more accepting of it after taking the school year to focus on them as a family. (Even one that was split.)

-Stella does have hope they’ll reunite, but she understands a bit more now why they split up. (And even though they are in separate palaces, Luna taking residence in the Lunar Sections now, she knows they love her very much.)

#winx club #winx club headcanons #stella headcanons #winx club stella #Princess Stella of Solaria #ray of sunshine #little sunburst

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anncanta · 4 years ago

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Dracula BBC as an alchemical novel

I noticed a long time ago that the stories that S. Moffat and M. Gatiss tell do not just have two or three layers (in fact, much more), but most often turn out to be such a complex field in which all the numerous levels work independently and at the same time manage to merge into a holistic melody. Actually, this is why their texts often ‘from the outside’ look strange, incomprehensible or meaningless (apart from those cases when they really are like this).

The thing is that stories of this kind are arranged in such a way that the plot, as a frame, ‘holding’ ideas and meanings on itself, is, so to speak, open — like a system of corridors leading in different directions, up and down, into those dimensions of the narrative that are currently needed by the authors in order to convey their statement.

In this respect, the genre is very important, because by structuring the story at the formal level, it allows, let’s say, to enter it and understand where to move from the entrance. And there — well, depending on how far you are willing to go.

One of the best definitions of the Dracula genre that I have seen among the reviews written so far is a metaphysical detective.

Some might say that the term looks artificial, but bearing in mind that the story itself seems to be enough… hybrid, it would be fine to start a conversation.

This really has everything a good detective novel needs, plus philosophical and (almost) religious motives organically woven into the narrative, the idea of self-knowledge that pushes the boundaries of any genre, and a mysterious ending. So it’s easy to agree with the above definition.

But I would say that this is an alchemical novel.

Let me remind those who have not come across the works of C.G. Jung, who in his later work paid much attention to alchemy and secret religious practices: in the context of his research, alchemy is a way of self-knowledge and one’s own psyche in order to achieve a higher level of development and gaining mental and spiritual integrity.

History of literature knows several rather interesting attempts to describe the alchemical Work and, since cinema in this sense is no worse, if you wish, you can immediately name a dozen films that also touch on this topic. Well, Sherlock, being viewed from a certain angle quite fits into this paradigm, and I will not even start about Harry Potter — this is a classic of Jungian thought, expressed in literature and successfully transferred to the cinema.

What about Dracula? Everything is very interesting in it.

The first thing to note is that Dracula’s structure is not a mini-series. It’s not a TV show at all. This is a three-part film, all parts of which are closely related to each other so that none of them can be ‘taken out’ from the text without losing meaning and understanding what is happening here.

The second, — it is undoubtedly a novel. The novel as a genre has many definitions, I will not give them here, I will only mention an element that is important for our conversation, without which a modern novel is impossible. This is the growing up and inner change of the hero. If the hero came to the end of the work, being not the same he was at the beginning, most likely we have a novel. Another question is how the hero came to these changes.

And here the third aspect is important — the way the story is told and the ‘language’ used by the authors.

Act I

Dracula begins with a young man standing in the middle of a dark forest and waiting for a carriage that will take him to the medieval castle of some mysterious Count. A girl comes out of the carriage in which the young man reached this place, and asks him to take the crucifix with him, assuring him that he will certainly need it. The carriage leaves, the young man remains in the forest.

Look, you can ‘exit’ from this scene both into a gothic novel (in principle, an entertainment genre, to which you can add a couple of additional meanings if you wish) and into an alchemical story. The exposition will be the same. Let’s suppose we are talking about an alchemical novel. For now, just suppose.

Dark forest is a place between worlds, between everyday life and the other world, between consciousness and unconsciousness, between daytime reality and nighttime. Place of transition, no one’s land. The laws of consciousness are no longer dominant here, but the unconscious does not yet dominate. You can also talk with those who live in the real world and get from them the so-called ‘magic item’, which may help the hero in the future, but it is already difficult to return. And — what is important — you can only travel further with a guide from the unconscious. Carriages from the outside world don’t go there.

The young man is picked up by a strange cart with a mysterious charioteer, after which, having driven some distance through the forest, he finds himself at the gates of an ancient castle. Going inside, he sees an empty room and a table set for dinner. This is the second point of transition if you follow the logic of archetypal storytelling. While Johnny is nothing more than a guest, a stranger, a man who has nothing to do with this castle or its inhabitants. He crossed the border of the unconscious but did not enter into a relationship with it. And here he does what the fairy tales strongly advise against doing to everyone who finds himself in such circumstances — he tries local food.

The game is on. From that moment — not from the first bite, but from this moment, Johnny enters the reality of Dracula, the reality of his castle, and begins to interact with forces that are incomprehensible and beyond his control.

But this is not the most interesting thing.

Let’s skip the moment of the Count`s appearance — here the authors again make a nod to the gothic novel, and the whole situation logically unfolds like an old horror movie, exactly until the moment when several new details appear in the narrative.

The first is the invisible inhabitants of the castle, who write on the glass with inverted letters ‘save us’, and the second is a journey through the castle-labyrinth and the discovery of the map.

Remember I said that this story could be a gothic novel, and the plot is quite like a gothic novel? So, forget it. From now, there is no way to return to this genre. The gothic novel is about controlled horror. It’s about tickling your nerves in a safe environment. In this form, it moved into the cinema and settled there in the form of horror films. It has no other functions and building blocks. Moreover, the symbolic details. The scary house there is always just a scary house, and the worms crawl out of the walking dead because it looks disgusting, and the viewers love the thrill.

But let’s back to Dracula.

Why are the castle-labyrinth and map important? On a metaphorical level, the house represents a person, that Self that a person knows, ‘builds’ throughout life and which belongs to it. A castle-labyrinth in which it is easy to get lost, which does not have a map, indicates a lost person.

And it was not Johnny who was here lost.

Have you ever thought about why, after being sucked dry and killed, the lawyer threw himself from the roof of the castle and was fished out of the river by fishermen, Dracula did not leave him alone and went to the convent after him?

What does this ‘bride’ mean to him, in no use as a food, dagger stares and pursed lips, and even threatens to fight Dracula while walking on the ground? Although it is doubtful he could fight — he could barely keep his feet.

Pride? Wounded amour-propre? A sense of ownership?

No.

In order to understand why Dracula came for Johnny, you need to return to the search for the map and remember where Harker found it.

In the depths of one of the corridors of the castle hung two portraits — the image of the architect who built the house and his wife. About which ones the architect himself refers in his notes as the Moon and the Sun.

It is noteworthy that a woman is the Sun here, while in the alchemical tradition, the solar energy is male, and the lunar energy is female. I think this is part of the inverted reality of the Count`s psyche, where landmarks are confused and roles are changed. For what it’s worth, such landmarks are enough for Harker to find a way out.

But it’s important for us to understand who Johnny is.

He is not a victim of Count Dracula. Rather, from the point of view of the plot, he is his victim, but at the symbolic level, his function is completely different.

Jonathan Harker is a figure from the outside world who comes to the house of a person whose psyche is immersed in chaos, who himself does not know what is in his house, and is able to get lost in it himself, keeps monsters in the basement and feeds on them. This person has lost touch with reality in the literal sense of the word. (For anyone interested, read about literalized metaphors in British literature.) And then someone comes to him, and involuntarily begins to order his chaotic world.

It is no coincidence that during one of his conversations with the Count Johnny hears a crying baby. At the level of the plot, this is a real baby that Dracula carries for his next ‘bride’ imprisoned in the basement of the castle. But at the symbolic level, where all the inhabitants of the castle are parts of the soul of the Count himself, the baby is his split-off child self. Of course, destined for murder. And turned into a child of the night.

What happens next? At the moment when the process of ordering the psyche and contact with the outside world is launched, it is already difficult to stop it. Therefore, Dracula with a manic passion rushes to the convent and tries to regain Johnny. But the function of the guide has been exhausted. Other forces come into play.

Act II

The central scene of what is happening in the convent is undoubtedly the scene of the meeting between Dracula and Agatha. And in their meeting, everything is important, literally every detail. Strikingly, it is harmoniously built both on the plot and on the symbolic level. There is literally no redundant element there.

We will only note the main ones so as not to get bogged down in details.

The first moment — Dracula went out into the outside world, but he cannot just appear there. Until now, his whole life has passed in darkness — both literally and symbolically. We do not know what made him so, but he obviously at some point in his life fell back to animal, primitive instincts. Therefore, in order to leave his world and exist in the real, in the world of consciousness, he needs to transform.

This is the first transformation of the hero that we see — when at the gates of the monastery Dracula is ‘born’ from the skin of a beast.

Having been born, he approaches the gates, which are opened to him by a genuine, not escheat, and fake bride — Agatha. Anima.

And she doesn’t give him any indulgences.

In Jungian literature, it is often mentioned that meeting with an archetype is a difficult and rather painful thing. Especially if the person is not ready for it. And, of course, it is extremely dangerous to project archetypal qualities onto a real person who can represent them for a specific man or woman. But this is in life. And a work of art`s entitled to combine symbolic and real layers in one context.

Agatha treats Dracula harshly, in a semblance of an erotic scene, giving an outlet for his insane disordered sexual and animal energy, in some way, ‘shaking’ him and allowing his inner chaos to restructure and acquire a consistency suitable for connecting with the new and the unknown.

And then the victim, close contact, an attempt to absorb — and the hero falls into his Anima and at the same time goes to a new world on a journey on the water.

Act III

I think that the symbolism of water (amniotic fluid, the water of the unconscious, water as an information and life medium) is not worth explaining. But what is happening with Dracula in the sealed world of the mother’s womb — the ship, in order for no one to have any doubts, called Demeter, needs to be considered more closely.

From this moment, from the moment when his romance with Agatha starts and begins to develop, Dracula’s relations with other people become extremely important. Until now, he had no relationships with people. The ‘brides’ in the castle are nothing more than food and separate parts of his own personality. The first person he established a real relationship with was Johnny. And this — on one of the levels — is another reason why Dracula was so attached to him. You never forget first love.

On Demeter, the Count consecutively comes into contact with several people.

What kind of people they are is very important.

The first is still just a victim. A sailor-helmsman, whom Dracula eats only because he needs a specific quality that the man has. This is how children are friends with those from whom you can ask for a useful thing or write off homework. After the object’s function is completed, the friendship ends.

It’s more difficult with the Grand Duchess. This is a story about memory, desire, and youth, Dracula`s question to himself — can I be liked, and if I can, then why: because my appearance evokes memories of youth or because I am interesting on my own? The dance as part of their interaction indicates an attempt to ‘taste’ the relationship (the Anima looks in-depth with a smile) but turns into a bloodbath.

What is important here is that as the ship sails further into the sea, and the relationship between Dracula and Agatha becomes more and more intimate, the Count begins to get more and more nervous, and his instincts, at first completely tamed for a distant goal, become more and more out of control.

He collected these passengers in advance, calculating how many people he needed to eat in order to safely get to England. And in the first two days, he ate half of them. The tension rises, the anxiety elevates, no one is safe. Including Dracula.

The meeting with Dorabella on deck (I just want to say — ‘date’) is a naive attempt to flirt, a conscious — not a vampire’s natural — desire to please, a short, but independently built with great difficulty dialogue. The portrayal of her possible married life shown to the girl is a gift that is discouraging in its brutality. And the conclusion: no, nothing will come of it. ‘I am a vampire.’

But if you have already gone out into the outside world, do not expect that you will be able to hide. Whatever you think, but you have made your choice.

After the murder of Dorabella, the ship literally ‘boils’, the hidden truth comes to the surface in the literal sense, and Agatha reappears on the scene.

Act IV

Many viewers ask: why did Agatha take command of the ship?

And who else should be the captain of the ship called Demeter under these circumstances?

Falcons give way to turtle doves.

But let’s back to the text.

The confrontation-connection of Dracula and his Anima lasts for some time, after which it logically ends with immersion of both in water.

And here is another interesting point. The first part of the alchemical Work is completed, the hero went through two transformations, began to communicate with living people, and even made some progress, but in order to consolidate the result, the psyche must close off from the world and allow deep processes to take place inside. Therefore, Dracula falls asleep at the bottom for 123 years, and Agatha fell off the map.

In the XXI century, the updated Count discovers that everything has changed, but the hunt for vampires is still relevant, and he himself is quite ready for new achievements.

The trouble is that he has already learned the taste of the genuine, and therefore surrogates are not to his liking.

When I watched the film for the first and second time, I just couldn’t understand why Lucy was needed there. Silly, superficial, narcissistic, she has no interest in anything other than herself and her Instagram images.

‘How could such a girl interest Dracula?!’ viewers around the world yell. And they are right.

How indeed?

Well, she couldn't.

In order to understand what Lucy’s role in this story is, you need to watch the film from the very beginning. Then it becomes clear that Dracula’s relationship with her, their dialogues, interaction, jokes and flirting, her willingness to voluntarily let him drink her blood is a complete parallel, a repetition of the Count’s relationship with Agatha. Having found the experience of deep love within himself and has found a connection with his soul, the hero is desperately trying to reproduce it — and fails.

Review these scenes. How he looks at Lucy, how he walks arm in arm with her, how he tells her what a brave and extraordinary girl she is, how he holds her on his lap, and asks where she wants to go. In fact, he does everything he did with Agatha. But doing all this, he has empty eyes. An indifferent look, mechanical movements, and bitterness at the bottom. He has a young beautiful woman in his arms, she is obviously in love with him, although she hides it, she is ready for anything to make him feel good. And he is bored.

In the eyes turned to Lucy, not the greed of a vampire is — there are darkness, sadness, and endless repetition: ‘Not her, not her, not her.’

But the psyche, especially the psyche of an adult, does not simply abandon its habits, so Dracula repeats with Lucy the entire cycle that has already passed with all his ‘brides’. The catch is that Lucy is not attached to him, but to admiration for her own beauty, and when beauty disappears, their illusory connection falls apart, turning into horror and contempt. But here, too, not everything is so simple.

In the scene in Dracula’s house, where Lucy realizes who she has become, an important parallel arises.

Look. There are four characters in the room. The situation is difficult, tense, the conflict reaches its limit until it is resolved through love. But how is it resolved?

I mean, what does it look like structurally?

It’s very simple. The man and the ‘monster’ stand and watch the kissing of the man and the ‘monster’ next to them.

And then something happens not only with Jack and Lucy, who finally managed to find peace but also with Dracula. This is the highest point from which there is only one path — to catharsis. The fact that Agatha led him there is logical and obvious, but up to this point, he was not ready for it.

And the final scene. When all the pieces are on the board, all conflicts are realized and all the ghosts are brought to light, there are no enemies left. Except for himself. Except for that, which he didn’t allow himself to do. Except for the fear of being yourself.

The ending of this film is the pinnacle of the alchemical process. Transformation. At the level of the plot, physical death, freeing a five-hundred-year-old vampire and a woman who loved him for many years. And at the symbolic level — going beyond one’s own limits and gaining integrity.

Therefore, in the final, we see the sun. The sun is a symbol of a purified consciousness, transformed and fully realized itself.

Epilogue

For those to whom the interpretation that I have presented here seems strange or stretch, I will separately note the following. Any interpretation is, to one degree or another, a figment of the imagination of the viewer or reader, although, unlike postmodern literary scholars, I believe that there are right and wrong interpretations. And the correct interpretation is not at all what the author wanted to say. This is what the story wanted to say. Often they are not the same thing.

And the second, closely related to the first: no, I do not think that S. Moffat and M. Gatiss put such meaning in their story. I think that European culture, with its multi-layered nature and the ability to reflect on complex experiences through symbolic stories, is that powerful semantic field that generates such tales regardless of the wishes of screenwriters and writers. And that seems wonderful to me.

#dracula 2020 #bbc dracula #count dracula #agatha van helsing #meta

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runpogorun · 4 years ago

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Gravity

To fill my Marvel Fluff Bingo square, Astronomer AU. No warnings apply, rated G, Matt Murdock/Foggy Nelson, 2759 words. Read it here or over on AO3.

Matt makes his way slowly into the room. The first thing he finds is the couch in the middle, presumably facing the TV, so Matt circles it slowly, his cane tapping lightly between the heavy thud of upholstery on his left and the hollow chink of wooden skirting board. The cane makes a higher tink as it collides with a metal structure and Matt reaches out with his hand, searching, and confirms a metal cabinet. He continues sweeping his cane across the hardwood floor, wary of any rugs, as his hands skate the surface of the cabinet finding photo frames, three clustered plant pots. He sends some loose sheets of paper skating off the surface and freezes, trying to track their direction of flight.

“Don’t worry about it!” Foggy calls from the kitchen. “I’ll get them.”

Matt turns his head over his shoulder, towards Foggy, and grins sheepishly. “Sorry. Comes with the territory.”

Foggy tsks quietly. “It’s not a problem. They’re just bills. You said whisky, right?”

Matt nods, “Yes, thanks,” and resumes his exploration. There’s an open doorway just past the cabinet, and Matt pauses, head tilted. “This the bathroom?”

“Yup.”

Matt moves his cane again, and it twangs in his hand with another metal vibration. But this doesn’t feel as heavy as the cabinet. He frowns, and reaches forward as he hears Foggy come up behind him.

“Oh, that’s a little more fragile, but feel free to… feel away.”

Intriguing. Matt stretches through space and finds smooth, painted metal with his fingertips. The metal is curved into a tube, and as his fingers move along it they find an encircling ridge. The object gives under his touch, and he finds the pivot point, the tripod suspending it. He tucks his cane under his arm and takes a step forward, using both hands to get a better idea of its dimensions.

Matt turns his head back in Foggy’s direction. “Is a telescope actually useful in New York City?”

Foggy makes a considering noise. “It’s alright. Not as good as, say, the Socorro Desert. But I can still see things.”

“Does your apartment have roof access?”

“Not the apartment itself, but the super lets me use the service stairs.

“Nice.”

“Yeah.”

Matt files that away, drops his hands and turns towards Foggy. “Shall we sit?”

“Sure.” Foggy moves towards the couch. “Did you find the couch? It’s over here.” He pats the cushion with an open palm, a firm thump of orienting sound.

Matt smiles at him. “Yes, thanks.” There’s a coffee table as well that Foggy forgot to mention, but he expected that. He folds up his cane and drops it on the coffee table and sits down next to Foggy before accepting his drink. “So, what sort of things do you like to look at? You’re not a creeper, are you?” He takes a sip, revelling as always in the first burn.

Foggy laughs loudly at that. “No. I’m an astronomer.”

Matt tilts his head. “You said you were a teacher.”

“I am. I teach Observational Astronomy and Cosmology at NYU.”

Matt laughs. “And here I was, thinking you were a dance teacher.” Foggy had held the class in his palm, everyone drawn to him, like he had the strongest gravitational pull in the room. It had only taken three classes for Matt to succumb, and accept an invitation for a drink.

“That’s just a hobby. I like to boogie. And it’s a good way to meet people,” Foggy says, nudging Matt with his elbow.

Matt raises his glass, and Foggy clinks them together. “Slainte. So, do you do this often?” He takes a sip.

“Meet people?”

“Bring strange men back to your apartment.”

Foggy laughs at that. “Strangers are friends we haven’t yet met. But, honestly? No. I don’t.”

Matt considers that. He, in contrast, does do this often, but usually only once or twice with the same person. Matt’s a comet, shooting in and out, plenty of noise and fuss but little substance.

“How about you,” Foggy asks.

“Me?” Matt mentally scans through all the men and women he’s dated in recent history. This may not be the moment to share that information.

“How do you make your crust?”

“Oh.” Matt leans back against the couch cushions and stretches an arm along the seat back, towards Foggy. “I’m a lawyer,” he says, mouth quirking in a slight smile, and waits for the inevitable praise. People are always impressed.

“Oh cool. I nearly did Law,” Foggy says. People often say this - it’s one of those throwaway lines. But then he adds, “I was aiming for Columbia but then… I took an intro to Astronomy class over the summer after high school and I sort of… fell into the stars.”

Matt tilts his head. “Tell me about it.”

Foggy hums, consideringly. “I’d always been interested, you know?” he says. “But I hadn’t really thought that it could be my job. I thought it would be fun to take the class, that it would be interesting. So I did.”

“Always a solid choice, choosing the interesting.”

“It was residential, close to an observatory. One morning we got up in the middle of the night, and towards dawn I saw the Orion Nebula. It’s near Orion’s Belt. And it was so beautiful, and unknown. I wanted more. I couldn’t stop thinking of what else must be out there.

“I mean, we do know a lot now, especially when a probe like Juno fires back information, but also a lot of it we can’t exactly know. No one knows what it’s like to stand on the surface of Eros, not really. Or what the Helix Nebula looks like from the inside. We can model it, sure, but we can’t know. I was hungry to find out what I could. I was hooked.” Foggy stops, abruptly, and Matt can hear him sip his drink.

Matt is struck by the emotion in Foggy’s voice, growing with every word. “That’s a great story,” he says. “Not everyone finds their passion, or follows it.

Foggy takes a deep breath, and lets it out slowly. “Yeah. You know, I don’t usually tell people all that, right out of the blocks.”

“I guess I should feel honoured,” Matt says.

“You should, my friend,” Foggy says, the humour back in his voice.

Matt angles his head towards the telescope in the corner. “And that. Do you use it often?”

“Uh yeah, I do, actually.” Matt can hear Foggy shifting against the cushions, like he’s embarrassed again, caught out. “I mean, it’s no match for the Keck telescopes, but it still lets me look. I like looking.”

“Why don’t you show me?” Matt suggests. “I mean, if it’s a good night for it.”

Foggy holds his breath for a moment, then lets out a puff of laughter. “Sure. Why not.”

It takes a minute to get sorted. Matt snaps out his cane, stashes the whisky bottle under his free arm and holds the glasses in that hand. Foggy is gentle, almost reverent, with the telescope as he folds up the tripod. They head out the apartment door, Foggy and telescope leading, Matt and whisky following, and up the stairwell to the roof.

The summer air is still warm, but cooler than the oppressive heat of the day. “Over here,” Foggy says. There’s a table and a couple of chairs set up to one side, and Matt settles down to listen as Foggy fusses over the equipment.

“You do do this often.”

“Mmm. It’s nice up here. Quiet.”

Matt listens to the sound of cars rushing in the street below. It’s muffled, sure, and you can’t ever escape cars in New York City. But Foggy’s right. It is peaceful.

“What do you see?”

“There’s still some light in the sky from the sun, but Mars is close and bright. And Venus. Not that I need the telescope for them.”

“You don’t?”

“Not to find them. They’re just like bright stars. But it’s not really dark enough yet. I’ll wait a bit.” The other chair creaks as Foggy sinks into it. “Tell me about your law practice, Matt. Are you a corporate hotshot?”

“Not so much.” Matt shrugs. “It’s just me and my partner Kirsten, and our paralegal Karen. I mostly do what Kirsten says.”

“Partner?”

“Business partner,” Matt says, smiling at Foggy. “Best friend from law school.”

“What kind of work do you do?”

“Small stuff, mostly. Tenancy disputes, work visas, that kind of thing. Most of our clients come from here in the Kitchen.”

“Sticking up for the little guy!” Foggy cries. “Show me some skin.” Matt holds up his palm and Foggy high fives him. “That’s what I wanted to do.”

“Why didn’t you?”

“Well, like I said, it was the stars. I couldn’t stop thinking about what I’d learned in that in astronomy class. And I’m good at Math, so that helps. I ended up switching from Philosophy to Physics before the year started. And then I went on to get my doctorate at UC Davis. My parents were devastated when they realised I wasn’t going to drive a Bentley” he says, laughing.

Matt laughs with him. “Academia isn’t really a way to make money, is it?”

“It’s really, really not. Not like law. Mom wanted me to be a butcher but that was never going to happen, so at least I could have done something which would have made me rich. Such a disappointment.”

Matt laughs at that. “You sound like me. I’ll never be rich.”

“Your family counting on you for the bucks, too?”

Matt sobers. “Uh, not exactly.” He needs to get off this topic, now. “How far into the galaxy do you usually look?”

“The radiotelescope guys look right back in time, as far as we can look. But I kind of like our neighbourhood - our solar system. Each planet in our solar system is a whole world. Well, obviously they literally are worlds. They’re suspended, hanging in the enormous void of space. They look so serene, from Earth, as they hurtle through the endless blackness, but they’re dynamic and complex. Did you know that the Great Red Spot on Jupiter is so large that two Earths could fit side by side inside it? It’s an enormous storm that’s been raging for at least 150 years, probably much longer.”

Matt shakes his head. “I don’t know much about any of it.”

“We’re all so far from each other, and together at the same time. Once you leave our solar system it’s 25 trillion miles to the next one.”

“The next galaxy?”

“The next solar system. Our galaxy is fifty-two thousand light years across.”

Matt shakes his head. It’s too big a number to make sense.

“We’re bound by gravity to the rest of our solar system. There are so many stars and planets out beyond the Kuiper Belt,” Foggy continues, “And we’ll never be able to reach them. We can’t even see most of what we know is out there, we just have to make an educated guess at it, work it out from the clues.”

Matt half-smiles to himself, and takes a sip of his drink. “Seeing and knowing are two different things.”

“Uh, yeah, of course, I didn’t mean to--”

Matt cuts him off with the wave of his hand. “So you took the class, and fell in love with astronomy?”

“Oh no, that happened much earlier. Growing up in the city I never saw that many stars, you know? When I was eleven I went away on summer camp to this place upstate. We stayed in these little cabins in the woods by a lake, just outside a small town. It was weird - so quiet, but sometimes you’d hear a wild animal. And at night, the stars! I didn’t know the sky could be like that. Like grains of sand scattered across a velvet blanket. I’d sneak out in the middle of the night when the sky was truly dark, and the entire sky was covered with stars. The trees were only visible as the places where the stars weren’t.

“I discovered later that Aboriginal people in Australia, who live in the desert where obviously it’s really dark and the sky is very clear, have constellations that are the darker areas between the stars. The reverse of us who live with more light pollution. All people look up at the stars. We all wonder.”

Foggy suddenly sounds like he’s come back to himself, remembered where he was. “I’m sorry, I’m doing all the talking and this is probably really boring.”

“No,” Matt says quietly. “It’s not. I’ve never heard a description like this before. I-” He cuts himself off, unsure how to carry on without making himself sound wistful, and smiles. “I like it. I like listening to your voice.”

Foggy makes a quiet, pleased sound. “That’s a great line. I feel like I should be saying things with gravitas, or beautiful things. She says nothing at all, but simply stares upward into the dark sky and watches, with sad eyes, the slow dance of the infinite stars,” he quotes.

“Now that’s pretty,” Matt says.

“It’s Neil Gaiman. And he’s right, about the stars and planets dancing, caught in each other’s gravity.”

Matt smiles. “So then, tell me,” he prompts, gesturing upwards. “What’s there to see tonight? You said Venus?”

“Let’s see.” Foggy stands and goes again to the telescope. Matt hears the quiet scrape of metal as Foggy adjusts the focus. “There’s Jupiter. It’s high and bright right now. And Venus and Mars.”

Foggy’s quiet, and Matt considers how far away his focus is. It’s hard for Matt to have a clear impression of anything beyond the reach of his hands - when he’s not touching something it could be anywhere, just out of reach or miles away. But Foggy looks at planets thousands of miles away, places he can never touch but he knows.

“Sometimes it’s better not to use the telescope at all,” Foggy says. “The Leonids meteor shower is going to arrive in a couple of months, and that’s better observed with the naked eye.”

“What are meteor showers like?”

“Fireworks. Bright, white hot stripes painting the sky. Streaking across the heavens.”

“But no boom.” Matt places his empty glass on the small table next to the bottle, and his glasses alongside.

“Good point! And several nights in a row. I’m looking forward to it.” Foggy sounds like he’s turned back to the telescope.

Matt stands, the whisky now making him loose-limbed and easy, and walks slowly towards Foggy. His hand is slightly extended, reaching for the tune Foggy’s humming under his breath - it’s Drops of Jupiter. He clears his throat. “And what do you see, closer to home?” His voice is low and husky.

Foggy jumps and turns and his arm bumps Matt’s hand. “Oh! Um. Well.” Matt hears him take a quick breath, as Matt brings his hand to rest on Foggy’s shoulder. “I can see at least one beautiful thing.”

“That’s very cheesy,” Matt says, sliding his hand up to Foggy’s neck, then further to cup his cheek. He fans his thumb across to Foggy’s mouth, finding a goatee, and feels Foggy lean in to match him. “But I like it,” he breathes.

Foggy makes a small noise of pleasure for the brief moment that his warm, soft lips are pressed against Matt’s own. Matt brings his other hand to Foggy’s face, sliding both hands back and finding that Foggy’s hair is pulled back into a low pony.

“I didn’t think long hair would be allowed, Professor?” Matt asks.

Foggy huffs a laugh. “It’s Doctor to you, and anything goes these days.” He rests his forehead against Matt’s. “I like you,” he says, breathless.

“Really,” Matt says, one eyebrow lifted.

“I promise I’m usually better at… Words. And things.”

“What sort of things.”

“Oh, I can totally show you. But I feel obligated at this point to tell you that my super has a CCTV camera on this rooftop, and he is probably watching us right now because that’s the kind of guy he is. So, maybe we could take this back downstairs? If I’ve wooed you enough with the stars.”

“I could stand to hear more,” Matt says. “But yes, let’s go inside, and continue the story there.” And Matt follows Foggy again, drawn along by his gravity. He wonders what happens to a comet that gets caught in a gravitational field it can’t escape, wonders if he’s going to find out.

#pogowrites #daredevil #Matt Murdock #marvel fluff bingo

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circe-poetica · 4 years ago

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Rethinking Venus/Saturn in Synastry

This blog post is republished by permission of the author and originally appeared at The Inner Wheel. August 17, 2010 by Dawn Bodrogi

Most people approach Saturn in synastry as a necessary but bitter pill that must be swallowed in order for there to be some kind of longevity in the relationship. Even if we don’t look at him with dread, we furrow our brows when we notice where he falls. Saturn in synastry gets blamed for all kinds of things – shattered illusions, betrayals, power struggles, abandonment – that don’t belong on his square shoulders at all. His glamorous outer planet brothers seem to get away with murder, and never take on that kind of flak. It always amazes me how often students dump on Saturn placements, when most often it’s Uranus, Neptune or Pluto who deserve the blame. But honestly, given the choice of an aspect between charts, I’d take, say, Moon opposite Saturn way before I’d take Uranus, Neptune or Pluto there. Saturn can be reasoned with. Not like the killer trio. Saturn needs some new PR.

One of the reasons we abhor Saturn is that he doesn’t let us get away with anything. In this, he is definitely the strict parent who knows us inside and out, especially when we tell him we’re going to the library when we really have plans to stay out way past our bed time. Saturn is the one who pushes us to work harder when we feel like being lazy. Saturn is the one who nags us about the right things at the right times. Saturn can behave this way in relationships, too, and it takes a very mature individual to appreciate it, especially if Saturn is acting out of genuine regard and not just projecting his own issues onto us.

Saturn is diligent. If we ignore what he tells us and what he expects of us, he will wait and bring us the same lessons later, only this time it will be harder, because our behaviour has become more entrenched with time. Time. Now there is a good Saturn word. Saturn knows that we only have this one life (as far as we know for sure) and the clock is ticking. There are things we need to accomplish, things we need to learn. Tick tock. Tick tock.

When Saturn is working well, he works hand in hand with the Moon. This is the natural cardinal pairing of Cancer/Capricorn, which is as natural a partnership as Aries/Libra. Cardinal signs initiate, and one of the things they initiate is partnership. Moon/Saturn also represents the ‘other’ angle, the MC/IC, which is the spine of the chart and crucial in partnership. (See my series on the MC/IC, and Beyond Mom and Dad, Saturn as a Relationship Planet.) Moon/Saturn is how we fashion our consciousness, our raw psychic material, into concrete accomplishment. Moon/Saturn hard contacts within a natal chart are so painful because we sense that what we have, what we were born with, is not adequate enough for us to create what we want. We feel we are hobbled before we begin the race. It takes a lot of inner work, and a lot of interaction with the outside world, before the two can work together.

I consider all of the rulers of the cardinal signs relationship planets. Not that the other planets don’t affect partnerships – they do, intensely. But the ‘prime movers’ of relationship are Venus, Mars, Moon, and Saturn. (This is very clearly seen via progression.) The Sun is a relationship planet as well, particularly paired with the Moon, but the Sun operates in a dimension beyond day to day reality, and is, quite frankly, hard for us to get hold of. We feel it (if we’re lucky), we identify with it, but we can’t really manipulate its energy or work with it the way we can with the inner planets. (For more on the Sun, see my five part series, “The Mystery of Solar Fire.”) We’re infused with the Sun, but we have no power over it. It has plans for us we’re not allowed to discover until the time is right. There’s that word again. Time. That’s Saturn’s realm.

We all identify with each one of these planets, but they will also play a role in giving us an idea of the opposite sex. If we toss them around, and pair a masculine planet with a feminine one, we get some very interesting combinations. Two of the most intense are two that are rarely discussed. One is Moon/Mars, which I’ve talked about before, both on my blog and in a two part article for Sasstrology.com – steamier, more intense, more intimate and yes, a little scarier, than Venus/Mars. But the real black sheep of the bunch is Venus/Saturn. If you’re not aware of Venus/Saturn as a relationship magnet, it can hit you blindside.

In the words of Liz Greene, from her book Saturn, A New Look at an Old Devil – one of the greatest books on Saturn – when Saturn sees something it wants, it can act like “the most inflamed Mars.” No one thinks of Saturn that way. And yet, in practice, over the years, I’ve seen him do just that, over and over and over again. Why? The secret of Saturn, and the Saturn/Moon combination, is that Saturn needs. He knows what he has to do, and the clock is ticking. If you have what he needs, he will court you like a lovesick swain. His love is genuine, desperate. Tick tock.

What Saturn wants is Venus. All that grace, all that gentility, all that beauty, is a balm to his harsh existence. When Venus touches Saturn, he is no longer the builder, the taskmaster, the responsible one. In Venus’s presence he can become the master craftsman, the artist. His work has a purpose beyond the mundane. He can take the raw materials of Venus, her beauty, her desire, and use them to achieve his purpose in an elevated and more gentle manner. Venus encourages him to share his skills and experience. Venus wants to be desired, and she senses his need. Remember that Saturn is exalted in Libra.

But Saturn/Venus doesn’t pounce, as Mars/Venus might and Mars/Moon often does. (Mars/Moon is a contact between two primal forces, where Saturn/Venus is much more sophisticated.) Saturn will court. Saturn will spend time. Saturn will feed your cat when you’re away and mend your loose wiring and fill your refrigerator on top of it. When you return, Saturn will hold your hand and talk to you through the night and stoically suppress sighs of longing – until one day when you trust him utterly and he’s certain he won’t be rejected, he will pounce. Saturn can wait forever where Venus is concerned. Saturn is desperate for appreciation, and appreciation is what Venus does best. This is always a very sensual tie, no matter what sign it falls in. The earthy, Taurean side of Venus is a natural match for the equally earthy Saturn. And they will want the best of everything for and from one another, and they are both very security-minded planets. With the hard aspects there will be more striving, and more tussling for rewards (internal and external), but the same underlying desire will be there.

As with all aspects, nothing can be taken out of context. Problems come when either of the planets is debilitated in the natal chart. If the person with the Saturn has a Saturn placement that causes it to be full of fear and defensiveness, if it constantly feels inadequate and suppressed, it will take it out on Venus, who will feel hurt and betrayed, and surmise that Saturn’s desire was a lie. If the Venus person’s self-confidence is on the brink, or if the person’s Venus is dominated by Uranus, Neptune or Pluto, Saturn may never obtain the security it desires, and may be shocked when the outer planet steamroller rides into town and his once accommodating partner shows herself to be elusive or manipulative. Sometimes, though rarely, the planets only want a specific thing from one another, to learn a specific lesson, and once that lesson is learned, the attraction cools. That can happen with any planetary inter-aspect, but the fallout here can be devastating, because of the trust involved, and the whispered promises of forever, which can be very loud when these two connect.

The most common thing I hear when I see a Venus/Saturn inter-aspect is, “We didn’t do anything the first night we spent together. We just held one another.” That’s what Venus/Saturn is doing. Holding on in the dark of the night, remaining in the here and now, taking joy from the warmth and the comfort.

#astrology #synastry #venus saturn #dawn bodrogi

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badgersighted · 5 years ago

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PS5 Game Reveal Thoughts

Below the cut I’m gonna write a brief paragraph or sentence or whatever about each of the 25ish games that were revealed last night at the PS5 thing.

Don’t have much to say about this one; I never played GTAV, the series has never really been my thing, but I think it came out in 2013ish? I think the time has been and gone for re-releases and they should be working on the next game. Too much more and this’ll quickly become the new Skyrim/Todd Howard meme.

Okay so I never played Spiderman, but I did watch the cutscenes because I never thought I’d go out and buy it (before I later got it free with a ps4 pro). This is one of those games where, like, I’m not invested but I can both see the appeal and am happy for those who were waiting on it.

I think there’s diminishing returns on realistic racing games. Stuff was coming out on current gen that looked near enough realistic, so it gets excessively hard to tell the difference.

The first one that caught my eye. Despite the last entry being a bastardized, hollow remake that encapsulated everything the original stood against while missing two thirds of the content, R&C has a place in my heart and I hope they can actually get back to standard now they don’t have to work around a terrible movie.

My hot take here is that Ratchet has a wrench and his name is Ratchet. Girl Ratchet has a hammer, ergo her name is Chisel or something. I just wonder if this is a look at the future and Ratchet’s kid, or if it’s an alternate, gender-flipped dimension. In which case Clank would probably be the same because he’s a robot, but I fear for the possibility of Captain Qwark.

Legitimately can’t remember a gosh darned thing about this one.

I feel like the trailer proved that Stray works better as a short film than a game, but I guess we never saw any gameplay to prove that assumption. I like the art direction and you get to be a little kitty cat.

Ellen Degeneres goes to space and the mind fucky wucky happens. I got some Prometheus vibes for this, but the only thing that really left a mark was the aforementioned Ellen jokes we were making on discord.

Fuckin love me some Littlebigplanet, so this was a welcome surprise. Odd to see that they’re not implementing a create mode (as far as we know) but I can see how impossible it is to both make a fully 3d create mode (see: LittleBigPlanetKarting) and also go up against Dreams which was made by Sackboy’s original home studio.

I have a soft spot for LittleBigPlanet’s story modes, though, especially the second game’s - so this will be a welcome addition for me. I just hope they reference the previous stories and don’t act like a plot is something new to the series.

This game feels born out of the hangover of games like Fortnite and Apex Legends, leaving it feeling at least one year outdated. But if it’s your sort of thing, more power to you.

So Kena was another of the more subdued, new IPs that I think a lot of people will have forgotten but I actually quite liked the look of it, or at least some aspects. I’ll always have a soft spot for ‘young girl with bow and arrow’ games but I also liked the art direction and the little puff ball fellas, as well as the bad guy seeming like a legitimate threat in a world that tricks you into thinking it’s all cute. The contrast serves the narrative in that regard.

So following a game I’m interested in is a game I could not be less interested in. Horrendous character design, pseudo-deep narrative that are a dime a dozen for indie tumblr bait visual novels. The logo and the fact they’re [barely recognisable as] dinosaurs presumably suggests this will end in a meteor destroying everything and, frankly, I have never rooted for an inanimate rock more in my life.

This 2d platformer took itself very seriously. I never understood Oddworld nor saw the appeal because its protagonist is very... not nice to look at. But more power to those who wanted a new Oddworld game.

I found this one kind of interesting, then the First Person gameplay kicked in and that very quickly faded. It’s a shame, really; the visuals were really good.

All I got from this is that it’s called Jeff, and it’s a low concept blend of the movie Gravity and Katamari. It’s one of those deep, arty games I’m just honestly too dumb to appreciate. Or maybe it’s false depth.

This is a weird one. I find it intriguing how a game can have so much going on on-screen, and yet none of it stand out. It really does feel like this game pulled inspiration from several places, but failed to embellish or add any value on top of it.

This is another one of those arty games I’m too thick to understand. I’d say it has slight hints of Journey in it, but I never played that so I can’t be certain.

Hitman reminds me of the Community Paul Rudd quote: “I see the appeal, and I wouldn’t take it away from anyone, but I’d also never stand in line for it.”

As much as a corporate Mario Odyssey knockoff as this game may seem, I’m honestly interested as I’m gagging for any Odyssey-adjacent content in my life. It looks like it could be mindless fun, at the very least.

Like JEFF and Solar Ash before it, I don’t know what this game is and I don’t think the trailer did enough to make me want to bother finding out. I liked the big cat dude, though.

Would the world suffer if it didn’t have the same set of games reskinned and rereleased each year, with a single number in the title changed? I never understood the appeal of sportsball games. Is it for the people too unhealthy or too lazy to actually play a sport? Why do they have to make one every year when there’s nothing new? It’s not like the sport has fundamentally changed in a year’s time.

So they had me in the first half expecting a Crash game reveal, I’ll be honest.

But this is, oddly enough, the game I find most interesting of everything we saw here. I have no idea what the fuck it is, but I’m determined to believe there’s hidden meaning - that it’s a satire on Pokemon, that it’s a commentary on the phrase ‘you are what you eat’, that it’s a game that lulls you into a false sense of security and drops you in a horror game like Doki Doki Literature Club. Prove me right, Bugsnax.

I never played the original Demon’s Souls, so I can’t say much on the remake. I don’t even know if Demon’s Souls and Dark Souls are part of the same series.

Are we going to ignore that, fundamentally, this game’s unique selling point is that it has checkpoints?

Full transparency here, I had this game pegged as a Resident Evil game as soon as there was an old man in the trailer, and I’ve never played a Resident Evil game. I just associate old men in video games with horror, and Resident Evil is one of the first horror games that come to mind.

Looks like someone saw Death Stranding and thought “I can do that, too!”

Yeah, well, you can’t.

Given the hype I saw surrounding this game, I feel like I should probably play the first one. I’m just concerned it might not be my sort of thing. It’s one of those things I want to like, but I’m not sure I want to put my money where my mouth is before being sure - so we’re stuck in stalemate.

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ramheavenandhell · 6 years ago

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The Worth of a Morty

AN: This story was actually inspired a long time ago by many, many fanfics where Morty gets terminally ill and Rick tries to cure him. However, I decided to make mine a platonic take of that kind of premise…and also give it a sad ending. So, you have been warned. Also, many, many thanks to @rickxoxomort for drawing this precious cover art <3 You're da best! Warning: angst, character death, OOCness, probably some spoilers if you haven't read the comics Summary: "It's okay, isn't it? I mean, it's not like it really matters, right Rick? Isn't that what you always say "nothing matters"? So, this is nothing. It's just a small blip on the radar of the universe. I'm just one Morty and you always keep reminding me how disposable I am. My life holds no worth. And Mortys die every day anyways, right? It's just infinite minus one. Doesn't really matter on the grand scale. Nothing does. I'm just another Morty, who didn't make it now…"

The Worth of a Morty Many things were said about death. Some say it comes swift and unexpected. Others said it would slowly creep up on you. Rick Sanchez was a man that wasn't thinking much about death. Or rather, he was thinking too much about it. The realization of his own mortality and the futileness of his existence on the universal scale. The knowledge that after his death, he would be soon forgotten and the universe will just keep expanding as if he hadn't existed to begin with. The thought that with death everything was just over and there was no paradise in heaven or fiery pits of hell. No afterlife and no rebirth. There was nothing. You just drop dead and that was it. It was these realizations – that his own existence didn't matter – that made him choose to drown his own thoughts in alcohol every so often. It was also the reason why he choose to live his life to the fullest every day while still abiding to the natural struggle of staying alive for as long as possible like every other living being. However, while the thought of his own death was something that he liked to avoid as much as possible (though in his old age, it was still constantly in the back of his mind), he didn't really feel bothered by witnessing the death of others. How could he, seeing, as he himself was often the demise of entire species, planets, even solar systems? As equally unmoving did he feel about seeing his own corpse, which also wasn't as much of a rare sight as one might think. Seeing, as there were infinite dimensions, one Rick Sanchez was just bound to stumble across one or two dead versions of himself eventually. And how could that bother him really? In the grand scheme, it didn't really matter anyway and there were still plenty of him around. It was just infinite minus one or two, really. So, he didn't feel anything when seeing himself die or dead. He also didn't feel anything when seeing other versions of his family finding their end. And the same went for Mortys. He had certainly seen as many dead grandsons as he had seen dead versions of himself. Sometimes, he was even the cause for their death. It meant nothing to him. After all, there were still plenty around. However, the question was if he would be equally unbothered if it was about his own grandson – the Morty from his dimension. He was constantly busy saving the boy from trouble that he brought upon himself (though in truth, Rick was the one, who would get him into that sort of trouble to begin with). And while the occasions were rare, he went out his way to even sacrifice his own life for him. However, while he was usually successful in his rescue missions, eventually there had to be one time that even Rick Sanchez had to fail. It all started slowly, so slowly creeping up on them that it hit them unexpectedly… "R-Rick… I don't feel so good…" Morty groaned softly as he stumbled to keep up with his grandfather's long strides. Rick didn't stop or even look back. "Quit your whining, Morty." He had important stuff to do and didn't care about whatever Morty was complaining about. If the boy really got sick, he would just make him a cure when they got home. At the moment, it was more important for him to get those rare crystals, which he would use as a new power source for his space car. He wasn't just going to stop because his grandson started to get a cold or something stupid like that. However, for as tame as their hunt after those mysterious crystals went even before their adventure ended, Morty was more exhausted than ever. "C-can we please… take a br-break… Rick?" the boy asked between panting breaths. "No way, Morty." Rick said, as he looked the crystal in his hand over to make sure that they really found the right ones. "These crystals don't harvest themselves. So grab a bag and start plucking." With shaking hands, he caught the big brown sack that his grandfather threw at him and started to collect the crystal that glowed in a turquoise color. Of course, it wouldn't be a real Rick and Morty AdventureTM, when things would have just continued to stay as peaceful as that. Their happy-crystal-harvest was quickly interrupted as Morty accidentally woke up the creature on which's back the crystals were growing and not soon after were they chased through the maze-like tunnels of the cave that they were in with a dinosaur-like alien on their heels. While they fled, Morty was slower than he usually was in a situation in which he had to run for his life. The monster was steadily gaining up on him. Worse came to worst, when the boy stumbled and fell to the ground. "Argh! Dammit, Morty!" Rick cursed as he, too, sharply stopped and dashed back to pick up Morty by the back of his shirt. "Will you stop acting like a virgin in a slasher movie for once, Morty? It gets really repetitive when you fall down every time that we're being chased." There was no comeback from the boy as he continued to hang limply in Rick's grasp. Rick only grunted in annoyance that he had to lug his grandson around while they were still being chased. Eventually, he managed to escape from the beast and opened a portal, which brought them back home – inside the garage and Rick's personal workshop. He let the boy finally drop unceremoniously on the ground as he started to ramble on about how Morty had once again managed to ruin everything as they returned empty-handed now. "Goddammit, Morty! I already had those crystals and then you-you-you had to wake it up and now I've got nothing." Rick kept on ranting for a while before he stopped. Something was weird here. Usually, Morty would protest back that it wasn't entirely his fault that their adventure had ended like this or he would complain about something or another, but he had oddly stayed silent through the entire time that his grandfather had been verbally ripping into him. "Morty?" Rick actually turned around to the boy to see him still laying on the floor where he had dropped him. "Morty!" He rushed over to the boy only find out that he had been so silent the entire time because he was passed out. It made Rick panic a little bit before he remembered that Morty had complained about not feeling too well before. He had been also trembling, panting and sweating a lot even though they hadn't really walked all that much. Maybe he had caught some sort of alien flu or something? So, Rick decided to cure his grandson – also for the sake that he wouldn't be a whiney bitch about this after he woke up again. He picked Morty up and brought him down to his underground laboratory where he placed him on an examination table. Rick took a blood sample and started to run several tests. However, the more he tested and looked over the results, the more confused he became. In the middle of the examination, Morty had come to again and looked quizzically up at his grandfather as he looked once more over the results. "Have you found out what is wrong with me, Rick?" he asked weakly. "That is the thing, Morty. There is nothing wrong with you." "What? But I feel so weak." Morty couldn't believe that it was true. Rick sighed. "You're probably just exhausted, Morty. You should go to bed and sleep." The scientist decided to give up and could only assume that the boy was just tired. Maybe he should avoid pulling him out of bed around 3 AM for a while, he figured. Morty still found it hard to believe, but followed Rick's advice and went to bed early. True to his word, Rick had avoided waking Morty up in the middle of the night to take him on an adventure. He didn't even bother the boy at school and generally laid off for a while. However, it seemed that over time instead of getting better, Morty's condition just got worse. The only things that he complained about was just being tired all the time and feeling nauseous though. When the boy eventually became too weak to even walk on his own anymore, Rick examined him once again… and once more, he was not able to find anything wrong with him. Being at the end of his medicinal knowledge, he decided that he needed professional help. "Oh c'mon! Just get your ass over here!" Rick practically yelled into his mobile phone while Morty watched him queasily from the examination table. "Haven't you sworn an oath to help all Mortys or something like that?" Whoever Rick was talking to, replied. Unfortunately, Morty wasn't able to hear what was said. "As I told you before, I can't bring him over to you. I'm pretty much sure that I'm not welcome on the Citadel anymore after destroying it and killing everyone in charge." He was silent for another moment as his conversational partner replied. Then, "Yeah, see you." With those last words, he hung up. Morty wanted to ask whom Rick had called, but before he could even get the first word out, a portal suddenly opened. "You better remember that home visits aren't cheap, C-137." The Rick who entered through the portal said as a greeting. He wore a blue-green top with inflated see-through plastic sleeves and a white smock. Teal-colored latex gloves were also adorning his hands. The white headpiece on his head kind of looked out of place on him though. It was something that Morty would have expected a nurse to wear, but not some kind of Rick doctor. The doctor, who was known as Surgeon Rick, also had a large briefcase with him. "Yeah, yeah, I know. Will you just go and take a look at him already." Rick waved towards his Morty, not really caring about money at the moment. Surgeon Rick went over to the examination table. "Why, hello there, Morty. Where does it hurt?" "I'm not really hurting. I just feel really weak." Morty said, feeling a bit uncomfortable as he always did around doctors even if this one was a Rick…or maybe especially because this one was a Rick. Surgeon Rick hummed as he opened his briefcase and removed all sorts of tools that he had brought with him. The sight of some of them made Morty sweat and swallow heavily. Hopefully, the doctor wasn't planning on using all of those on him. Just like Rick C-137, Surgeon Rick began to run several tests on the boy. Looking with a frown at his results, he began to question the boy. "Morty, did you eat something before you started to feel like this? A plant or fruit or did you put anything else in your mouth?" The boy shook his head. Surgeon Rick hummed. "Did you get bitten by an animal or another creature or stung by something?" "No. Nothing like that. I just started to feel really tired from one moment to the other." Surgeon Rick hummed once more before he turned towards Rick C-137. "Where did you say again did he catch this?" "We were on planet Cyrumlon in dimension B-622C. Could you find out what he has?" "Gonna set that one on the red list so other Ricks won't bring their Mortys there." Surgeon Rick said as he made an according note on his tablet pc. "It seems your Morty's muscles are deteriorating by the way." "Yeah, I already figured out as much! I want to know what's causing it or preferably how to cure it!" Rick was pissed. He hadn't gone out of his way to bring this asshole of a professional medic here just to hear from him what he already knew. "See, that's the thing, C-137." Surgeon Rick started and moved a bit farther away from the Morty as if he didn't want him to hear the conversation even though the boy could still hear them. "Your Morty is a hopeless case. There's no way to cure him." "You can't be serious!" C-137 protested. "Just telling you as it is. There's nothing that I can do for him. You know as good as I do that at this rate, he's only got a few more hours or may one to two days at best. Just give up and get yourself a new one at the Citadel's Reassignment Center. Better get going soon 'cause, you know that they have long lines and it takes a while to get a new one." Surgeon Rick started to pack his stuff together. "Oh, if you like, I can put him out of his misery right now." "What?! No!! Get the hell out of here!" Morty felt queasy as he followed the conversation especially when the doctor offered to put him out as if he was just some pet. This was it though, wasn't it? If a Rick Doctor of all people said that there was no chance of recovery for him then he was really done for. He wasn't sure how to feel about it. Though, he had never liked to imagine it, he had been thinking how it probably must be for people when they were diagnosed with cancer and were told that they only had a few more months to live. He'd always imagined that if it was him, he'd probably freak out, get really angry and start throwing things around or just break down and cry, but now he just felt numb. "Here's your stupid money and now get out you quack." C-137 practically shoved the money into Surgeon Rick's arms and pushed him through the portal. He didn't like to hear the news, but in the end it only confirmed his fears. Even the medic couldn't find the cause for the disintegration of Morty's muscles and therefore a cure for it. Rick knew there wasn't much that he could do anymore now. Sure, he could try to stimulate the boy's muscles with electricity and use some other stimulants on him, but in the long run the only good it would do was buy them some more time. Eventually, the muscles in Morty's body would completely stop working, which in turn would mean that his heart would stop pumping blood through his veins. It would just stop beating and the boy would die and even if he tried to give him a pacemaker, his other organs would also eventually fail to function. Completely bypassing the fact that Morty would be bedridden and not be able to take care of himself anymore… "Hey, Rick?" Morty interrupted his dark thoughts. "Since you lost the free voucher when I had been kidnapped by those drug lords, you'll probably have to wait a bit before you get another Morty…so you should probably do what the doctor had said and go to that reassignment center right now." Morty actually hoped that Rick wasn't too angry about that time. They just happened to forget the voucher there after all that chaos. The boy could still remember how Rick had handed him the piece of paper before he had been abducted. "Here." Rick said, as he handed him the slip that Morty quickly identified as the voucher for a free Morty that Rick had received after he had been falsely accused of Rickicide by the Council of Ricks. "While I'm on the toilet and produce something worthless, you can think about your own worth, Morty." "Wha-wha-what are you saying, Morty? You're not gonna die. I'll fix you back up again, all right buddy?" Rick tried to smile reassuringly at his grandson. "Grandpa's got this, Morty. I'll fix it. Ju-just like always, Morty." They both knew that it was a lie. "It's okay, Rick." No, it wasn't okay. It was anything but okay. But what could Rick do about it? There was nothing that he could do. He was the most intelligent man in the entire universe and yet there was nothing that he could do to save his grandson. "Morty…" Rick started, his tone sounding apologetic. Rick Sanchez never apologized. Morty interrupted him though. "Hey, Rick? Can you do me a favor?" "Sure, Morty. What is it?" At this point Rick would do anything for him. Well, maybe with a few limitations, but as long as it wasn't too whack, Rick would grant him his wish. "I would like to see Vensenulon 7 one more time." "Sure, Morty. Is that all you want?" That request sounded too simple. Rick would have expected that Morty might had wanted to do more than just that before he… Maybe eat so much of the best ice cream in the multiverse till he exploded. Or hang out in Blips and Chitz. Heck, he would have even understood it if the boy wouldn't have wanted to die as a virgin and asked him to bring him to a dimension where Jessica had the hots for him and would let him do the do with her. Because that dimension totally existed out there. "Yeah, I just wanna see it one more time." Morty nodded. Rick grabbed his portal gun and inserted the coordinates. Meanwhile, Morty tried to get up from the examination table by himself, but his weak arms failed to heave his upper body up. Trying the next best thing, he rolled over on his side and let his legs dangle over the edge before he placed his feet on the ground. As soon as he tried to put his weight on his legs though, he collapsed and fell on the ground. Rick quickly went over to him and picked him up, carrying Morty in his arms. It was sad to see that the boy was already too weak to walk on his own. As they went through the portal, the beautiful sight of a lush meadow, a violet sky and a giant mountain from which spewed sparkling water in the distance opened up in front of them. For some odd reason Morty could only remember this place fuzzily, but he didn't know why. It was almost as if he had forgotten something important about it, but he couldn't place his finger on what it was. Yet it still looked as paradisiac as he could recall from his murky memory. "Um, Rick? Could you bring me over there please?" Morty shakily pointed to a spot that was a bit closer to the river. Rick didn't complain and carried him over to where he wanted. "Here?" "Yeah, this is a good spot. Please let me down here." Rick let Morty down, who then sat in the grass and looked over the water. His posture was a little slouched as he struggled to maintain his seated position, putting more effort and energy in it than he ever remembered doing before. Even though it was still afternoon, it really was a good spot from which the sunset could be viewed perfectly. For a moment, neither said a word. "Well, you should probably go and pick up your new Morty now." Morty finally spoke up. "You can just leave me here." "But, Morty…" "It's okay, isn't it?" Morty smiled sadly. "I mean, it's not like it really matters, right Rick? Isn't that what you always say "nothing matters"? So, this is nothing. It's just a small blip on the radar of the universe. I'm just one Morty and you always keep reminding me how disposable I am. My life holds no worth. And Mortys die every day anyways, right? It's just infinite minus one. Doesn't really matter on the grand scale. Nothing does. I'm just another Morty, who didn't make it now…" Morty remembered the many dead Mortys he had already seen in his life. Whether it was his own corpse that he had to bury in the backyard, the countless bodies as his Rick had warped the entire Citadel of Ricks into the high security prison of the Galactic Federation or the Morty that he had shot as he was on his fascism hunt. He was just one of those Mortys now. As equally as important as all of his dead alternate selves who didn't amount to anything. Maybe, it was finally now that he understood Rick better than ever before, he thought. "M-Morty. I just can't leave you here." Rick protested. He wasn't just going to leave his grandson all alone in his last moments. Morty blinked back up at him. "Oh, if you have the need to bury my corpse or something, you can still come back later to do that. You don't really have to wait here." In Morty's opinion that made sense. Wouldn't it be even more efficient for Rick if he would just bring his new Morty and let him do the digging? He knew if he were the "new Morty", Rick would have made him do it. Rick suddenly knelt down behind him and wrapped his arms around him, hiding his face in Morty's neck and making it impossible for Morty to look at him now. The action surprised the boy. Rick had never done anything like this before. The scientist wasn't really one for cuddling and hugs were maybe not completely absent, but they were still pretty rare. "Don't you want to say goodbye to your family or something?" Rick mumbled against his neck. "Wouldn't it be weird if I did that when you're going to show up with a new Morty later on?" Morty argued back. "Besides they weren't my real family anyways. My family is in dimension C-137 and I don't think that they would care much if I showed up now. I've been probably dead to them since we left that dimension behind…" He remembered how they had acted the last time that he had seen his original family when he had brought his "current" Summer there. A sob rang suddenly through the air. "R-Rick? Are you crying?" Morty asked as he heard unmistakable sniffling. "Why are you crying? Did you get hurt or something, Rick? If you're hurt you should take care of it. Or-or-or go and see a doctor in case it's something serious…" "Will you just shut up, Morty!" Rick ground out angrily and pulled the boy even closer into his arms. Morty was confused by this behavior. Surely Rick wasn't crying because of him, right? No, he couldn't be crying over Morty because in a few hours, he would have already picked up a new Morty anyways. And then Rick would just continue to live his life like he had done before. He would probably not even think about him anymore or even remember him. And why should he if he had a new Morty at his side? The sobs had subsided after a while and both just sat there and watched the sun slowly set behind the mountain. Since it became too exhausting for Morty to even sit up, the boy just laid down on the soft grass while Rick continued to sit close beside him. They watched how one of Vensenulion 7's many moons rose and admired the night sky still in silence. Morty started to shiver. "It's gotten cold." His voice was barely audible, it was so weak. "Yeah, you're right." Rick said. It wasn't true though. It wasn't cold at all. The nice warmth from the day still hung in the air and radiated from the soil and the close by water. Still, Rick took off his lab coat and wrapped it around Morty. "Thank you." The boy mumbled and Rick merely shrugged it off. It was rare to see Rick being so nice to him, but Morty didn't mind it. It made him smile. Silence settled between them once again as they both continued to look up at the stars. They both thought about all the adventures they had shared together… and all the ones that they wouldn't be able to have together. Rick had always thought if one of them would have to die first, it would be him. Obviously, with his age and all. That was the natural order of things and no grandparent should have to live through the death of their grandchild ever. His zero risk-awareness would have probably also furthered the odds of him being the first to go, too. So why wasn't he? Why did he get to live while Morty had to die?

The universe could be so fucking unfair, cruel and unforgiving sometimes…

Morty thought somewhat similarly about the order of their deaths though he always thought that they both would die on the same day. He had always been expecting that Rick would die first and then leave him behind in some crappy, alien-related, dangerous situation in which he would die without Rick's genius and technology then.

To see it come to this felt almost ironic.

"I…feel so…tired…" Morty's voice was so faint that it was merely a whisper anymore.

"…then sleep, Morty. And tomorrow we'll watch the sunrise together." Rick also whispered.

Morty hummed in response though if it wasn't for the small vibration his body created with it, it would have gone completely unnoticed. The boy slowly closed his eyes.

Rick bit his lower lip. Of course, he knew that it was a lie. Morty wouldn't see the sun rise again.

Not much later Morty's breath became fainter before it was gone completely.

Rick checked his pulse, but there was nothing.

Morty was gone for good. He wasn't going to wake up again.

Rick hugged the body of his grandson close to himself and sobbed again. He had failed Morty.

He knew what he needed to do. He needed to let go and go to the Citadel to pick up a new Morty. There were so many rickless Mortys there that waited for a new Rick to pick them up.

But Rick couldn't do it.

He couldn't let go of Morty and just continue to live on as if this had never happened. Not again. This boy hadn't just been a Morty. He had been his grandson – his grandson from his original dimension. And no one – no other Morty – could replace him. Ever!

"What had happened to Rick and Morty a hundred years?" Rick mumbled against Morty's still body.

No, he wouldn't let go. Never!

He would never fail his Morty again!

A Rick and his Morty where walking around on Vensenulon 7, searching for one thing or another. "Wah!" unsuspectingly, the Morty stumbled suddenly. As he looked down to see what he had stumbled over, he shrieked loudly. "What the heck are you screaming like that for?" his Rick asked. "Th-th-there's—it's our corpses!!" Rick walked over to take a look for himself. "Yeah, that's a dead Rick and his Morty from another dimension." He commented nonchalantly. The Morty was still frazzled. "But why? What did they die from?" He looked around in a panic as if expecting to find what had caused their deaths to be still lingering around and attacking them any moment. Which was kind of stupid because if they had been killed by some kind of animal, it probably would have eaten them and not just let the corpses lay around untouched like that. "Hmm." The Rick kneeled down a little to look a bit closer at his dead self as he analyzed the possible cause of his death. "This Rick must have died from dehydration." The signs were obvious enough. "What? How can that be? There is a giant river right over there?" The Morty gestured over to the body of water as he said that, not feeling one bit better at the revelation. "His Morty seemed to have died a while before him." The Rick ignored his grandson as he stared at the dead alternate of the boy that was held in his own dead counterpart's arms. The boy's corpse had already started to decompose. "It's hard to tell what he died from though. There's no wounds on the outside that would suggest an attack. And if it had been poison there should have been some discolorations on his skin." The Rick stood up again. "Can't really tell without autopsying the body." "I still don't understand what has happened here." The Morty was as confused as he was in the beginning. "Well, I'd say after his Morty died this Rick just gave up and waited here for his own death." He already turned away from the bodies and resumed his walk. "Which is really stupid. He could have just gotten himself a new Morty on the Citadel. There's plenty around." The Morty still stood over the corpses and looked at the strange picture. A Rick holding his Morty close to him even in death. Despite the grotesqueness, the sight looked oddly sweet, showing a sort of affection that he had never felt between himself and his grandfather. "Morty! Hurry up if you don't want me to just leave you here and get a new Morty." The Rick reprimanded him. The boy hurried to catch up with his grandfather, knowing that he probably would make that threat true if he got lost here. After all, he knew how much he was worth to his Rick. His grandfather had made it clear for him often enough…

#rick and morty #ram #rnm #rick #morty #morty smith #hopesfanfictions #fanfic #fanfiction #sad ending #character death #angst #drama

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void-tiger · 5 years ago

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...screw it. I’ll *maybe* write an AU that’s from the point Takashi first crash lands back to Earth.

You know, one that has him having a twin and a preKerb friendgroup made up of Ryou, Lisa, Matt, Veronica, and Ginger (in my fanon she’s Hunk’s sister)? You know...Shiro actually having family and friends that then includes the Paladins? (Oh...and people actually at his launch other than Keith and the Holts. Well, the ones who weren’t currently deployed on their own missions at that time.)

Lots of rambling and thought-dumping as to how that might look plot-wise in a broader sense under the cut (along with other fixits)

Veronica’s seen ribbing her younger brother but also trying to cheer him and his assigned team back up before carrying on with her Garrison Job.

The Trio still sneaks out and runs into Keith causing not-well-thought-out shenanigans beyond a successful diversion.

The Trio+Keith run headlong into Ryou, Lisa, Veronica, and Ginger who had the exact same idea as their younger siblings/the idiot (former) cadet. They ARE Shiro’s friends, afterall. Only, they’re the “scientists” and stick Iverson and the REAL scientists with the sedatives instead of Shiro. (They also made more of an effort to keep an eye on Keith than Adam ever did. They’re also well-aware that Pidge is actually Katie and keep an eye on her, too, but decided not to push her about the shoddy disguise. They *might* be covering for her regarding Iverson&Co, though.)

(Also, the Shack belonged to Ryou and Shiro. But Keith’s staying there, too. Ryou’s not happy about Keith trying to bust Shiro out without him.)

After the initial confusion, the Actual Adults (barely!) TM take over and have everyone pile into their cars while they try to shake off the Garrison and eventually regroup back at the Shack. (Keith’s driving Shiro’s old bike back since he’s the one who took it out. Shiro’s placed in the back of Ryou’s car with the seats laid flat. Ryou’s back there trying to keep him restrained until they can do triage, with Lisa taking over as the driver. Everyone else is with Veronica and Ginger. Or, they all took a ScoobyDoo van from the start vs several cars.)

Shiro actually recognizes the entire Trio, but introduces himself, anyway. (He’s a pilot, not an engineer or analyst. And although Veronica and Ginger bragged about their baby brothers and Matt about his genius gremlin sister, and Ryou definitely bragged about Hunk’s progress, it just didn’t quite work out for him to meet the cadets personally, save maybe Pidge—PR, aviation instruction, and Kerberos prep kinda ate away at his time. He did keep an eye on Lance’s progress, but...any remnants of time kinda went to Adam before the breakup and mentoring Keith. (Ryou kinda just insisted on crashing in Shiro’s post-breakup issued room until the twins finally pooled their resources to buy the Shack.))

The hunt for the Blue Lion goes about the same, only the group’s larger. Blue still picks Lance, kidnaps everyone else like a box of kittens, and goes for a joyride before getting serious. (“YEP. That’s definitely your Lion, Lance,” Veronica snarks.) The same Paladins experience the Vision as before, with the others giving them strange looks when they all randomly zonked out in tandem for half a second.

They eventually end up in Arus’s solar system. (The adults are very, very glad that they didn’t ever have time for pets. (And in this version, Ginger isn’t already a mother, and the Adults are all about 23-26, give or take.) Then internally freaking out about kidnapping a bunch of kids by accident, and kicking themselves about not having any sort of letters ready for everyone’s family. That...could’ve been thought out better (and moves to the top of their priority list. Galaxies away or not, mean purple aliens kinda implies they’ll be gone for awhile. With...a bunch of kids.)

They wake up Allura, but Ryou’s the one to catch her. Veronica twists Lance’s ear before he ever opens her mouth. (“Yeah yeah I know. She’s gorgeous. But not the time.”) (RIP, Lance’s ears...they’re not safe in any reality.) Allura and Coran pull up their starcharts...and discover the same, awful news. The adults herd everybody out to give the Alteans some space to grieve in private.

Allura starts to describe the Lions, but the group interrupts her. (“Uh...we kinda saw a big giant robot in our heads?” “Yeah, and it was freaky watching them all look like zombies for half a second, so hard pass.”) The rest of it goes on as usual, only Lance gets whacked for self-postulating, and Blue actually gets a description this time.

The soon-to-be Paladins split up to look for their Lions, with Keith still at the Castle. Ryou and Ginger set to work helping Coran get the Castle operational again, while Lisa and Veronica take on the task of helping Allura sift through 10,000 years of data backlogged.

Obviously certain events like Sendak capturing the Castle and Crystal Venom would play out somewhat differently. For one, neither Ryou or Lisa would leave Shiro alone. And at least one of them would probably stand with Coran about the ethics about all of it, even if they reluctantly agree that it’s the best option they have.

As far as Shiro’s disappearance, they catch on a LOT sooner that Black’s damaged and actually curling protectively around Shiro. (You know. Like Toothless and Hiccup. Just sayin’.) (As well as an explanation as to why Shiro ended up stored within BlackLion during the fight to protect him, while the other Paladins were not by their own Lions.)

Jiro still shows up thinking he’s Shiro, but has the others gently inform him that no, no he’s not. (Shiro may or may not be already out of BlackLion and recovering.) Jiro consents to having extensive tests done. They find all of Haggar’s implants (and discover that Shiro actually got stuck with a few of his own that Black separated from him when they extracted him out...now that they know what they’re looking at. Oh, and the Blacktashi Bond’s still well and good, but Shiro does have more trauma to work through. At best Shiro’s unconscious the entire time he was stored as energy particle. At worst? Sensory deprivation and FullBody Amputation. Nothing about Shiro being suspended in the Void could’ve been pleasant, even though Black was well-intentioned.) Once free from her control, Jiro’s more determined than ever to take her and the Galra empire down. (As well as freeing the other clones. The others share that sentiment, but especially the Shirogane Twin, who decide to accept Jiro as their “triplet from another mother”.)

Jiro still longs to be a Paladin, though. Allura and Lisa gradually over time begin to share that same longing. Eventually they feel a sort of phantom bond that mimics the one Jiro has with Black not just with the OG Lions, but also an even stronger one they can’t quite pinpoint. They eventually learn that they’re being Called by the second meteor.

Lotor’s still a rival right about the same time. However, by the time he tricks the Paladins into going after the meteor for him, the Castle’s a better match for his ship vs him getting away. (Because, you know. The OG Paladins are still with their Lions. And although Allura went with them to explore the distress call, Coran had Jiro&Co to help him man the Castle.) They fight to a standstill, then eventually call a ceasefire. They’re better about uncovering WHY Lotor wants the meteor/quintessence. Also the surviving Alteans are members of his crew, albeit still disguised to protect them from the Empire. They evacuate the colony vs sticking around. Lotor wants the quintessence first to end balmera mining and komar stripping, but also to have a second attempt at making the colony work.

Allura and Coran are shocked to learn that they’re not the last of their race, but eventually Lotor agrees to carefully continue checking Honerva’s research with Team Voltron&Co before deciding what to do with the comet, and if Lotor’s idea for “unlimited quintessence” is even possible...which eventually leads them to Orionde. (*drops better explanation about that pocket dimension HERE*) Also, the other Paladins probably make it through with both Allura and Lotor in-tow once they stop fighting the Lion and instead evade or request permission to enter (hey, it’d be a nice callback to A Bond Cannot Be Forced), but only Allura and Lotor make it all the way to the end.

When Allura and Lotor rejoin the Paladins and the rest of their crews, Lotor agrees to abandon his attempts to reopen the Quintessence Rift on the remains of Daibazaal--at best Haggar could then seize it and do unspeakable damage. At worst, all of Reality folds in on itself and collapses. There are no shortcuts.

Team Voltron press to know why the Galra covet so much quintessence in the first place:if it’s just to power their technology, then surely it’s past time to discover other means of energy. Lotor reluctantly reveals that the Galra are essentially extinct: what started as a way to extend their lifespans gradually mutated them overtime into no longer being genetically compatible with other members of their own race. They either continue taking the quintessence, or die off. Team Voltron then questions if Lotor and his Generals have that same problem--turns out, yes and no. The Galra are somehow still able to reproduce with other races (which he, Keith, and the generals are the proof of), but there are often complications with those pregnancies. In addition, Lotor and his generals spent enough of their early lives eating quintessence-enriched foods to have developed that same addiction they’re still struggling to ween themselves off of, if it’s even possible at all.

Jiro then casually waves as proof that the Galra have successful cloning...so why not just genetically engineer the next generation to NOT have quintessence dependencies and whatever other genetic mutations that are dooming the Galra. Lotor stares at the clone dumbfounded--he hadn’t even considered that. (Aka, sometimes you need a fresh set of eyes to find plausible solutions to problems.) (*cue Save the Galra subplot mixed in around Typical Campy and Main Plot Adventures*)

The meteor is also used to create three new Lions, who immediately Bond with Allura, Jiro, and Lisa.

(For continuity’s sake? Let’s just say Lotor was never declared Emperor Pro-Tem, but always remained exiled/an outlaw.)

(*campy episodes*)

Pidge and Shiro finally find Matt. However, Matt now needs a brace for the leg Shiro injured while posing as “preChampion” to be able to support him. Shiro’s extremely guilt-ridden over it, but Matt assures him that ultimately it did save his life, and instead of having him transferred to a mining penal colony, he actually got transferred as a researcher after fixing the transport. After that, he bid his time for a chance to escape...which he eventually did when his scheme serendipitously coincided with a rebel attack. Unfortunately, Sam didn’t survive, Matt learned post-escape. The stress killed him well before his transport ever took him to a penal colony.

Voltron’s allies continue to grow. However, Zarkon finally recovers right about the time the Blades discover a quintessence supply chain of a new kind of quintessence...which eventually leads to the discovery of SEVERAL cloning fascilities where BlackPaladin Grade Quintessence is being harvested from hundreds of thousands of Shirogane Clones. Takashi, Ryou, and Jiro are all understandably outraged and physically sick at the revelation. Jiro also questions if his quintessence mimicking Shiro’s is the only reason why the BlackLion saved him at all [despite knowing where/having back her Paladin.] Shiro and Ryou try to reassure Jiro that that can’t be the reason/that he has his own value/etc, but Jiro’s unable to quite believe them.

The clones are finally freed (*cue tense battle here*), and like Jiro, many of them are pissed and choose to join the Rebels’ Ranks in various fields as both payback and a genuine desire to help and explore.

(*cue MORE SciFi Camp and Diplomacy etc*)

Eventually there’s another showdown with Zarkon, Haggar, and Company, spanning either into one massive battle or several smaller ones happening at once. Zarkon’s more powerful than ever thanks to the stolen Shirogane Quintessence Haggar used to revive him (that he continued to nom on up until the clones were rescued, although he still had his stockpile to ration)...but his attempts to seize the BlackLion/bust apart Voltron that way fail spectacularly. The Bond cannot be forced, and blacktashi healed eachother.

Zarkon then summons his anti-voltron made from finally successful robeasts with living pilots. (it’s...a work in progress. as in, how does Sendak fit in, or prolly instead Sendak’s Clone, etc etc. But ultimately some of the previous antagonists return, after they got much more backstory etc in Campy TM stuff) (*cue mech battle*)

Allura finally has her match against Haggar and wins.

(Lotor&Co have their own role, but idk what)

At last...Zarkon and Haggar are defeated, with the bulk of their forces either killed, in custody, or on the run.

Lotor fights his way to the top of the Kral Zera to light his flame. However, his rule and insistence on change isn’t popular with the bulk of the remaining empire after 10,000 years under Zarkon. The remnants of Zarkon’s forces also try to cause trouble. There’s also tension with Voltron and the former Rebel Coalition as the universe attempts to rebuild their societies after being subjugated for so long.

The surviving Alteans also long for their own planet and begin to rebuild their culture now that the Galran threat is finally gone, but they’re still vulnerable.

(Earth’s solar system also may or may not have been destroyed near the end of the 10,000 year war, with the surviving humans mainly being the former Galaxy Garrison, so they’re looking for their own planet/system, too.)

(*cue MORE Save the Galra...and The Galra Have Entered The Planet Race!*)

So, you know. Basically an adaptation of Vehicle Voltron as a “post game”.

Aaand, yet more smatterings of SciFi Camp as they rebuild/are Really Really finally at peace, and they finally just get to explore and experience the sort of Paladinship their predecessors did before Zarkon dragged everyone into the 10,000 year war. Because exploration/campy vld stories are always fun.

#long post #read more #vld au #take it back to the start #fixit fic #plot bunny corral #I wanna know what shiro having his own friendgroup would look like...and them being just as dorky and stubborn as he is alright?#except them actually being on earth when Shiro crashes (oh and actually being at his launch? or some of them?)#(vs...them being already deployed in space. which is my excuse for VeeLaDeeFixit)#then of course taking the same elements and past voltron elements and hopefully making a better fusion. or at least less grimdark

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eternalloveheart · 6 years ago

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Why does God allow natural suffering?

The only reason some people seem to not believe is because of a moral argument. It is kind of funny because I already explained there is no morality without God. I am basing my answers on the base works of Dinesh D’Souza. He is one of the top policy makers in the country in America and one of the top five hundred leading officials in international relations. He wrote a Christian book called “What’s so great about God?” which under another name is “God forsaken (about human suffering)”. I haven’t read it though I will read it now so far I have only seem him in talk shows.

He noticed many atheists were actually just wounded theists. It means their atheism is just a type of spiritual revenge. It seemed to him people did not want to be under the authority and supervision of God.

1. Why does God allow earthquakes and volcanoes?

Voltaire was upset there was such things as earthquakes being ignorant of geology. In our time we know more about geology. The reason we have earthquakes is that underneath the earth lands and oceans are massive tectonics. It is these plates that happen to move.

We know much more about other planets and stars. How many other planets or stars have tectonic plates? As far as we know none it’s unique to earth. How many planets or stars have life as far as we know? As far as we know none life is unique to earth to the best of our knowledge.

As it turns out plate tectonics is essential to life on earth.

A) It protects life from drowning.

It separates the land from the oceans for if there was no plate tectonics to bring a separation all the land would be submerged under water.

B) It regulates a stable thermostat.

“Around 2.5 billion years ago the sun was so cold that Earth’s liquid oceans should have been frozen […]—only they were not. […] Plate tectonics, which acts as a global thermostat, might have been our savior by creating volcanoes that spewed carbon dioxide into the atmosphere, helping it to retain more heat. Then, as the sun grew brighter and hotter, rainfall scrubbed the carbon dioxide from the atmosphere and plate tectonics later subducted it into the Earth’s mantle (the layer of hot rock above the core), locking it away. It is this cycle, which acts on million-year timescales, that helps keep Earth’s temperature stable”.

“Mars’s numerous but extinct volcanoes do not have the ability to belch carbon dioxide into the atmosphere, leaving the Red Planet quite chilly today”.

Sources:

Rarity of Exoplanetary Tectonics.

Inevitability of Plate tectonics.

Scientific America.

C) It protects the earth from radiation.

“Plate tectonics is also involved in the generation of a magnetic field by convection of Earth’s partially molten core. This magnetic field protects life on Earth by deflecting the solar wind. Not only would an unimpeded solar wind erode our planet’s atmosphere, but it also carries highly energetic particles that could damage DNA”.

“All this evidence adds up to paint a convincing picture of many lifeforms only surviving on worlds where plate tectonics are active”.

Source:

Plate tectonics may be essential to life.

So those same earthquakes and volcanoes that kill people are now known for being one of the main cause for the very existence and maintenance of life itself.

2. Why do people get cancer from the sun?

I know many people are upset that there is cancer when people hang out in the sun a little too long without sunscreen.

As it turns out the sun is essential to life. I think this one is self explanatory. In our solar system the sun is just eight minutes away from our planet. It seems scientists agree had the sun been any further we would all freeze and had it been any closer we would all burn. In truth the sun is in the right exact spot where the sun ought to be for life to exist.

3. Why is there forest fires?

It is a frustration to have people fly out to stop fires.

As it turns out fire is very useful for civilization. I mean even in the phone or computer you are reading from and enjoying there is a small ignited fire powering everything. I even recently heard that all it took was one person to look at fire and see potential to start the spiral upwards to all modern technology.

Anthropic Principal

We live in a universe and planet fine tuned for life. It means if the universe were built differently life would not exist. It turns out the whole universe has to be built one way for life to even exist on one planet “Anthropic principal”. I am setting the debate aside of fine tuning meaning there is a creator as it is not my main focus.

In the book of Job the answer God gives seems almost determining to the issue of his suffering. It sounds like a bunch of talk about how he created the universe almost as a power play. What if it wasn’t?

Imagine for a second you are an ant walking into a cathedral only having an ant perspective. In the cathedral you complain about the architecture saying you wouldn’t make it the way it was made. It seems too drafty and all though you have a limited perspective.

I saw a quote the other day that said “God only gives you what you would want to give you if you were all knowing (basically if you were God)”.

What are the implications for fine tuned universe for evil and suffering?

Imagine God has a desk with different dials. Stephen Hawking says in one of his books if the rate of expansion had been “smaller by even one part in a hundred thousand million million, it would have recollapsed […] if it had been greater by a part in a million the universe would have expanded too rapidly for stars and planets to form”. In this case none of us would be here debating any of this at all.

The universe is expanding at the perfect rate, light travels at the perfect rate, gravity works at the perfect magnitude in order for us to be here contemplating the universe. It means that for there to be human beings as we are the exact materials, forces of physics, laws of nature that are needed are present to produce us. God could have used other materials, other forces, other laws only he would not have gotten us.

Imagine you are an omnipotent master musician and you want to make a very unique particular sound. In this case you decide to build a special violin. It has to be exactly thirteen pounds, made of a certain wood, and have an exact amount of strings, the strings have to be the exact tightness (no tighter or looser). It is true if you were omnipotent you could build a different type of instrument. It just would not produce the exact tune you were so seeking. In order to get your desired sound these are the materials for that very specific desire.

Imagine you want to build a cathedral of Notre Dame and you are God. Could you use invisible material? It just wouldn’t be the cathedral of Notre Dame. Could you build it out of glass? It wouldn’t be the cathedral of Notre Dame. The cathedral of Notre Dame requires bricks, certain dimensions, certain blue prints and even if you are God there is no other way to build it.

What am I saying? Modern science shows a new type of explanation for evil and suffering. God fine tuned the universe to make human beings. I know you might say “God is omnipotent surely he could have found another way!”. Omnipotence is a little bit of a misunderstanding it does not mean God can do anything. God can’t do anything for example he can’t tell a lie or draw a triangle specifically with a result other than a hundred and eighty degrees. Omni means great potency means power which means unlimited power at your disposal. I can have all the power possible still not able to draw a triangle with anything more than a hundred and eighty degrees. God could change it only it wouldn’t be a triangle anymore it be something different.

Why is there suffering?

Atheists have no answer.

Christians know Christ suffers. It’s different than a lot of other gods. He suffers because suffering is the currency of love. It is not just the best way it is kind of the only way to measure love.

So you’re friend calls you up and says “Selena Gomez died” you would think “Oh that’s kind of sad” then move on to another topic. I mean you don’t really know or love this person you just have a generic sense of sympathy that’s it. Had the friend called you to tell you that your mutual friend had abandoned you or worse died that would catastrophic leaving you broken for some time. Why? It is the measurement of how much you loved your friend. You suffer in direct proportion to your love for someone (even yourself).

Jesus Christ suffered not because he had to but because it was the measure of his love for us. I know our suffering isn’t needed by Jesus Christ. It does not help him or do anything for the atonement because his sacrifice is free.

Why did He not make us in a perfect world as we are?

He did he created mankind in the garden of Eden. In the garden it was so perfect not one tree rotted or died. God gave them the choice to continue to live under his perfect world in trust or to distrust his perfect protected world to seek to make themselves “be god”. It was a perfect world that was rejected by humanity and is rejected still today. In truth not everyone wants to be in a perfect world under the protection of God. Instead we wanted to live in a world and universe where we are in control and this is the result. In short we are not in a perfect world full of bliss because we reject a perfect world full of bliss.

So fine we do not want to live in a perfect world full of bliss. He gives us this world the world we wanted by our own design with knowledge of good and evil and suffering. In this world we have a lot of power able to manipulate nature being like god. This is the world we chose and continue to chose as we reject God and his perfect world. God in his mercy does not make this have to be a permanent state more like a trial for us to test our own world out with heaven always available. In this trial we still have time to decide if we like our own world or if we like the perfect world made by God. Heaven is perfect place because it is constantly under the authority and direct will of God.

Two choices not just for Adam and Eve but for us if made to chose again would chose this world over the world of bliss. In a life where our decisions are made constantly by us meaning we chose to have full free will ourselves with our limited free will. It is us who valued free will over faith so now we get to test our own world out.

Think you are different? You are in the trial of this world under the direct experience of a different world where the choice is still open to join God.

Dinesh D’Souza.

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tipsycad147 · 3 years ago

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ASTRAL PROJECTION

By Karen Charboneau-Harrison

he idea that each human has an astral body capable of separating from the physical body and journeying through time, space & dimension is an old one. Hindu writings describe the 8 Siddhis (magickal powers) obtained thru Yoga - one of them is Astral Projection. These beliefs are contained in Tibetan Buddhism and are an integral function in shamanic practice world wide. In the Catholic Church this technique is called 'bilocation' & there are many accounts of saints employing this method to be seen in 2 places at once.

The word 'astral' comes from the Latin astrum (star) indicating that we are employing our light or star bodies in this type of travel. As humans we have more than just the physical and astral bodies. In fact we have many different bodies known as 'subtle bodies' - the etheric body shows health, is what most auric readers see; the astral body to which astral consciousness is projected; the mental body used for pathworkings and the spiritual body which is the essence of the person.

The question may be "why do you even what to do it?" One reason is to have direct experience of the astral realm in order to know beyond any doubt of the levels of existence; You may also wish to simply travel for knowledge - here on our planet, through the veils of time to review history or see past lives; Another reason may be for healing of the astral body to facilitate healing that is occuring with the physical body; Or you may astral travel for magickal practice, for the astral realms are those of Yesod, the sphere of Foundation where all magick commences; Or you may wish to practice the death experience in order to lose fear of this change in level of existence.

There are basically 3 types of astral projection:

Mental projection: mentally exploring the astral plane; seeing and intellectualizing experience. Used in pathworkings and ritual magick frequently.

Astral Projection: astral body moves a distance from physical and accurately reports what is seen on physical, experience directly in astral; no restriction of distance; particularly good for absent healing.

Etheric Projection: etheric substance is projected from the body, can be seen by others, weighed; use to shield & feel energy; auric healing; mediumship.

Some of the indications of astral travel are a feeling of floating, seeing things from another angle for instance seeing the area from above; seeing an area tinged with violet light; feeling an imbalance in body - the limbs feel very small or very large in comparison to the rest of body for example; becoming aware of radiance from objects in the room; perceiving the astral cord; seeing your physical body in the room yet your consciousness is elsewhere as well as a sensation of cold.

The Astral Level is close to what you are used to in the physical level, in fact it intersects the physical realm. Do you occasionally "see" things out of the corner of your eyes, with your peripheral vision? This can be your unconscious realization of the astral as it "bumps" against what you know as physical reality. The Astral Level is the realm of emotions - when you experience strong emotions, either positive or negative, you sometimes create a form of those emotions on the astral level. This is why when you go into a house or place where something that has occurred which throws off a strong emotional pattern such as a murder you can feel energy present there. The emotional pattern originally created has a form on the astral level. This level also has its own inhabitants who reside on the astral - it's their natural place just as the physical level is the natural location for you & the other inhabitants of this world. How can you tell when you are on the Astral if you are experiencing this place? Some of the indications are that you tend to see a radiance or aura surrounding objects there, you can float or fly or fly at will and can create objects through the use of your own imagination or will. Simply think in a focused manner and it's done. Can you change what you are seeing or when you imagine or will something to change shape does it remain the same? If so, it is a natural inhabitant of this realm.

If Astral Projection is something you'd like to experiment with you'll need a quiet place where you will not be interrupted so unplug your phone, wrap yourself in a light blanket for warmth as the body's systems slow down and many people realize that their body is cold when they come back to it, eat only lightly if at all prior to your experiment so you don't inadvertantly ground yourself in your body. You can use music to time your journey - you'll be aware on a subtle level of your body and its surroundings - as you begin your journey note to yourself that when the music clicks off that that is your signal to return. In spite of all the stories there is generally no worry about returning to your physical body - the physical level is your natural level of existence. In fact, you'll find that if you are interrupted by someone or a sudden noise or danger, you'll automatically return to your body without any conscious thought. A sudden return can bring on a headache, however. Protect your physical body while you're gone by being in a warm, comfortable place and be sure to ground yourself with breathing exercises and perhaps some light food when your return.

Some common Techniques for achieving astral projection are:

Imagine levitating. Feel your body getting lighter and lighter and try to see your body lying comfortably from above. Using a large mirror, view yourself and your surroundings. Then mentally visualize what you've just seen with your physical eyes especially your face. At this point transfer your point of view to the mirror as if you were seeing yourself from that location. With your eyes closed try to see the room from different angles. Sit comfortably, relaxed. Close your eyes and visualize yourself, see thru those visualized eyes. Look around room, begin walking around it examining objects. Return to your body, stand behind your head and reabsorb your astral energy back into your physical body. Do it again, focusing on the nape of your neck then project a ball of light from your throat while concentrating. You may feel an imbalance as if your body is tilting, perhaps waves of energy up & down your body - don't concentrate on these sensations just center yourself within the vibrations and step mentally from your body. Sit or lie comfortably, relaxed. Close your eyes and concentrate on your slow, rhythmic breath. Slow your breath both inhalations and exhalations while you imagine a scene in which you are walking (on a beach for example or on a mountain path). As your focus hardens begin to climb up the area and see a gateway ahead and a figure standing on other side. Become the figure on other side. Slowly get used to the new body - don't run around at first. Gain control of your energy in the figure.

Follow the above instructions then look at your physical body with your astral eyes. Observe your breathing patterns and make them as slow and relaxed as possible. Visualize a link between the solar plexus of your physical body and that of the astral figure . You'll probably find that your sreath becomes slightly irregular, ignore this and transfer your breathing to the astral figure.

http://www.isisbooks.com/Astral-Projection-s/448.htm

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