#all of this is liberally translated but the gist is there | Explore Tumblr posts and blogs

her-satanic-wiles · 1 year ago

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Masterlist ⛧ Lost in Translation Masterlist ⛧ Ao3

Words: 10.8k

Reading Time: 43 min

Warnings: angry sex, begging, biting, corruption kink, creampie, cum eating, cunnilingus, dry humping, fear kink?, groping, feelings of claustrophobia, hair pulling, low self-esteem, mentions of grooming (non-sexual), multiple orgasms, nipple play, pain kink, penetrative sex, PIV sex, possessive Copia, primal kink?, praise kink, pussy slapping, rough sex, semi-public sex, this is objectively filthy, unprotected sex (sash the dick to smash the slick, lads), vaginal sex

Taglist: @zombiesnips-blog @da-rulah @teenage-birt-dag @ellenokumura @thew0man @sodoswitchimage @the-real-eggplany @deathmimedream @love-is-all-you-need-13 @kadedoesthings @rosyerato @xshadyladyx @popiaswife @perpetratorwithaquill @punkiy50 @onlyhereforghost @kaijukimchi @copiaspet622 @jaymechaos @akayuki56

As the newly appointed Cardinal Copia struggles with the weight of a looming prophecy, a resilient scholar challenges the narrative, uncovering a conspiracy that reaches beyond the walls of the Ministry. The emergence of a forbidden love ignites a rebellion against a power-hungry Sister, whose thirst for control threatens to reshape the very foundations of the Church. Will the revelation of those schemes lead to liberation or plunge the Ministry into chaos?

Previous Part ⛧ Next Part

🔞 MDNI 🔞

Your conversation with Copia left you feeling perturbed at best. Something didn’t sit right with you. As the Ministry’s librarian and main archivist, you knew most of the prophecies that circled the Church - none of them mentioned the antichrist’s Prime Mover, not that you could remember, anyway. That prophecy ate away at you, gnawing its way into your brain like a worm fig fly burrowing into an unripe fig.

Arriving back at the library, you were bombarded by Aisha and Riley, both of whom had seen Copia talking to you when he should have blessed you. Both had their concerns, of course, worried that you’d fall back into some kind of relationship with him and wind up with your heart broken again, but when they heard what you’d learned, they were just as stumped as you.

“It’s entirely possible that you’re wrong about this, ___.” Aisha said, her tone hesitant but still as honest as usual. “I don’t understand why someone would base their whole lives around a prophecy that wasn’t accurate… or real.”

“That’s what I’m saying,” you replied, animated in your actions, “no one in their right mind would. I feel like I need to put on a tin-foil hat right now and go to my cork board, but I have read damn near every inch of this library. I’ve digested almost every single Satanic, religious text I can get my hands on. I’ve read all the prophecies we know of thus far - I just don’t remember this one specific one.”

“But,” Riley interjected, their tone just as measured as Aisha’s, “there are thousands of prophecies after all. You can’t expect to remember each one.”

“No, but I do expect to be reminded of them as I hear them. Of course, I couldn’t remember every single one in great detail, but I’d remember the gist at the very least.”

Aisha, “Well, there’s only one way to find out, I guess.”

Riley, “What can we do?”

“We? Bitch, I know you’re not dragging me into this stupid charade.”

“Look at it this way, the faster she figures out what the prophecy is, the faster she can move on and we can all forget this debacle.”

Aisha looked at you and clapped her hands. “Where do we begin?”

Well, that was the question. In a library filled with thousand-year-old texts, each with its own historical relevance and prophecies given by each author who just wanted attention or fame, where would one begin? When every book in that room carried mystical contents, it was like trying to find a needle in a haystack. So, you all chose a large, mahogany table and set that up as your base, comandeering each seat and preventing anyone else from using it or interrupting you. Then, you all searched for and grabbed any historical text in reference to prophesies or the antichrist and dumped them all on the table. How many books were there in the end? How many stacks had piled up so high that you’d created yourselves a small prison? 300. 300 ancient, scholarly texts that had mention to the antichrist and relevant prophecies.

Aisha and Riley took it in turns to manage front desk for you, but both of them took a stack of books and a notepad with them so that they could continue the research in their down time. You, on the other hand, remained at the desk, allowing your other work to fall behind so you could figure this out. It was like your brain could only focus on one important task at a time, and when you discovered that this was important, it ended up taking top priority.

Daytime became nighttime, and nighttime became hazy cycles of reading relics and skimming over pages full of prophecies that blended into one another like a jumble of misplaced words. As the light from the lamp flickered across the tattered covers of the volumes, the library filled with the smell of old paper.

There were open books all around you, their yellowed pages teeming with historical descriptions of apocalyptic visions, and mysterious symbols. The prophecy’s complex language mingled with the deep religious debate, creating a maze of material that seemed designed to confuse rather than educate.

You carefully noted every detail that even slightly referred to the prophecy in question, cross-referenced sections, and compared the subtle differences between translations. Notes strewn all over the pages, a disorganised collage of your efforts to put the jigsaw together.

You kept getting the feeling that you were chasing shadows as you dug deeper into the texts, reaching for something that was evasive and eluded you every time you believed you had a lead. There were creases on your cheeks from exhaustion and the weight of the old books pressing down on your shoulders.

You worked side by side with Aisha and Riley, who translated texts, brought you food, and consoled you when you felt that you could no longer take the frustration any longer. The three of you formed an unofficial partnership to take on the mystery surrounding the prophecy.

Nights became days, and you couldn’t tell which day it was. Every page you turned echoed the murmur of countless seekers who had gone before you, the moments merging into an invisible blur.

And then, in the midst of the seemingly endless search, a faint glimmer of recognition sparked in your mind. A passage, hidden within the dense verses, bore a semblance to the prophecy in question. The revelation struck like lightning, awakening a surge of determination within you.

“No!” You said, much louder than you’d anticipated.

Riley and Aisha snapped their heads to your direction (as did the rest of the library goers who were startled by your outburst.) “What?” Riley asked, standing from their seat and leaning over the desk at you.

“The prophecy Copia and Sister Imperator believes just doesn’t exist. It’s like it’s been conflated from an old antichrist theory from centuries ago. Listen to this, “‘the antichrist will be born on the sixth day of the sixth month of the sixth year. Only then can he come forth and do Satan’s bidding, bring about the end times and raze a new Hell upon this Earth.’ This prophecy was taken from an old Catholic text and whoever deciphered it left footnotes and opinions.

“The translator doesn’t believe that the antichrist would bring about the end times, not in the way Catholics believe. Armageddon won’t pass as a rain of fire from the sky and the destruction of the planet, but more like a sociological shift that will destroy the Catholic church and bring education to those indoctrinated by Yhwh’s Bible.

“What I’m getting at is that there’s no mention at all of a wife for the antichrist, or if the antichrist will even produce an offspring at all. In fact, the author seems to believe that this sociological shift will become the antichrist’s final act - ‘the antichrist will die at the hands of the non-believers, messiah’d in the same way as their saviour, for only death can bring the motivation of the masses to call for a change of the system’.”

“So why does Sister Imperator place so much emphasis on the ‘wife-with-three-sixes-in-their-birth-date’ theory?” Aisha asked, putting her book down and looking at you.

You shrugged. “Maybe she’s mistaken?”

Riley shook their head. “No. Sister Imperator doesn’t make mistakes - she bends the Ministry to her will to benefit her. She’s far too smart to make mistakes as big as this.”

“You think this is more sinister?”

Riley nodded. “Surely she must have said something to you the last time you saw her?”

You began to shake your head, eyebrows furrowing at how hard you were thinking back to your conversation with her. “She told me to never let them see what they’ve done to me.”

“That was after you saw Copia fucking another person. I’m talking about before, when you felt like you had to go see him in the first place.”

You tried to remember everything that happened during that conversation, but it had become so long ago that the details had become a little fuzzy. “She did say something a bit strange now that I’m thinking about it. She said something like, ‘we didn’t work this hard for the Cardinal’s career for it to fail’ but the ‘we’ was an ‘I’ until she corrected herself.”

“See?”

Aisha, “So you think that Sister Imperator has organised this whole thing? Nah, I’m not buying it. If she organised this then why didn’t she make herself Mama and be done with it?”

“Because,” Riley rummaged through one of their piles of books and flicked to a page, “according to the Emeritus lore… mythology… whatever… the Satanic Church runs as a democratic type of monarchy - we can have a say on who we want to run the Church, but they have to come from the Emeritus bloodline given that they are, supposedly, direct descendants of Lord Lucifer Himself.

“Now, up until he became head of the Church, no one knew for sure who Cardinal Copia’s parents were. The amount of interest Sister Imperator showed on the kid made everyone believe Imperator was his mum, but no one could be certain if Papa Nihil was the Cardinal’s father. Just because the Cardinal has the typical Heterochromia doesn’t mean it’s real. Remember how people whispered about the idea that Imperator made the Cardinal wear contacts every day? It wasn’t until he became Head of the Church that people started accepting the Cardinal’s lineage, because only an Emeritus can lead the Church. Sister Imperator is not an Emeritus. She can’t directly lead the congregation. But her son can.”

“This sounds unbelievable.” Aisha claimed. “If the Cardinal was an Emeritus, then why is he still Cardinal? Why isn’t he Papa?”

Riley thought for a minute. “Maybe because Papa Nihil is still alive.”

“Then surely Papa Nihil would be Head of the Church right now, since Papa Terzo passed?”

“After last time?” You asked. “Nah, he wouldn’t take up that position again. Why do you think Papa Primo took over while Papa Nihil was still alive? Even if Papa Nihil wants to be the Head again, I don’t think the Clergy would let him.”

“Maybe that’s why the Cardinal is still Cardinal,” Riley added, “the Clergy won’t let another son ascend to Papalcy as long as a Papa is alive.”

“Which is why Papas Primo, Secondo and Terzo died.” You said quietly. “She said, ‘we didn’t work this hard for the Cardinal’s career for it to fail’, and we know the previous Papas didn’t die of natural causes…”

“They had to die because they would have fought back against Sister Imperator and her wishes!” Riley exclaimed closing their book and dropping it to the table. “My head is spinning.”

“But she said ‘we’,” Aisha thought aloud, “who’s ‘we’? She couldn’t have done all of this alone.”

“Aisha’s right,” you said, “this had to have been a group coup, there’s no way one woman could pull off three murders and an ascension all by herself.”

Aisha, “Well, Papa Nihil is still alive, so we know he must have been involved somehow.”

Riley, “Who stood to gain from the Cardinal’s ascension? Who did gain from the ascension? Who’s new to the Upper Clergy?”

You, “Cardinal García’s new, he wasn’t around before Papa Terzo.”

“Cardinal Dubois and Cardinal Li.”

“Archbishop Müller was bragging about his payrise in the bar not three weeks after Papa Terzo’s removal back in Sweden.”

“Now Cardinal Al-Farsi was removed from his position in the Upper Clergy, and we know it was because he was actively against the removal of Papa Terzo.” Riley looked at Aisha, now standing wide eyed and frozen in her spot. “Aisha?”

“Sister Evelyn Chandler.”

“Who?” You asked.

“She’s due to be the Cardinal’s Prime Mover in all of this, apparently she has three sixes in her birth date as well. No one benefits as much as she does.”

Your world came crashing down around you once again, your brain ticking into overdrive as you remembered catching Copia rocking against the other woman in his office months ago. During the first and only Mass you’d attended since then, you remembered seeing her wandering into the Basilica behind Papa Nihil and Sister Imperator as a third, important member of the family, but your mind was hyper-focussed on seeing Copia for the first time in so long, you almost didn’t register her. Almost.

In all the time since you caught them together, your mind had been all over the place. If the whole Ministry was talking about Sister Evelyn and the Cardinal, then how could you have missed it? The short answer was that you just weren’t listening. As a way to distract yourself from what had happened between you and Copia, once you’d left your home and re-entered society, you had holed yourself away in your office to work on the translations. Seeing her for the first time (truly seeing her, not just as a lump on Copia’s lap) during Mass, it didn’t register that she was the person grinding into Copia’s crotch, and that she had become important enough to be paraded to the entire congregation.

She never interacted with you, never acknowledged your presence, never looked at you, not that you’d noticed anyway. It was so easy to just not see her. But now it was all flooding into your brain, the idea that she and Sister Imperator could have orchestrated this whole thing behind Copia’s back.

Was Copia in on this?

No, he couldn’t possibly be. He seemed genuinely angry at the “prophecy” and how he’d have no part in it if he was given the option. Besides, no one advocated for Papa Terzo harder than Copia. Copia publicly looked up to Papa Terzo, worshipped him almost similarly to his worship of Satan. He wouldn’t be happy with the death of his half brother, not when he idolised him so much. Watching him from afar for as long as you did, meant you were able to see him in multiple different moods, and he mourned Papa Terzo. He mourned his half-brother for months, almost the whole year he’d been Head of the Church and leader of the Ghost Project. He definitely wouldn’t have gone through with it… right?

“So where do we go from here?” Aisha asked both you and Riley, pulling you out of your miniature crisis.

“Well,” Riley began, “I’m not entirely sure. We have all this circumstantial evidence, but there’s no proof of anything. Like I said, Sister Imperator’s smart, she’d hardly leave any physical proof of her crimes.”

Aisha turned to look at you. “You said you wanted to figure this out and now you have. All you have to do is present all of,” she gestured vaguely to the table, “this to the Cardinal and then you can move on.”

“What if he’s in on it?” You queried, your voice quiet and scared.

Riley shook their head. “Nah. The Cardinal’s a lot of things - ‘dumbass’ would be a word I’d use for him - but he’s not the kind of person to usurp the Satanic throne for his own personal or political gain. I mean, look at the man; he spent all his fifty years trying to be invisible. If it makes you feel any better, I think he’s a naïve and gullible idiot who’s so desperate for his mother’s love and approval, he’d do anything to appease her. You said yourself he doesn’t believe he’s the antichrist, right?”

“Right.”

“Well then, there you go. There’s your answer. He thinks he’s in this position because it’s the right and prophesied thing to do. Not because he’s a puppet in his mother’s games.”

Aisha’s tone was lighthearted. “Honestly, fair play to her. A bad bitch who knows what she wants. I admire that.” Both you and Riley looked at her with a mixture of disappointment and disbelief. “What?” She stood from her seat. “I support women’s rights and women’s wrongs.” She turned to walk away and raised her fist in the air. “Go live your best life, Queen!”

Riley sighed. “I hate her sometimes.”

“Mmm,” you agreed. “You gonna help me put these back?”

Riley sucked in air through their teeth and began to back away from the desk. “You know, I would, but Sister Kowalski said she needed help finding books about rituals and, you know, can’t let Sister Kowalski down.” They gestured to the table. “But you got this, right?”

You shot a middle finger at them.

“Atta girl!”

Setting the books back was a lonely task thanks to Riley’s disappearance and Aisha ‘working at the front desk so she can’t leave’. But it gave you chance to think about the situation at hand.

There was a crushing feeling of helplessness that descended over you as you carefully returned those old books to their shelves. With every book you placed back, the magnitude of the problem became more apparent and the weight of the knowledge you acquired felt like a burden. You felt exposed and helpless when you realised you were trapped in a web of deception and surrounded by people who had ulterior motives. The Ghouls and Sisters around you went about their business, oblivious to the storm building within you. You were more aware of your inner struggle in the library’s profound silence.

The sensation that you were just a pawn in a much bigger game lingered as you pushed a hefty volume back into its proper position. Your sanity was being tormented by doubts regarding Copia’s role, Sister Imperator’s actual motivations, and the possibility of Upper Clergy influence. Your impression of being trapped was echoed by the library’s walls, which seemed to be closing in on you.

Copia’s POV

With every passing hour, Copia was more and more convinced that he’d never see or hear from you again - at least in the way that he wanted to. He paced the floor of his office when he was alone inside of it, mind raging at the prospect of living his life without you. He was so convinced that you were running from him - and who could blame you? He felt like a sham, a joker with the hat of a Cardinal and all the responsibility of a Papa. Out of all of it, all the attention and the duties, he only wanted you. And he was tormenting himself as punishment for doing stupid things that could lose you in the end.

A knock on the door interrupted Copia’s thoughts as he paced his office, gripped by the agony of possible loss. Startled, he turned to face the entryway, a glimmer of anticipation replacing the dread etched on his features. “Come in,” he called out, his voice a mix of apprehension and hope.

The door creaked open, and a Sibling stepped into the room. Copia thought he recognised this person, but being the head of the Church and living in the Ministry alongside thousands of other clergy members, everyone’s face was familiar to him. “Good afternoon, Your Dark Eminence,” they greeted cautiously, closing the door behind them. “Mind if I have a word?”

Copia, his expression a blend of curiosity and anxiety, gestured for Riley to proceed. “Of course, Sibling… uh…”

“Sibling Riley Martinez, Your Dark Eminence. I work with Sister ___ in the library.”

At the mention of your name, Copia’s stomach flipped. He was excited to know that you’d sent one of your friends to talk to him, but nervous at that exact fact. What did you not want to say? Or rather, why didn’t you want to convey your message yourself? Why did you send your friend as he would a Ghoul? “Ah, yes. Sibling Martinez, what brings you here? Is everything okay?”

“Well, Your Dark Eminence, no. May I?” Sibling Martinez gestured to the sofa in front of Copia’s desk. Copia nodded, and invited Sibling Martinez to sit.

They cleared their throat and began to tell Copia exactly what they and their friends had discovered. Copia listened carefully as Sibling Martinez revealed the information, each word hitting the weak spot in his heart like a hammer. The information weighed heavily on him, and a hint of resentment started to peek through the gaps in his calm demeanour. Fury couldn’t even begin to cover how Copia felt. His wrath simmered beneath the surface as the truth came to light. His hands balled into fists as he tried to control the flood of feelings that were about to explode; not that Sibling Martinez would know, from the outside Copia looked calm and collected, as if he was just listening to any old story. But on the inside, he was seething…

Sibling Martinez continued to share the discoveries, detailing the inconsistencies in the supposed prophecy and connecting the dots to Sister Imperator’s potential involvement in a larger, more sinister plan. Copia’s jaw tightened, his frustration morphing into a potent mixture of anger and betrayal. “So, she’s been playing me all along,” he muttered, more to himself than to Sibling Martinez. The realisation was a bitter pill to swallow, and the taste of deceit lingered in his mouth.

“Sister ___ also suspects that Sister Evelyn Chandler is a key player in all of this. The three sixes in her birth date, the sudden rise in her status—”

The anger within Copia surged to the forefront. He slammed his hand against the desk, the impact resonating through the room. “Maledizione!” he exclaimed, his frustration breaking through. “I trusted them. I trusted Sister Imperator. And I thought Evelyn was just a pawn, but they’ve been orchestrating this entire thing.”

Sibling Martinez nodded, acknowledging the weight of the revelation. “It seems that way, Your Dark Eminence. Sister ___ would have wanted you to know. She’s trying to make sense of it all, just like you are. She doesn’t know what to do about any of this, though.”

Copia paced the room, the fire of betrayal burning within him. “And you? What do you think of all this?” he asked, his gaze piercing into Sibling Martinez’s eyes.

Sibling Martinez hesitated for a moment before responding, “It’s a lot to take in, Your Dark Eminence. But if there’s a plot against you, we want to help expose it.”

Copia continued to pace the room, his mind brimming and full with fresh rage. The cogs in his brain were ticking over and over. Something about Sister Evelyn’s involvement didn’t quite add up, though. If the plot was based around a flimsy, untrue prophecy, then Sister Evelyn would know that it wasn’t real - yet, she, like Copia, was fully immersed in the whole farce. But what was the answer.

He stopped pacing and turned back to his guest. “Who did you say benefited from my ascension?” Sibling Martinez listed the known members of the Clergy and Copia clicked his fingers together. “You’re missing one. I’ve just discovered Sister Chandler’s involvement.”

“Your Dark Eminence?”

“Of course she benefits - of course she does. She becomes Prime Mover. But, she was unaware of this whole plot, I’m convinced.”

“So how is she involved?”

“It’s not her. It’s her father - Saltarian.”

“Cardinal Saltarian? I don’t know him, I’m sorry.”

Copia shook his head. “Not Cardinal, just Mr. He has no title. Mr. Saltarian has been in my life for almost thirty years at this point, a very good friend of my mother’s. There’s not much that he doesn’t know, to be truthful. He’s a spy to everyone - not a man to be trusted. He may not be a member of the Church per se, but I doubt my brother’s deaths didn’t line his back pockets in some capacity. Not to mention his daughter becoming my Prime Mover. That would give him a power that he wouldn’t have as a mere Cardinal.”

“So what are we going to do about this, Your Dark Eminence?”

Copia stopped and thought for a moment, weighing all of his options. “You do nothing.” Sibling Martinez went to protest but Copia continued. “For now at least. I appreciate you coming to me with this information, Sibling. And please thank Sister ___ for starting this whole investigation. After everything I’ve done to her, I don’t deserve it.”

“Well, she doesn’t want you suffering. What will you do?”

“I’m not sure.”

The truth was, Copia was sure, he just didn’t want word getting back to you. Not yet anyway. The way Copia was feeling, he was more than ready to burst into Sister Imperator’s office and confront her about all of this. It wasn’t until Sibling Martinez had left that Copia was able to straighten himself up and storm to his scheming mother’s office, and unfortunately for her, she was there.

He didn’t knock - he didn’t see the need. He was too angry for pleasantries and kindnesses. Sister Imperator didn’t have a guest, so he could get right to the point without disturbing another person. “Ah, Cardinal.” She said, an amiable smile on her face. “To what do I owe the pleasure?”

“Three sixes in her birth date, hm, Sister? That’s why Sister Evelyn is to be my Prime Mover?” Copia’s attitude was foul, completely out of character for him.

“So the prophecy says.”

“So it is to do with the prophecy and nothing to do with Mr. Saltarian’s involvement in raising me to power?”

She was silent for a moment, just a brief second too long, but that was all the confirmation Copia needed.

“You are despicable.”

Sister Imperator’s expression remained stoic, her eyes meeting Copia’s with unwavering confidence. “Everything was done for the Church, for our cause. The emergence of the antichrist is a crucial moment in our history, and we can’t afford to let it slip away.”

Copia scoffed, the bitterness in his tone cutting through the air. “For the Church? Or for your own gain? Mr. Saltarian’s involvement, the manipulation of prophecies, the orchestration of all three of my brother’s deaths - all to secure power for yourself.”

Sister Imperator leaned back in her chair, a sly smile playing on her lips. “Power is a means to an end, Cardinal. Our mission is to bring about the reign of Satan on Earth. Sacrifices must be made, alliances forged, and obstacles removed.”

Copia’s anger intensified, a storm brewing within him. “You manipulated me, used me as a pawn in your game. And for what? To satisfy your thirst for control?”

“Control is essential in guiding the destiny of the Church. Your ascension was necessary, Cardinal. You were groomed for this role, and now, you stand at the precipice of a new era. To serve as the antichrist just as the prophecies have told!”

Copia shook his head, his disbelief transforming into a fiery resolve. “I won’t be a puppet in your schemes any longer. I won’t let you exploit the Church - and me - for your personal agenda.”

Sister Imperator chuckled, a low, menacing sound. “You’re still learning, my dear Cardinal. The puppeteer does not relinquish control so easily. The Church needs a leader, and you were chosen for a reason.”

Copia’s resolve saw through the complex web of deceit, and his eyes hardened. “I won’t play your games any longer. I’ll expose the truth to the congregation. They deserve to know the extent of your manipulation.”

“Expose me, my dear boy, and the entire congregation will work to overthrow you.”

“So be it. I never wanted this role - this was your dream.”

“You wouldn’t. Now, enough with this idiocy, Cardinal. You have duties to attend to and a ritual to prepare for.”

“I’m going to put a stop to this.”

“Mhmm. Of course you will.” Sister Imperator went back to fiddling with papers on her desk, making herself look busy in order to get Copia to leave.

With a blazing determination in his eyes, Copia left Sister Imperator’s words trailing behind him. The seriousness of the situation weighed on him, but he couldn’t turn his gaze away from the betrayal that had occurred. He wondered where to go next as he made his way more into the Ministry.

There was an unsettling silence in the hallways, and shadows played on the walls. Copia’s mind whirled with ideas about how the congregation would respond, potential partners he might discover, and the impending threat of Sister Imperator’s power. He knew he needed help, and he needed someone he could rely on.

Copia entered the library in search of comfort, the smell of ancient volumes and parchment reassuring him, and guiding him to a familiar room. He discovered you absorbed in your task, a serene determination on your face. The agony and turmoil of the past had given way to a steely resolution, a testament to your resilience.

You looked up as Copia entered, a mix of surprise and apprehension in your eyes. “Your Dark Eminence,” you greeted respectfully standing from your seat with your voice betraying no emotion. Your eyes were just as wide and doe-like as they were the last time he saw this expression on your face, except that time you wore his bedsheets as a dress. That time he ravished you on his dining room table and showed you absolutely no mercy. The mood he was in again, he didn’t want to show you any mercy again; he wanted you beneath him on that desk, screaming his name and taking everything he was willing to give, everything he felt like he had to give.

Was he wrong for feeling this way? Absolutely. After everything he put you through and after promising to wait for your answer, he should be doing that. He should be waiting for you to contact him. He should be giving you the space and time that you needed to work through this. But there was too much anger coursing through his veins, too much adrenaline working through his body with nowhere to go.

There was a look in his eyes that you’d never seen before - an anger that had never been present in all the time you’d observed him from afar, or spent directly in his presence. It terrified you - but had your core tightening in knots and aching for relief you’d not had in weeks. You wondered if you’d let him touch you like that again, if you’d give in to his urges in order to quell your own.

Copia opened his mouth as if to speak then closed it again. Despite his anger, he was still hesitating to get the words out. But he stepped closer to you, slowly, tentatively, as though moving would scare you off like the doe your eyes portrayed you to be. “You need to stop me if you don’t want this, amore.” He told you, his voice dangerously low and rumbling as he spoke. “Any word from you and I’ll walk away.”

Your heart pounded in your chest, breasts rising and falling with the heaviness of your breaths. Each step he took closer to you made you more and more breathless, your hairs standing on edge and your body tingling in anticipation.

He was right in front of you, a gloved hand reaching up to the back of your head and pulling at your hair from the roots, lifting your face to look directly into his and expose your neck. “If you don’t stop me, I’m going to bend you over this desk and take what belongs to me. Will you let me, amore? Will you let me inside you again?”

You whimpered, unable to trust your voice to convey your thoughts accurately. Your mouth was drier than it had ever been, saliva refusing to flood your mouth and whet your lips. Your whimper was the only response you could muster, and it clearly displeased the Cardinal.

He tugged harder on your hair, lifting your head a little further back. “Words, amore. Use them.”

“Y-yes, Cardinal. I-I… want you inside me.”

Though your words were barely a stuttered whisper, Copia still counted them. His lips smashed against yours, teeth banging against teeth as he encapsulated your lips in a rough kiss. The hand that wasn’t tangled in your hair moved to your waist, pulling you closer to his body while he pushed you back against the desk, trapping you between him and the wood just as he did the first time he had you back in London. His tongue entered your mouth, tasting you again for the first time in so long, and groaning at the sensation. He missed this - he missed you. There was a part of him that wanted to be gentle with you, but the rest of him was too tightly wound; he couldn’t bring himself to handle you with care.

He broke the kiss and stepped away from you just long enough for him to grip your hips with both of his hands and turn you around, before he pressed you back up against the desk. His hard cock tented beneath his jeans and cassock, bulging against your ass cheek and reminding you just how much he desired you, how much he craved and needed you.

Your palms were flat to the lacquered wood, leaning against the desk for some support while Copia had his way with you. His hips gently rocked against your body, desperately rubbing himself against you as his lips attached themselves to your neck, kissing and licking at the exposed skin there. In frustration, he pulled your habit off your head and threw it to the ground, before placing his hands back at your hips. But those hands wandered as they loved to do, grabbing and squeezing at your body roughly, getting their fill of you after weeks of being deprived. He gripped onto your love handles, your stomach, moving his way up and groping at your breasts, squeezing and rubbing them beneath his gloves and your clothes. He caught hold of your nipples between his thumb and finger, while his teeth captured your ear and bit down gently.

“Copia!” You breathed, your hands moving to sit on top of his as they tweaked and pulled at your clothed nipples. Small moans escaped your lips as he toyed with your body, your pussy dripping and screaming for some attention.

Copia chuckled and released your ear. “Is she needy, hm? Needy for her Cardinal’s cock?”

“Please.”

“Sathanas - you have no idea how much I missed hearing you beg for me, amore.” He let go of your right nipple and ran his hand down your body, stopping at your crotch. He covered your cunt with his hand and gripped it. “Are you wet enough for my cock, I wonder? Are you ready for a good,” he slapped your cunt, “rough,” another slap, “fucking, hm?”

“Yes, Copia! Please!”

He lifted your habit and dipped his fingers into the waistband of your panties, hooking them against the elastic. “Tell me, amore. Tell me how much you want me to bend you over this desk and pound this cunt.” He pulled them down just enough to completely expose your bare pussy to him, a string of your wetness snapping when the fabric was pulled too far down your thighs.

“I w-want you so deep inside me. I’m so desperate for your c-cock, Copia. Please… please give it to me.” As you spoke, you felt him reach beneath his cassock and fumble with his clothes to free himself. “Fuck me, please!”

His hand came up to your shoulder blades and pushed you down flat against the desk. The other fisted his cock, stroking a few times before lining himself up with your dripping wet entrance.

“I won’t be gentle with you, amore.” His warning was delivered more like a threat, but it had your walls clenching nonetheless.

“Make it hurt.” You whispered.

He pushed in all the way to the hilt, not bothering to take it slow. He let your words go to his head and set a relentless pace inside of you, hitting your cervix deliciously and making you scream out with each thrust. Your cunt opened up for him just as easily as it always did, further proof that you were made for him. His hips snapped slowly, but roughly, making your entire body jiggle with the force of each one, and the heavy desk to slide across the floor.

Sliding into you felt like sliding home. After all the time he was away from you, he couldn’t have you, and hold you in his arms, there was a massive bout of relief that washed over him. This felt good, it felt right. It was everything he needed after all this time. And you felt the same way. You didn’t realise just how much you needed him and missed him until that moment.

Copia’s grunts as he rammed his cock inside you filled the room alongside the loud squelch of your cunt swallowing him whole. His hands were now attached to your hips, gripping onto them as tightly as he could, leaving red marks and bruises in his wake. Copia was so long and thick that he stretched you out so nicely, and he always made you feel so good inside. By the time he was finished with you, you were usually a sore, shaky pile on the bed, with little ability to move or even think. You could feel your knees weakening as Copia rearranged your insides, your whole body turning to mush at his hard mercy - a mercy he wasn’t willing to show you as he picked up his speed but maintained his roughness.

There was a dull ache that came with the head of his cock slamming into you as hard as he did, but you worshipped the feeling. After going so long without feeling him stretch and fuck you, you needed to feel him, no matter how much burning came with it.

Your ass jiggled more than normal as you moved your hips to meet his thrusts and arched your back as far as you could for him. He let loose a torrent of profanities in Italian, each one telling you how you felt incredible for him, wrapped around him and squeezing him so fucking tightly he could hardly breathe.

“Made to take this cock, eh?” He huffed, his Cardinal paints dripping from his face with the exertion of his movements. “Built for me to fuck whenever I wanted to. Cazzo! I didn’t take you as much as I should have. Should have had you hanging off my dick every fucking day. Closest to fucking Heaven I’ll ever get. Fuck!”

“Right th-there! Oh, fuck, Copia! Right there!” You moved your hand down to your clit and began to rub at it, furiously stroking your bundle of nerves and tightening around him, causing him to let out a groan so deep and gutteral, it had you whining for him.

“Always so tight for me, amore.” He breathed as he watched the cream from your pussy gather at the base of his cock. “Always so wet and pliant, taking everything I give you like a good fucking girl.”

He started thrusting more rapidly and erratically. The fingers that had been gripping your hips clenched even more tightly than before, as if he was afraid you may vanish at any moment and leave him without an orgasm.

“Copia! You - fuck! - You’re gonna make me cu-cum!” You could feel your toes curling in your shoes, your brain turning to mush at the feeling of him rearranging your insides like he hadn’t done before.

“Tell me, please, amore! Tell me how much you love this cock.”

“Copia, n-nobody could… compare! Nobody could ever… make me cum… like you. Fuck, Copia, I’m so close. Please!” You continued to work yourself into a frenzy, rubbing quickly over your clit and applying more pressure, your other hand gripping onto the edge of the desk so tightly your knuckles were turning white.

Your cunt cinched tighter around him, making him feel almost choked. As you reached your peak, it became extremely hard for him to move inside of you. Copia felt his knees turn to jelly from the force of his body, forcing him to thrust within you one last time before spilling his load into your twitching hole, a strangled groan falling from his throat as he bent at the waist, sweaty forehead resting on your back while he was emptying himself into you.

But he wasn’t done with you yet.

He pulled out of you, ignoring your whine at the loss of connection. You turned your body as much as you could to watch Copia fall to his knees behind you, groping your ass cheeks and pushing them upwards, in turn spreading your labia apart and watching as his cum spilled from you like honey from a wand. “So fucking filthy for me, amore. What a gift for me, eh? I was blessed by the Dark One, no?” With his hands still pulling your body apart, he dove into your cunt, licking the dripping cum from your hole first before playing with your sensitive clit when he’d deemed your labia clean enough.

His tongue came down on your hole again causing you to cry out in sensitivity as he dipped his tongue inside you, scooping out his seed and swallowing everything he’d gathered. The one hand that played with your clit was now tangled in his salt and pepper hair, pushing him deeper into your pussy as it screamed for a second release.

“Amore, does my tongue feel that good?” He tormented you with his remarks, stroking over your clit with his gloved fingers in place of his mouth for a little while. “It’s that good that I could make you cry like that? Merda! Listen to yourself.” To prove his point, he started to suck on your clit more forcefully, making the squelch of your heat louder with each rough move.

Following his actions you tried again to stifle your cries by biting your lower lip, but it didn’t work. Instead, your cum leaked out of your body onto his face, soaking his moustache as you came a second time. He was moaning at your taste, and you could hear him slurping everything up, like he was sipping from a water fountain. It wasn’t until you physically pushed him away, your body exhausted and shaking that he finally stopped tormenting you with his tongue, and backed up.

Like an old man usually would, he groaned as he stood up from his knees, gripping onto the desk to help him stand as his own body wasn’t responding as it should. You chuckled at him, a lazy laugh spilling from your lips as you watched him rest against the desk, tucking his soft cock back beneath his clothes. His breathing was heavy and ragged, and his chin still glistened with your release, his hands not wiping him clean yet for reasons unbeknownst to you. So, you fought with your own weakness to stand in front of him, and kissed him, your tongue popping out from behind your lips and licking up your juices from his lips. Once you pulled away, you rubbed your thumb over his chin and wiped up the excess of your cum, sucking it into your mouth.

“You shouldn’t do things like that,” he complained, “I’m too tired to fuck you again. Give me a few minutes.”

You laughed. “Rest and recover, old man.” You said, tapping his chest with your hand. You began to pull your panties back up and make yourself presentable. “What brought all that on?”

Copia explained his reasoning for coming to find you, that he didn’t intend on fucking you within an inch of your life, but he saw you and he had too much energy, too much adrenaline, he just couldn’t help himself. You listened intently, affectionately holding onto his arm and pressing soft kisses there every now and then. It wasn’t until he’d been silent for a few seconds that you realised tears were beginning to fall from his eyes.

“I’m sorry,” he blubbed upon noticing you’d seen him, “I’m so sorry.”

Copia’s sudden apology caught you off guard. You reached up, gently wiping away the tears from his eyes. Concern crept into your voice as you asked, “What’s wrong, Copia? Why are you sorry?”

He took a deep breath, trying to compose himself. “I… I just can’t believe how much I’ve hurt you. I don’t deserve your forgiveness, but I want it so badly.”

Your heart ached at the vulnerability in his eyes. You sat beside him, placing a comforting hand on his shoulder. “We can work through this, okay? We can figure things out together.”

He nodded, appreciating your understanding. “I love you, ___,” he confessed, his voice laced with sincerity. “I’ve never felt this way before, and I don’t want to lose you.”

You smiled, leaning in to kiss his forehead. “I love you too, Copia. But…”

He cried a little harder. “No, please, no ‘but’. Anything but that…”

“Sister Evelyn’s still going to be your Prime Mover. And I don’t want to be your mistress and share you with other people. Not like that, anyway.”

He wiped a tear from his cheek and rubbed his nose with his glove, taking a sniff before he spoke again. “I never wanted her in the first place. And I don’t intend on going through the ritual with her. I didn’t to begin with, and I definitely don’t now. Please don’t walk away from me.” He pulled you into a tight embrace, holding onto you as if afraid you might slip away. In that moment, you both clung to the hope that love could conquer the challenges you faced, no matter how complicated they seemed.

You could feel a storm approaching as the weight of Copia’s remarks hung in the air. Even after his sincere admission and your mutual hug, an overwhelming feeling of doubt clouded your relationship. You could not deny the truth of Sister Evelyn’s existence in Copia’s life as he clung to you.

“I can’t promise everything will be okay, Copia,” you whispered, your voice barely audible over the silence that followed. “I want to believe in us, but it’s hard when there’s someone else in the picture. And with Sister Imperator pushing for this, I don’t see how we can get passed this.”

Copia’s grip tightened, a mix of desperation and fear painted across his features. “I know I messed up, and I’m willing to do whatever it takes to make things right. Please, don’t leave me.”

Your heart ached at his plea, torn between the love you felt for him and the reality of the situation. “Copia, I need time. I need time to process everything and figure out what’s best for both of us.”

He pulled away slightly, his eyes searching yours for any sign of certainty. “Time,” he repeated, his voice carrying the weight of the unknown.

You nodded, tears welling up in your own eyes. “I don’t want to lose you, Copia. But I can’t be with you if it means sharing you with someone else. It’s just too much.”

A pained expression crossed Copia’s face, his emotions on full display. “What if… listen, the full moon and the ritual is in two days. Once the ritual is completed, nothing can change it. No Sister Imperator, no Sister Evelyn, no one. What if I performed it with you?”

Copia’s idea lingered in the air, an intriguing yet unsettling proposition. The weight of his words fell on the room, and you couldn’t help but feel a mixture of unease and want. The prospect of sharing such an intimate ritual with Copia sparked hope, but the history of grief and betrayal threw a shadow over the decision.

Your glance met his, looking for genuineness in his eyes. “The rite, Copia, is a sacred and binding ceremony. This isn’t something to take lightly. Are you sure that this is what you want? And can we honestly move on from what has happened?”

He nodded, a determined expression on his face. “I’ve never been more sure of anything in my life. A life with you matters more to me than anything else.”

Despite your concerns, the honesty in Copia’s voice touched your heart. The thought of rewriting the story and starting again seemed appealing. However, the scars of the past warned of caution.“I want to believe in us, Copia,” you said, lowering your tone. “I’m scared. Is it possible for us to move passed everything that happened between us?”

Copia’s hand gently caressed your cheek. “I know it’s not going to be easy. It’s too late to undo the harm I caused you. But I’m willing to go to any length to get back what we had.”

His vulnerability mirrored yours, and for a brief time, you sensed a real yearning for redemption. The thought of standing at Copia’s side during the ceremony, rewriting the tale together, gave you a sense of hope. “One day, Copia. One day to think about it,” you said, your eyes locked with his. “If we’re going to do this, we need to be certain. No more secrets, no more pain.”

He nodded, understanding the weight of your words. “I’ll give you the time you need, ___.”

He kissed your hand and left the room, butterflies forming once more in his stomach. Copia couldn’t ignore the feelings of nervousness and optimism that swirled in his gut as he left your office. The weight of the coming ritual, the decision hanging in the balance, and the frailty of your connection all played out in his head like a symphony of doubts.

Copia returned to his office and slammed the door behind him, providing a brief respite from the turmoil outside. The room felt both familiar and foreign, reflecting his emotional rollercoaster ride. He took a deep breath, hoping to calm himself. His heart was warmed by the hope that lingered from your conversation. The thought of starting again and correcting the past with you by his side was a light in the shadows. Copia slumped on his desk, his thoughts racing with possibilities, worries, and a desire for a better future. For the first time in a long time, he felt a flicker of hope. The notion of sharing the sacred ceremony with you held out the potential of a new beginning. His ambition was fueled by a real desire to repair what had been broken.

As the night of the ceremony approached, the mood in the Ministry became electrified with excitement. The corridors were alive with whispered talks, and the air was thick with the weight of approaching events. The faithful assembled, dressed in ceremonial attire, and made their way to the Basilica di Lilith for the long-awaited ritual between Copia and Sister Evelyn.

You could feel the tension in the air like a physical force among the wave of followers. After careful consideration and talks with Riley and Aisha, the choice to carry out the rite alongside Copia was made. While the uncertainty persisted, a calm resolve grew within you. This was your night, the first night of many where you would be beside the man you loved - provided all went according to plan, of course.

Copia’s Ghouls had split, and the one half had made their way to a secret, smaller chapel in the Papa’s quarters: the Cappella di Venus, named after another woman who had been demonised by the Catholic Church, based from mistranslations, as usual. Catholics mistaking Venus rising before the Sun, bringing light to the world before the Sun had woken and drowned Her out, they had taken this to be a metaphor for the Devil challenging God, and in turn destroying everything She had, just as they had done for countless women throughout time; Hypatia, Jezebel, Lilith, Eve, Delilah. The list went on.

The Cappella di Venus, located in the heart of the Papal Quarters, radiated a sense of intimacy and secret that contrasted dramatically with the grandiosity of the Basilica di Lilith. Despite its modest size, the chapel was opulent and splendorous, providing a more private sanctuary for the Upper Clergy’s private rites.

The chapel’s entryway was embellished with beautifully carved wooden doors containing occult symbols. When these doors swung wide, they revealed an area that glistened with an otherworldly brilliance. The chapel was bathed in a warm and intimate brilliance from soft lights emanating from exquisite candelabras carefully positioned along the walls.

The architecture of the church reflected a bygone era, with vaulted ceilings covered in brilliantly coloured murals depicting scenes of celestial beauty. Every surface was embellished with gold highlights and intricate filigree, catching and reflecting the dancing candlelight. The air was fragrant with incense, producing an unearthly atmosphere that seemed to transcend the terrestrial realm.

The chapel’s centrepiece was a magnificent altar made of polished marble veined with deep crimson and ivory tones. A tapestry portraying the Emeritus bloodline’s symbol hung behind the altar, a quiet homage to the sacred lineage that ruled the ministry.

A life-sized statue of Venus, the venerated figure of love and beauty, presided over the chapel’s focal point. The statue was meticulously carved from marble and showed Venus with a calm look, carrying symbols of love and grace. Candlelight threw subtle shadows on the statue, giving the impression of movement within the stone.

The chapel’s velvet-cushioned pews formed a semicircle around the altar, creating an intimate atmosphere for the limited few who had access to this secret sanctuary. The chapel’s walls were embellished with stained glass windows representing images of historical significance to the Church, and tales from Venus’ mythology, transforming the ambient light into a kaleidoscope of colours that danced across the polished surfaces.

As you and the Ghouls took your places in the dimly lit chapel, the excitement in the air was obvious. Aisha and Riley stood by your side, bringing a mix of comfort and shared concern. The flowing shadows formed by the flickering candlelight created an atmosphere imbued with both mystery and holiness.

The atmosphere in the chapel appeared to increase in tensity as the minutes passed. The gentle rustle of velvet as Aisha shifted alongside you, as well as the occasional exchanged looks with Riley, expressed the shared fear. You cast sidelong looks towards the entryway, the carved wooden doors closed, separating you from the imminent ritual.

The Ghouls lined the chapel with solemn looks, dressed in their ceremonial attire. Their veiled features betrayed no emotion, adding to the seriousness of the situation. It was a dramatic contrast to the turmoil you were experiencing.

You couldn’t shake the feeling that Copia wouldn’t arrive on time, that circumstances beyond anyone’s control would derail the meticulously prepared arrangements. The weight of the impending rite pressed in on you, increasing the anxiety with each passing second.

Everyone’s attention was drawn to the sound of footsteps echoing in the corridor outside the chapel. The oak doors creaked open gently, exposing Copia standing there in his scarlet cardinal robes, the remainder of his Ghouls following behind him. As you caught his gaze, a rush of relief washed over you, but it was quickly replaced by a surge of anxiety. His eyes were a mix of tenacity and vulnerability, expressing the turmoil of his emotions.

Copia entered the chapel with measured steps, the doors closing behind him with a soft thud. The Ghouls separated to make way for him as he approached. The mood shifted, the coming ritual’s heaviness settling over the chapel like a heavy shield.

He took your hands into his as Aisha took her spot between the two of you, and placed a kiss on the back of them. “Sorry I’m late,” he said, “I had to dodge a few Sibling latecomers.”

“You’re here now, that’s all that matters.” You said, a smile on your red lips.

Aisha sighed. “It won’t be long before Imperator figures out what’s going on, can we get started please?”

In secret, Aisha had taken a white candle and carved it on two sides, one with the symbol of Venus, the other with the symbol of Lucifer - together representing the freedom to love whomever one chooses. The candle was placed in a dish, similar in shape to a martini glass (but the bowl was rounder and the stem was a little shorter) and while you and Copia held it, Aisha lit the candle. “May the Father guide you on your future together,” Aisha said as the candle began to burn down, “and may the Lover bless your union in Her name.” The candle would continue burning after the ceremony had been completed, and once it had burned away, it was said that the remaining smoke would help to bless the couple, and banish negative spirits.

A special oil had been concocted the day before, too, this time by Riley. Using the same book that Aisha was reading from during the ceremony, Riley had crafted an oil known to enhance love and bring abundance, made from roses, patchouli and vanilla, as a symbolic gesture to boost passion, and create a magnetic energy that drew people together. After the candle had begun burning, Aisha took the condiment-sized bowl filled with the oil, and drew the Satanic Cross over yours and Copia’s forehead, right where your third eye would be. “May Lucifer protect you and your union from outside evil.”

Venus, personified in the statue that overlooking the event, cast an ethereal gaze upon it. The warm glimmer of candlelight reflected off the Goddess’s marble face, granting Her presence an unearthly atmosphere, while the light of the full moon bathed the chapel in the rainbow of colours, as if she was bearing witness alongside Venus as well as lending Her power to the ceremony.

You and Copia swapped rings as the rite neared its conclusion, a symbolic union that Satanism kept given its roots in ancient Roman weddings. The ring planned for Sister Evelyn was now on your finger, already blessed and ready for a life bound to an Emeritus.

As the rite came to a close, you and Copia kissed, confirming the tie formed in the sacred chamber of the Cappella di Venus. The bond felt profound, a joining of fates that resisted the tyranny of a false prophecy. The kiss embodied relief, an unconscious acknowledgment that, for that brief moment, the outside world and its difficulties had vanished.

You could feel a gentle presence lingering in the chapel after the rite, as if the ghosts of Venus, Lucifer, and Lilith Themselves were looking over the unhallowed site. The energy left behind was a harmonic blend of celestial elements, and the flickering candlelight seemed to dance with renewed life.

It was done - and no one was able to stop or break it.

Barely thirty minutes after the ritual had completed, chaos broke loose. The consequences of your secret ritual were sure to make an appearance that night, given the fact that Copia had jilted his initial Prime Mover at the altar, and ruined the ritual for another month, but that was before Sisters Imperator and Evelyn had discovered the ritual had already been completed with another woman. They both came charging into Copia’s home - now yours, too - unannounced, Sister Evelyn’s red dress flowing behind her like a hellish princess only to find you and Copia entangled in each other’s arms after enjoying one another’s bodies, the blessed ring nestled comfortably on your finger and an uncharacteristic, shit-eating grin on Copia’s face.

The air crackled with unspoken tension as Sister Imperator’s stern expression deepened.

“What is the meaning of this?” Sister Imperator’s voice cut through the room like a whip. “Copia, explain yourself.”

Copia remained where he was, uncaring who saw you wrapped in his arms. You were both covered by sheets, but even still he felt both exposed yet powerful. “Isn’t it obvious? I chose ___ as my Prime Mover. The ritual has been completed.”

Sister Evelyn’s eyes flickered with a mixture of fury and hurt. “You… you betrayed me, Copia?”

Copia’s grin faded slightly, almost guilty. “Betrayal implies there was trust to begin with. I never intended to go through that ritual with you, Eve, and you know that. I suppose your father will be pissed, though.”

“Of course, he wants the best for me.”

Copia flinched, a cockiness coming from somewhere he’d never used before. It was turning you on to see, if you were being honest with yourself. “Will you tell her, or do I have to? Not fair to keep her in the dark now, is it, Sister?”

Sister Evelyn’s expression shifted from hurt to simmering anger. Her eyes bore into Copia, a storm of conflicting emotions playing out on her face. The revelation of her father’s involvement added another layer of complexity to the unfolding drama.

“I will handle this,” Sister Imperator interjected, her tone firm and commanding. “Evelyn, leave us. I need to speak with Copia alone.”

“No,” Sister Evelyn demanded, “someone is going to tell me what’s going on before I lose my shit at all of you! I’ve been jilted, humiliated and betrayed and now I demand some fucking answers!”

Copia’s defiance wavered for a moment, but then he sighed. “The prophecy is a farce, Eve. It was all a huge lie to get me in power so she could do what she wanted with the Church and your father could get a bit of control.”

“Her dad?” You gasped from beside Copia, earning you a slight chuckle from him. “Oh shit, that explains it.”

While he spoke, he still held onto you, his fingers stroking up and down your bare back softly. “The three sixes in a prophecy is for the antichrist, not for you.”

Sister Evelyn’s anger intensified at the revelation, and she shot a venomous glare at Sister Imperator. “Is this true?” She demanded, her voice sharp and accusatory.

Sister Imperator, ever composed, met Sister Evelyn’s gaze without flinching. “The prophecy was a means to an end, Evelyn. The emergence of the antichrist is crucial for the Church’s future. Copia’s ascension was a necessary step.”

Evelyn’s eyes widened, her disbelief evident. “But I thought… I thought I was meant to be his Prime Mover.”

Copia’s grip on you tightened, a silent reassurance amidst the unfolding chaos. “You were a pawn in this, just like me. I never wanted the ‘Papa’ role, I’m certainly no antichrist, and I’m sorry your fate was tangled up in this so your father could gain some power. Go, be free. Enjoy a new life with fewer responsibilities.”

Sister Evelyn, caught between hurt and anger, took a step back. “I can’t believe I let myself be manipulated like this.” She looked directly at Sister Imperator. “Fuck you. For all of this!”

“Hey, Eve?” Copia said, his voice gentle but the same shit-eating grin appearing on it as before. “We’re looking for a new Cardinal to fill the role in the Upper Clergy - how about it? A bit unconventional but I think you could do well, no?”

Sister Evelyn smiled, eyes never leaving Sister Imperator’s. “I’ll take it.”

Sister Imperator’s nostrils flared, her displeasure evident. She turned back to Copia, angrier than ever. “This disobedience will not be tolerated. You will face the consequences.”

“How?” You said, finally joining in on the conversation to deliver the final blow. “Exposing him means exposing you, too. Would you really want to risk it, Sister?”

A tense silence filled the room as Sister Imperator assessed the situation, her steely gaze shifting between Copia, Sister Evelyn, and you. The balance of power teetered on the brink, and the impending clash of wills hung in the air like a storm about to break. She hated not having the upper hand, not being in control and dominating the underlings. She was, however, a smart woman, who knew when to cut her losses and concede. But if either of you thought this would end here, you’d be wrong. She’d be back with something else, some other way to exert her power and control. But for now she simply muttered, “This isn’t over!” And stormed out, like the world’s worst Scooby Doo villain.

Sister Evelyn, no… Cardinal Evelyn, now with a pep in her step bid the both of you goodbye with the promise of seeing Copia on Monday to make good on his word, leaving the both of you alone in your marital bed.

You climbed on top of Copia’s lap, the bedsheets falling from your body and exposing your nakedness to him in all your glory. “You know, that confidence was very hot of you, Cardinal.” You said, your voice teasing and suggestive.

Copia laughed. “Oh was it, now?”

“Mhmm.”

“How hot?”

“Let me show you.”

And with that, you leaned down and kissed him, a passionate kiss that had him growing hard beneath you again, refractory period now over and ready to take you one final time before you both slept.

Previous Part ⛧ Next Part

Hello, everyone! Mel here.

I just wanted to thank everyone for your continued support since I started posting Kinktober last year, but also now with Lost in Translation. It really means the world to me that you not only read my fics, but also leave comments and share it around, so thank you so, so much! Truly, you don't know how much this means to me.

I also want to thank @zombiesnips-blog for her commission, for her saintly patience, and for trusting me with her idea. This was an incredibly fun piece to work on and I cannot wait for the rest of you to see the next fic we have planned, which will be coming soon!

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theia-eos · 1 year ago

Note

Hello!

small question about "shadows of the crimean liberation"

in chapter 11 how come Janaff and Ulki didn't recognize Soren as a black dragon branded? I understand for story reasons but you mention specifically that they don't know even after meeting Deghinsea and Kurthnaga in Goldoa so I was wondering if there was another reason too?

Ah, thank you for asking! I do plan to go into it more in other stories, but since it would be from the point of view of characters who don't have the whole picture, I'm happy to provide a top down view.

There a few components to consider.

The first being that Micaiah and Soren recognize that there is something powerful and ancient within each other respectively during Radiant Dawn.

Soren: The Maiden of Dawn… What are you? One of the Branded, that’s for sure. But there is something else about you… Power. Yes, I can feel it in you. You possess great power. Micaiah: Yes, and you would know. There’s something very different about you, too. Your energy feels so…ancient. You and I seem to have so much in common. Radiant Dawn, "Blood Contract," Chapter 3-13

So there is some ancient energy within Soren, this is clear foreshadowing to Soren being descended from the Ancient Black Dragon King himself. Micaiah having some unique great power is a likely reference to her being the apostle and having inherited Lehran's ability to hear the Voice of the Goddess and awaken the goddesses.

The other, and most important, component is that Tibarn, Naesala, Reyson, and Caineghis all go to the meeting with Deghinsea and Kurthnaga, and presumably Ranulf, Janaff, Ulki, and Nealuchi all accompany their kings. Many of them speak to, with, and are around Soren, and none of them notice in the game. This despite Tibarn saying later on in Radiant Dawn that:

Tibarn: That Almedha is a formidable woman. At first I doubted her claim that she was the daughter of that useless old lizard. But even I had trouble holding her down. Me! She’s no ordinary beorc woman, that’s for sure. Elincia: I agree. Lady Almedha and Prince Kurthnaga share a striking resemblance, as well. Not just their faces, but their mannerisms, too. Tibarn: Is that how beorc spot blood relations? We laguz use scent, mainly. Speaking of which, something has been bothering me about Almedha. She has no distinct scent. It’s as if she is neither beorc nor laguz. Elincia: She actually told me something that I wanted to ask you about. She said that she lost her power when she became pregnant with King Pelleas. Radiant Dawn, "Unforgivable Sin," Chapter 4-5

The Extended Scripts expand on it a bit more

[ティバーン] そうか…ベオクはそうやって判断するのか。▼ [エリンシア] ラグズは、どうなさるんですか？▼ [ティバーン] 主に匂いだな。▼ ラグズとベオクは大きく違うし、ラグズの中でも種に応じて違う。 …俺たちはそうやって個体を見分ける。▼ が、あのアムリタという女は…… どこかおかしい。▼ Radiant Dawn, "Unforgivable Sin," Chapter 4-5

The basic gist being that each type of laguz has its own unique type of scent in addition to the major difference in scent between laguz and beorc. You can read a fan translation by the always lovely amielleon here.

Tibarn also remarks a few sentences later (fan translation, again, provided by amielleon) that "Parentless" have a scent closer to a beorc.

[ティバーン] 黒竜王がベオクと交わったとでも？それは、天地がひっくりかえってもありえねえ話だろうぜ。▼ ”親無し”は、むしろベオクに近い匂いがするって話だ。それでもないから…分からん。▼ Radiant Dawn, "Unforgivable Sin," Chapter 4-5

But that clearly means they have elements of both laguz and beorc in their scent, just more beorc than laguz. (This makes it clear why laguz who aren't in the know, like Skrimir or Vika, could mistake a Branded for a beorc, but Tibarn is clearly in the know and can pick up on however small that differentiation is).

And yet no one, not even he-who-spoils-the-Black-Knight-reveal-almost-certainly-based-on-scent-alone Ranulf, notices that Soren is dragon branded, let alone related to Dheginsea or Kurthnaga. Or if they do, they are weirdly and uncharacteristically quiet about it. Which some of them would be quiet (Ranulf is more of a quiet investigator, but even he has moments of cheek "I know what your secret is" [though maybe he's just trying not to upset Soren by keeping quiet]), and others (especially Tibarn) would never be quiet about that tidbit of information ("You'd let your own grandson die by sending us back to the Kauku Caves?" [I love Tibarn, but if he knew, he'd say something for certain when they're in Goldoa in Radiant Dawn, despite the fact that the revelation would kill Soren on the spot(of mortification)]).

So, why does Pelleas have to figure it out? Kurthnaga travels with the Greil Mercenaries in Part 4 and can fight alongside Soren in the Tower, and yet, nothing??? His own nephew is right there, and nothing???

I have nothing, no really good info from the games, so I have to come up with my own answers based on what little we do get.

So back to why can't anyone recognize what Soren's scent is. If the games don't give me the info I want, then I'll make it up.

Well. as Tibarn says, Almedha has no scent that is distinctive of either beorc or laguz. Beorc and laguz have different scents, and the different tribes have their own unique notes as well.

I've decided that the "beorc scent" is of different varities of metals (copper, gold, silver, tin, etc.) and the "laguz scent" is more earthy. Beast tribes being herbal (I reference lions having a basil note later on in that story), bird tribes being more air/water (herons smelling of petrichor, ravens like a storm, etc.), and dragons being stony (black dragons having a subtle clay scent, etc.). Soren mostly gains the metallic scent of beorc, as Tibarn describes, and since laguz have difficulty smelling anything beyond metal scents, the more subtle earthen smell is lost, they just know it's not all beorc if they're more aware than the average laguz.

In addition to that, he has an ancient power from his maternal grandfather within him that Micaiah can sense., and Reyson can also sense to a smaller degree. Maybe it alters Soren's scent a little, maybe not. I'm undecided as of right now.

So Soren just sits there, being a little enigma, because you would have to get up close and personal and smell him to get the obscured notes of his dragon scent, and no laguz is doing that. (Would be funny if the dragon laguz scent notes were stronger in his breath since he's a dragon. Like he just sighs very heavily because of someone annoying him and Ranulf or someone else with a sensitve sense of smell sitting next to him is like "!!!").

And that's why no one can tell he's black dragon for the moment.

#fe9/10 #fe9 #fe10 #tellius #fire emblem path of radiance #path of radiance #fire emblem radiant dawn #radiant dawn #fire emblem #taking fantasy settings too seriously #mostly just headcanons #The amount of canon material used in this post #is equivalent to the amount of flavor in La Croix #its there #but not really

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marmota-b · 11 months ago

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Redemption Arcs, Christian hegemony, and why I don't like the former term as often applied

This discussion around redemption and suffering and characters earning their redemption by suffering has been floating around for quite a while, and I’m not a Tumblr user (well, I am now) so I occasionally came across it, and then lost track of it again. It was very, very interesting and thought-provoking, and it sat at the background of my musings for quite a while, until I decided that I still feel strongly about it, strongly enough to join Tumblr and add my two cents (well, given the length of what I ended up with, more like twenty dollars). But I lost track of the original posts I reacted to, so I’m sorry if some of this ended up a bit confusing. I still want to share it because - you may be surprised, but as a Christian, I actually agree wholeheartedly: this idea about redemption arcs and suffering is wrong and needs to go away.

(I still use the term in AO3 tags, because it's an established tag, but I decided to start using my preferred term, too, where applicable. Also, the idea that characters earn redemption by suffering? Heck no, that's not going to happen in my stories - and if you see them sliding into something resembling it, without making clear the nuances I get into below, I BEG YOU to point it out to me.)

Because I would argue that what it says is not based in Christianity at all, it's actually directly contrary to Christianity.

TL;DR: It's not a Christian idea because there is a distinct lack of Christ in it. And we should call it the repentance arc.

Since I wrote the basis of this whole thing in my own notes years ago, I have also come across the term “Atonement Arc”, and how the idea of atonement is rooted in Jewish traditions. I haven’t really read through the discussions of it yet, but I believe the main gist is that the latter has to do with making amends while the former can be passive. And, well, despite the differences, Christianity stems from Judaism so it actually still maintains some of the same ideas - or at least the version of it I grew up in does. So I have zero problems with this distinction, I agree. I just disagree with many people's careless usage of the term redemption. Therefore I maintain that the sort of thing in fiction people are railing against and that we’re used to calling Redemption Arcs should be called Repentance Arcs, and this is a discussion of why. And why you may still use the term Redemption Arc in some very specific instances. Please do read the long version, because the above will hopefully make a lot more sense if you do, and I suspect various aspects of Christianity (and the whole big contradictory mess of various churches) may also begin to make more sense if you do.

Another needed forewarning so you know exactly where I’m coming from: I’m not Catholic. I’m Czech, and a member of the Evangelical Church of Czech Brethren, which, an immediate warning to those familiar with (American) evangelicals, is NOT THAT either, it’s just a bit of a translation hitch that got codified in the English version of my church’s name. The short of it is that we’re a bit of a unicorn and actually came about by unifying different strands of Protestant Christianity, are currently on the liberal side of things, and reside in a country that’s currently overwhelmingly agnostic. So, not Catholic, not evangelical in the English meaning of the word. I suspect a lot of the ideas that may lead to this particular idea about redemption are specifically Catholic(-adjacent), or maybe in some cases may stem from the “us versus the world” attitude evangelicals in the English sense often adopt (which does also seem to make them maybe particularly fond of certain aspects of early Christianity that I will touch on below), and I cannot really comment on either end of the spectrum from an insider POV - what you get here is the POV of someone who knows just enough to possibly be able to pinpoint it exactly, or possibly get it entirely wrong.

All I can say on that subject is that if these ideas do officially exist in Roman Catholicism, it’s probably exactly why there are so many other Christian churches that don’t agree with Roman Catholicism, see Final Notes waaay below. Also, from what I do know of Roman Catholicism, if the idea does officially exist, there’s probably a lot of theological legalism and subsequent zig-zagging around its own limitations that got them there, and it quite likely does not mean entirely what people think it means. My own church gets out of a lot of those theological legalisms and meanderings that other churches can get mired in by openly accepting several different historical creeds and essentially answering many “either-or” dogmatic questions with “Both. Both is good.” While it can make us annoyingly lukewarm about a lot of things, it does help in maintaining a degree of healthy scepticism about human conclusions about God. Two sides of the same coin, really.

Anyway.

The idea of earning your redemption through suffering is definitely an attractive narrative idea; I’ve definitely succumbed to its dubious charms myself many times, and probably will again in the future. But what it actually says about redemption isn’t at its core a Christian idea. It’s just our baser instincts appropriating Christian language; it’s a twisted idea that seems Christian on the surface but isn’t at all at its core. It’s not Christian faith that tells you you have to suffer to earn your redemption; it’s the lack thereof, it’s an insufficiency of faith.

What this idea about “redemption arcs” says is that you can, or indeed that you have to, earn your own redemption on your own.

What Christianity actually says is “You can’t, but you do not have to fear and fret because Jesus did it for you.”

The response to that, then, is repentance: recognising you did something wrong, and atoning for it by making amends and sinning no more.

So, yeah, Christianity doesn’t negate that at all - at least not Christianity as I know it. (Jesus doesn’t tell people “go, it’s okay to do whatever you like now,” nor, ahem, “go and get yourself killed”; he says “go and sin no more.”) Roughly speaking, and take this as my own lay interpretation of course, what Christianity says in opposition to other religions is that your redemption for all eternity and the reparation of your relationship with God isn’t necessarily dependent on how well you manage to make amends before you die, or whether other people accept your efforts, and other things like that that you may not always be able to do anything about. (Can you predict the time of your own death to time your atonement wisely? Of course not.) It can be okay between you and God if you accept that it is because He chose to give you that chance; and now it’s simply up to you to go and act the part.

Zacheus is an exemplary New Testament case hitting all those beats like clockwork. Jesus chooses to visit him; and it’s only after that is already decided that Zacheus announces his intention to make amends and change his ways. We have zero indication that Zacheus suffered anything beyond a change in lifestyle; but at the same time, the story would not be what it is without Zacheus deciding on that change. It’s a sort of mutual process that reflects back and forth, and both sides do their part, but Jesus starts the process.

(My own lay interpretation; but I have heard pretty much this exact description of the relationship between God and people as being started by God but from that point onwards being mutually reflective, from both a Catholic deacon and a minister of my own amalgamated Czech Protestant church, so I think it’s safe to say it’s a more universally Christian idea.)

And Jesus speaks about being given to save mankind, he speaks about the need to repent or else perish, he tells stories about people being saved by someone else’s intervention. In all of that, I don’t recall him ever saying “you need to suffer for your redemption.” Suffering is a result of not being redeemed, or just of living in a broken world, not a prerequisite for redemption.

I think this whole notion above of how the popular idea of suffering for your redemption isn’t really Christian at all may also be a bit clearer to me because I’m Czech and you basically can’t say “redemption arc” in Czech to describe a character’s individual story arc. The Czech term for “redemption” retains the original meaning of “to redeem”: “to buy out (of a bond/punishment)”. And the reflexive form of the verb (“to redeem oneself”)... doesn’t really happen much in Czech. Maybe because we actually have a verb for “to become/make yourself better (in behaviour)” instead that could well be used in the non-religious contexts for that process? But the language does also reflect the fact that you usually need a separate Redeemer for that transaction to take place.

That’s a bit of a language aside (my hobby horse), but it does point out some important things regarding the Christian idea of redemption: It is, so to speak, a transaction where the sinner is an object, not the primary actor. Which sounds kind of weird summed up this way but - the primary actor is exactly where the two ideas about redemption clash, and why, as a Christian, I wholeheartedly agree with the distinction between redemption and atonement.

What’s Christian, admittedly, is the idea that some suffering is involved in the transaction; but the whole point of Christianity is that it isn’t the sinner who suffers it. Without that central idea, it’s not Christianity - if there’s no Redeemer involved, there’s no Christ for Christianity to be named after in the first place!

Of course, most fictional universes lack such a Redeemer, and that’s probably where our baser instincts clamouring for blood crowd back in. I think the existence of those instincts is basically why Christianity does involve the element of suffering: People kind of instinctively know that some offences cannot be so easily swept away. For some people it’s very personal. But that presence of suffering in Christianity is still a message of hope and reconciliation - if both sides can accept it.

If not, I think it’s actually equally a message of hope for the victims in that God knows what it’s like.

There is also, admittedly, some talk of “suffering with Christ”; but as far as I can remember, the people explaining Christianity in biblical times always present it as a consequence / choice, not a prerequisite. I also need to point out the use of “with Christ” rather than “instead of” (duh). I strongly suspect that kind of talk was at least partially a result of the fact that in the beginning of Christianity, the likelihood of you suffering for it was pretty high. (It still is in some parts of the world, isn't it? Also, while we're on the subject, kriff off to some American evangelicals who know next to nothing about the rest of the world and think they're being persecuted.)

Speaking of which, I believe I do actually have something of an idea where Roman Catholicism may have gotten its martyrdom for redemption tendencies, and how that may have filtered down into a much cruder idea that forgets a Redeemer exists. There’s a concept of “baptism of blood” in Roman Catholicism. This comes from stories of early Christianity and persecution of Christians (and I guess also persecution of Christians in other parts of the world in later eras), about people who became Christian by belief but were killed before they were baptised. In other words, it’s a legal loophole for the technicality demanding baptism for salvation. As you may guess… I’m personally a bit wary of thinking God can’t see someone is a believer if they happen to yet not be baptised. As I said, Catholics probably got there by somewhat convoluted theological meanderings. For all I know it probably started out as a reassurance for the loved ones of such people.

It’s easy to see how someone (the whole of the Roman Catholic church, sarcasm adds) can get carried away by such stories of martyrs, and kind of forget that it’s not the death but the belief that matters most. It becomes an aspirational trope instead of an explanation of harsh realities.

One thing to bear in mind here is also that a lot of “Hollywood Christianity” is about as accurate as “Hollywood history” - I guess they often go hand in hand, too. A lot of the things in popular culture, ideas and imagery that you might think are inherently Christian, are in fact more of a fanfiction of a fanfiction of a fanfiction of a fanfiction, where the original fanfic is most likely Paradise Lost or medieval legends steeped in eclecticism. In other words, nothing involved in that chain of inspiration is actually Biblical canon. Or maybe, in some cases, it is one particular aspect of one specific branch of Christianity and its theology, magnified out of proportion. So… maybe roughly Christian in origin, yes, but not at all representative of Christianity’s core beliefs. (Much like, say, the Golem legend is one of the most famous and “typical” Jewish narratives out there, but it hardly has anything to do with the life and faith of practising Jews nowadays, and the various riffs on it in popular culture even less so. I think that’s one pronouncement about another religion I can make safely.)

So, yeah, from my position as a Christian, the term “redemption arc” needs to go - unless there actually is a Redeemer.

(Come to think of it, I may have to start using an Atonement tag on AO3, too, where applicable.)

It’s safe to say that Edmund in Narnia does have a redemption arc; but as that’s the case, it’s also important to note in this context that he in fact lives to apply its lessons. An actual redemption arc does not require the penitent’s death.

An argument could perhaps be made for Darth Vader having a redemption arc, but absolutely not because he dies in the process; it’s because he is loved despite everything and finally chooses to respond to that love. He might arguably have an even better redemption arc if he actually stayed alive like Edmund does (although I guess his death is a neat tying off of loose ends from other narrative standpoints. It’s the sort of thing one could, and fandom does, argue about for decades.)

On the other hand, Kallus in Star Wars: Rebels has a repentance / atonement arc, and it’s a very good one in my opinion. He doesn’t earn his redemption by suffering, he suffers because he’s chosen to make amends and do better from now on and the odds he faces are too high. It’s sort of acknowledged in the show itself, I think, when Kanan tells him “Thank you for risking everything.” Kallus’ risking everything wasn’t a way for him to earn his redemption; it was a sign of his already being one of the good guys now, and so he is thanked for his efforts, because they do count, they don’t exist just to balance his account to zero.

The same applies to Edmund, in fact: he goes on to face the White Witch in battle, and he nearly dies in the process, but that’s actually after Aslan’s sacrifice (and after he’s had his one-on-one conversation with Aslan), and he’s in danger simply because the Witch is a powerful opponent and Aslan’s intervention has given him the courage to fight her to begin with.

I’m trying to figure out where that other famous repenting dead, Boromir, falls in all this; but I think you could make the same argument even there. Boromir sees his fast-approaching death as a failure in the face of overwhelming odds; Aragorn reassures him that he did not fail, that he had in fact won, because he did turn back from the Ring’s influence and chose to do the right thing, regardless of consequences. (I’m speaking about the book here because that’s the version of events I’m closely familiar with.)

With all that said and laid bare, I think I now actually have an idea of how this whole situation may, in fact, have originated in Christianity. But it would have happened in a very indirect manner, with false turns along the way.

Aside from the “baptism of blood” technicality, I think the main source of this annoying trope may be one that kind of got degraded and lost some of its crucial components, especially the faith involved, over time. You see, in openly Christian works, you may get a dying repentant who dies in peace and reconciliation. But the point is, that happens because of the Christian idea that the relationship between you and God is what matters the most. So if you recognise your sins and actively regret and accept God’s forgiveness, that’s what matters the most, so it does not matter that you’re dying and will never get the chance to set things right in this world. It’s a comforting thought; it’s a thought that reassures you that even if you decide to change and then get hit by a car and die the very next day, or the very decision to do the right thing is immediately costing your life, the decision to change was not for naught. And in an openly Christian work, some variation on that may be stated outright.

But then it also may not be stated outright if a Christian writer assumes they’re writing for a Christian audience who knows that.

(The one instance that stands out to me clearly, and that helped me see it for what it is, is Old Wabble in Karl May’s books. KM may be problematic in many respects, but at least here he went out and had his characters say what he meant instead of just relying on a trope.)

From there, of course, it’s only one step to the Boromir situation, where the work itself isn’t exactly openly Christian but the author is and is operating in that mindset. ( It also does support the thought that Darth Vader’s repentance/redemption arc is rooted in Christian ideas and tropes. I’m not really refuting the fact that the trope is probably Christian in origin - I’m criticising its execution in most cases that dilutes those Christian origins and leads to frankly dangerous ideas about the nature of redemption / repentance. And the nature of Christianity.)

Here the problem begins, because then non-Christian authors (or Christian writers who don’t think things through) pick up the narrative device without the underlying thought.

And then you reverse-engineer the underlying thought from the prevalent trope and get it exactly wrong.

So, again, I propose the latter term: We should call it the repentance arc. It hits the beats that pretty much all such character arcs need to hit - even the ones where you might argue for the presence of a Redeemer. The point is the changing of one's attitude, not the suffering. And it’s actually a more accurate term for Christianity, too, one that won’t lead Christians to believe things they shouldn’t. (Just how much suffering is enough? As a Christian, you should not think that way.) So it’s an overall much better term for all sides.

Unless, of course, other religions have other takes on this and disagree with that particular term, in which case we might have to keep looking.

On that note, I also wonder, and can’t really comment on, where other European religions and belief systems like those of Ancient Greece and Rome or the Celts or Old Norse fall on this issue. Because I also think a lot of “culturally Christian but actually not rooted in Christianity” ideas from European/white society may actually originate from that whole period when becoming officially Christian was politically expedient (whether for prestige or safety), and so you got a whole load of Europeans who were officially Christian but retained a lot of their old worldviews. Bang, you get a weird eclectic mixture of contradictory things nowadays called “Christian Europe”. Like, say, the whole Arthurian cycle; there is a lot in there that, as a non-medieval Christian raised on a diet of the Bible and Czech Protestant tradition, I look at and go “what the heck is that even supposed to be?!”

(C.S. Lewis calls some of Augustine's opinions "pagan hangover", which, if you forgive the term "pagan", is quite hilarious, and might be fairly accurate for a lot of "Christian" European culture. I'm not saying that it doesn't form a big part of Christian tradition - just that it's often not a very essential part of it, and that after two thousand years we can probably safely say getting rid of a lot of it doesn't make us not-Christian. And vice versa, clinging too close to some of it does carry the danger of making us barely Christian at all.)

Final Notes:

This owes a lot to Mere Christianity by C.S. Lewis (although the "pagan hangover" above is from Four Loves). It also owes a lot to my lived experience as a Christian in a church that pays quite a lot of heed to the written word, which paradoxically means it’s rather hard for me to pinpoint my sources. Some sort of textual criticism has been par for the course since childhood, and tends to form a crucial part of what sermons are like in my church (look at a text, compare it to its original form or different translations, compare to context and similar texts, compare to cultural background, draw conclusions on what the Bible is actually saying and what it might be saying to us today). So I have a lot of this critical thinking internalised and can’t remember where I came by it.

And: I’m no theologian, but since this has already turned into “Christianity 101”, and because it feels thematically relevant, this is also exactly why the idea of Purgatory - and potentially also selling indulgences for the Purgatory - is controversial and not at all universally embraced by all Christians. The latter phenomenon’s shtick of “you may have to suffer for your redemption but if you pay us money we promise you some of it will be shaved off” is, of course, super controversial and I believe basically the original reason Western Christianity fell apart in the late Middle Ages/Early Modern Age. (We started the actual falling apart here in Czechia, I think I can claim a degree of lay expertise on the subject.)

Purgatory, in itself, is one of the things I mentioned above as things in “Hollywood Christianity” that are far more than Christian in general actually one particular aspect of one particular strand of Christianity, magnified out of proportion - I suspect even in Roman Catholicism, most people nowadays don’t think about the Purgatory too much on an everyday basis; it’s not what the core of their belief hinges on. Meanwhile, as far as I can tell from limited exposure, Purgatory in popular culture is very often basically a “Christian” (emphasis on quotation marks) version of the Greek netherworld where Sisyfos keeps pushing his boulder and Orpheus may descend into it to rescue his Eurydice but then there are also demons and devils because the writer wants to eat the cake and also keep it, in terms of what tropes and cultural influences to use. (And by this point these tropes are so deeply entrenched in popular culture that most writers probably don’t realise that’s what they’re doing.)

So, yeah, just because something in popular culture is “Christian” does not mean that a practising Christian will recognise its shape, or that they won’t roll their eyes at it or cringe heavily over explicit or implicit ideas that hit far and wide of what Christianity is actually about. Because goodness do I cringe. The “Christian hegemony” often isn’t good for Christians, either.

Well. I think that's about the extent of the twenty dollars my ADHD brain came up with. I hope it helps at least some people see things from a different perspective.

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trenphimdang · 2 years ago

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artist spotlight | Ngọt

Ngọt is a four-member pop rock from viet nam formed in 2013. they continue to push the boundaries of viet nam's musical landscape with their unique sound and music. their songs are rich in nostalgia that cause listeners (me) to melancholically yearn for a distant past; like a sweet dream you abruptly wake up from, forgetting exactly what happened but remembering the feelings that did happen. Ngọt captures this exact feeling well in their music.

Mấy Khi (2022)

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this is the song that got me into Ngọt. Mấy Khi, or "once in a while," (note: this phrase is difficult to translate so i am giving you the gist of what it means) is a song that celebrates the feeling of liberation and freedom, unrestricted by the stresses from life. in the true ethos of punk music, this song resists and opposes oppressive institutions. the group disparages the value of money, by first indicting the debilitating stress of not ever having enough money and the stress of debt in this late-capitalist world and second, mourning the little time we have with the people we love in life.

"mình không mấy khi gần nhau lâu" (i won't directly translate this line into english as i believe doing so would be negligent of the beauty of this line) this line essentially asks "when is the next time we will be together?" i love that this song both grapples with the suffering under a capitalist world yet also illuminates viable ways of living: to love, to cherish, to be free. and thus, my love for this group began.

LẦN CUỐI (2019)

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i would be deeply remiss, even disrespectful, to not honor this song with its own section. if i had a dollar for every time i listened to this song and dropped to my knees, eyes wet, clutching my heart ululating the second chorus, i would have enough money to rent out the largest music stadium in asia for a private concert. i can only dream of experiencing this song reverberate across a stadium both lacerating the walls and healing it with its painfully sweet lyrics. LẦN CUỐI, or "LAST TIME," is a requiem for a freshly ended relationship; two people resigned to a failed relationship scratched with unforgettable pain yet sutured together by moments of deep love and care. lần cuối is not only a song but a painting.

my knees go weak when the soft lines "cay đắng nhưng không đau," or "bitter but it does not hurt" echo in my ear. translation does not capture the resignation, the moment of reluctant acceptance of letting go, of release. it is about holding memories of love and pain close to our hearts to simultaneously remember and to let go.

this song embodies the genuine spirit of "i am sorry."

afterword

i hope this post encourages you check out Ngọt. if not, i hope this post offers you some insight into the diverse musical landscape in viet nam.

as always, thank you for reading. i greatly appreciate your time and attention.

with warmth,

phim

p.s all these songs can be found under the "phim's playlist" tab on the homepage. the link will redirect you to a youtube playlist :)

#ngot #vpop #vpoprock

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unhingedkorean · 5 months ago

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Korean Protest Songs (in solidarity with Palestine)

In the spirit of solidarity for Palestine, I would like to offer two Korean songs dedicated for the martyrs of violent oppression. (From our own government... but we inherited our fight from the liberationists that fought against Japanese colonization.) I can only provide English translations, but I hope this effectively conveys the solidarity I have for Palestinians.

The free world demands free Palestine.

Marching for Our Beloved

This song was originally created for two of the victims of Gwangju Uprising Massacre. It is also sung at most leftist protests in South Korea. Other countries have translated and sang this song for their protests, e. g. 2016 China Airlines strike, Hong Kong protests, Myanmar Spring Revolution.

1982 original recording

the words said in the beginning before the song begins:

우리가 죽음을 이기고 합쳐지듯이 남녘땅과 북녘땅이 합쳐지소서 just as we defeat death and become united may the southern land and the northern land be united

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a newer version by labor activist and musician Choi Do-eun

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The lyrics are as follows. The versions vary a little because it was primarily spread underground due to government censorship, but the gist is the same.

사랑도 명예도 이름도 남김없이 한평생 나가자던 뜨거운 맹세 동지는 간데없고 깃발만 나부껴 새날이 올 때까지 흔들리지 말자 세월은 흘러가도 산천은 안다 깨어나서 외치는 끝없는 함성 앞서서 가나니 산 자여 따르라 앞서서 가나니 산 자여 따르라

And my own English translation with some poetic liberties:

no love, no honor, no name to leave behind a burning oath to keep going forward our entire lives comrade is nowhere to be seen, only the flag flutters let us not waver until the new day comes the time will pass by, but the mountains and the rivers know the endless roar of the awoken lead the way and the living will follow lead the way and the living will follow

Song of Wildfire

This is a tribute to a labor acitivist who died from torture by intelligence agency

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밤새 내렸던 빗물에 젖어 어느새 들판에 초록빛의 노래 추운 겨울에 눈보라 치면 들불로 타오른 해방의 노래 타다 꺼지면 이몸 마저도 재가 되도록 붉게 타오르리라 이땅의 민중 민주의 그 날은 눈물과 피의 꽃이 만발하리라 캄캄한 어둠의 질곡 속에 불꽃으로 타오르라 타다 꺼지면 이몸 마저도 재가 되도록 붉게 타오르리라 먼훗날 노동 해방의 그 날은 반동의 피로 붉게 도색하리라 해방의 찬란한 길목에서 불꽃으로 타오르라 먼훗날 노동 해방의 그 날은 반동의 피로 붉게 도색하리라 해방의 찬란한 길목에서 불꽃으로 타오르라 해방의 찬란한 길목에서 불꽃으로 타오르라

my English translation with some poetic liberties:

wet from the rainfall all night already a green song on the grass field in the cold winter when the blizzard hits a song of liberation ablaze in wildfire if the fire goes out, even this body will burn up red into ashes on the day of people's democracy on this land the flowers of tears and blood will blossom everywhere in the turmoil of darkness, burn up into flames if the fire goes out, even this body will burn up red into ashes the day of workers' liberation will be painted red with the blood of the reactionaries be the flame that blazes the glorious path to freedom on the day of workers' liberation will be painted red with the blood of the reactionaries be the flame that blazes the glorious path to freedom be the flame that blazes the glorious path to freedom

#free palestine

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etto-etto · 2 years ago

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Nothing consistent about this, but I thought I might start sharing some of the unfamiliar grammar points I come across -- if it helps anyone, cool! But I’m also hoping it’ll help cement the grammar a little more firmly into my own memory. There might be a few different uses of individual grammar points I note down, but the meanings I share are ones based on the context I find them in. I’m also perpetually learning, so I’ll be up front about anything I’m uncertain about and always welcome corrections. ♡

真相に追るたび、二人の大切な仲間たちが生命の危機にさらされていく。(x - synopsis from the 2023 film with Sakurai Sho and Hirose Suzu who play detectives Kazama Naoki and Mikami Anna respectively)

・たびに or たび Meaning: each time〜; every time〜; whenever〜 | Bunpro ☆ Maggie

In this case, there is no に -- and most places show examples using the full adverbial form only, so I wasn’t sure if this interpretation was correct until I read Maggie Sensei’s post (thank you). She says に is sometimes dropped in formal writing and speech, but the meaning stays the same, which is: every time/whenever I do (A), (B) happens.

So in my example sentence, 真相に追るたび is saying whenever (Naoki and Anna) pursue the truth... 二人の大切な仲間たちが生命の危機にさらされていく happens. (Which I am interpreting as: (Whenever Anna and Naoki pursue the truth...) the lives of close friends are put at risk.)

京都を舞台に、イケメンだけど何をするにもワンテンポ早いハジメと、ワンテンポ遅くて周囲のペースから微妙にズレてしまうレイカが、消えた1日をめぐって不器用��恋を繰り広げる。(x)

・をめぐって

Meaning: concerning〜; in regard to〜; about〜 | JLPT Sensei ☆ Takoboto ☆ Imabi

Imabi provides some extra notes on the usage here -- it’s stiff language, and it can sometimes be used in a more literal sense (of passing through or around places), but it more often refers to ‘surrounding’ something that is often translated as “concerning〜”. “In a sense you are surrounding something in an interest and describing it.”

To brutishly translate “消えた1日をめぐって不器用な恋を繰り広げる,” I’ll say a clumsy or awkward romance develops in regards to or concerning a lost day... But to be a little liberal: Set in Kyoto, 1 Byou Saki no Kare tells the story of an awkward romance between the attractive, fast-paced Hajime and Reika, the little sloth that could, when (the memory of) an entire day goes missing.

It’s difficult for me to understand this in a ‘surrounding with interest’ concept, but... ・・・私、頑張っているよね ʅ(ツ)ʃ

映画制作にまつわる人々の奮闘、脚本のもとになった取材先での感動秘話などがフィクションと“湯ーモア”たっぷりに描かれる。(x)

・にまつわる Meaning: related/relating to, associated with, connected to | Bunpro ☆ JLPT Sensei ☆ Nani Blog

The にまつわる grammar point is sandwiched between two nouns (so AにまつわるB), to say B is related to A. In this case, noun A = 映画制作 (film production) and noun B = 人々の奮闘 (everyone’s hard effort), so: 映画制作にまつわる人々の奮闘 = the hard work of everyone involved in the production of this film...

・もとになる Meaning: become the basis for, become the foundation of (noun phrase) | Kanshudo

Ha ha, well, I don’t like this sentence! As much as I searched, I only found the one explanation with one example, so I did what I normally do: look it up on google or twitter for in-the-wild examples. It’s all good, I get it -- AもとになるB, so B is the foundation of A. But, I don’t understand what 湯ーモア means, I’m not sure how to best understand 取材先 in this context, and I’m confused on how to fit in the first part of the sentence for comprehension. So,

Depicting plenty of fiction and “hot water(??),” stories (like the ones shared?) at interviews became the basis of the script

is my gist! Which might be totally wrong! --Moving on!

#japanese langblr #studyblr #japanese grammar #たびに #たび #をめぐって #にまつわる #もとになる #grammartime!#grammar: gt #mangogrammar

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chiaki-translation · 5 years ago

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R Tasuku [Eggplant’s Great Harvest] Backstage Story

It’s been a while, I’ve been distracted by other stuffs and I’m going to start school soon. So I might not be as consistent as before (Not like I’ve ever been consistent though). But yeah, I took some time to fix the spacing in the previous posts too because somehow there are weird spacings popping out when I transfer the script from words to Tumblr. But yeah, I decided to continue with the Yabatan Vegetable series and here we go, with Tasuku and his eggplants~ Summary:

Tasuku is harvesting eggplants. (What else can I say really?)

I’m referring to this card this time:

Disclaimer:

A3! is owned by Liber Entertainment

Translation is under the cut~

The Present is Snacks for Sake

Translator’s Note: I’m really stuck with the title of this Backstage Story but I think that should be the gist of it.

Grandfather:

There’re only 5 days left for your help.

It’s been a great help you give every single day.

Tasuku:

No, I’ve been getting a lot of experience too.

Grandfather:

If that’s the case, really thank you.

Then, for today, is it alright to ask you to plow this field?

Tasuku:

Alright.

Is it okay to use this hoe over here?

Grandfather:

I don’t mind.

Tasuku-san is so strong and reliable.

Tasuku:

You can leave all the heavy work to me.

Granfather:

Then, I’ll leave it to you.

Tasuku:

Yes.

Tasuku:

…. Fuh, I guess that’s it.

Kazunari:

Oh, Tax, aren’t you a pro!

Sakuya:

So you’re plowing the field!

Tasuku:

It’s you guys, what do you come here for.

Kazunari:

It’s going to be lunch soon, we come here to call you.

Sakuya:

Director and the others are cooking the meals.

Tasuku:

It’s already this timing.

When you put the heart and effort to work in the field, time sure flies by fast.

Kazunari:

I know~!

Without realizing it, it’s already time.

Sakuya:

That’s true!

Then, the meals after working hard will be very delicious.

Tasuku:

That’s true.

Then, let’s go.

Director:

Welcome back, good work.

Meal is ready.

Kazunari:

Oh, what a gorgeous looking lunch!

Sakuya:

Woah, the salad, the miso soup, and everything else looks delicious!

Grandmother:

It’s not much, but please eat as much as you like.

Everyone:

Itadakimasu!

Tasuku:

It’s good.

Kazunari:

Right~ With this, let’s work hard in the afternoon too~!

Director:

Fufu, that’s great.

Tasuku:

The director was preparing food, but what were you two doing before this?

Kazunari:

Me and Sakusaku were watering and fertilizing the plants together.

Sakuya:

We had a bit of times left, so we pulled out some weeds too. I feel really happy looking at the beautiful fields afterwards!

Director:

I kinda get that feeling.

There’s something like a sense of achievement right.

Tasuku:

By the way, what can I help with in the afternoon?

Grandfather:

Then, let’s go and harvest the eggplant.

There are a lot of them so we can all go and do it together.

I’ll show you the way when everyone’s done with lunch.

Tasuku:

Alright.

Grandfather:

This will be the eggplant field.

Kazunari:

Oh, so big!

Tasuku:

Is it alright to cut it using this scissor?

Grandfather:

That’s right.

There are some thorns on the heels, so be careful over there.

Sakuya:

Understood!

Grandfather:

There are a lot of eggplants, if you would like to, you can also bring some back as souvenirs.

Director:

Eh, is it really alright?

Grandfather:

By all means, please try eating those you picked up yourself at home.

Director:

Thank you so much.

Kazunari:

Yes! I will have to request Omimi to make some eggplant dishes later.

Sakuya:

If it’s Omi-san, I’m sure he would be able to make a lot of different dishes.

Tasuku:

It seems like it’s going to be a good snacks for Sake.

Director:

Fufu, I’m looking forward to it.

Tasuku:

… We got quite a lot.

Kazunari:

It’s already overflowing from the crate!

Grandfather:

Really, I wouldn’t be able to harvest this much without your help. Thank you.

I will pack it up by the end of the day, so make sure to bring home lots of them.

Tasuku:

Sorry for the trouble.

I’ll help you out for the packing too.

Sakuya:

I’ll help out too!

Grandfather:

Thank you. That’ll help.

Tasuku:

The life in the farm sure is good, but as I thought, the dorm is the most comfortable place.

Tsumugi:

Ah, Tasuku, welcome back.

Azuma:

So you’re finally back. Good work for the past 1 week.

Homare:

Tasuku-kun, I feel that you’re getting more and more muscly.

Tasuku:

I’m back.

… by the way, what’s Winter Troupe doing gathering around here?

Guy:

It’s a good idea to change atmosphere sometimes, so Yukishiro invited us to drink outside today.

Hisoka:

Tasuku’s seat is there.

Tasuku:

Ah.

Tsumugi:

So how’s your farming experience?

Tasuku:

Right, it’s pretty interesting.

There are a lot of heavy works, so it makes a good physical training too.

Azuma:

Fufu, that’s Tasuku for you.

Homare:

Oya, what’s that bag over there?

Tasuku:

Ah, I got a lot of eggplants from them.

Azuma:

Eggplants…

Tasuku:

--Right, should we make something with this to go along with Sake?

Guy:

That sounds good. Is it alright for me to try, I can make something with this Zahran’s spice.

Hisoka:

Guy’s cooking repertoire is getting wider each day.

Homare:

Sounds great. I’ll be looking forward to it, Guy-san.

Tsumugi:

It’s still fresh, so even simple dishes like grilled eggplant sounds good.

Tasuku:

Yeah, that’s good.

We should have enough to make everything.

Azuma:

…

Tasuku:

… Azuma-san?

Azuma:

My bad, Tasuku, but I have to pass from this.

Guy:

Yukishiro?

Azuma:

Sorry, I’ve gotten sleepy somehow so I’ll take my leave first.

Homare:

… What happened suddenly?

Hisoka:

Azuma, I don’t think he’s feeling sleepy.

Tsumugi:

Ah…

Now that I remember, Azuma-san doesn’t like eggplant right.

Tasuku:

Ah.

You’re right, now I feel bad somehow…

#a3!#tasuku takato #a3! translation #a3! act! addict! actors!#a3! backstage #a3! backstory

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suraanahita · 5 years ago

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Ashem Vohu.

“aṣ̌əm vohū vahištəm astī

uštā astī uštā ahmāi

hyat̰ aṣ̌āi vahištāi aṣ̌əm!”

—

Ashem vohu vahishtem

asti ushta asti ahmai

hyat ashai vahishtai ashem

—

Ashem Vohu is the one of the most sacred Zoroastrian manthras. We find it in Y 27.14. Along with the Yatha Ahu Vairyo, Yenghae Hatam, and Airyaman ishyo, they form the 4 pillars of the Gathic canon. It is usually reccommended to recite this 12 or 3 times (whenever it is read).

By it, we invoke the three best forces of this existence: Asha (excellence, ultimate truth, divine order; God’s very self), Vohuman/Vohu (right-minded thought, good thinking/mind; goodness), and Ushta (happiness of the heart and soul, blissful ecstasy; a beaming early light or joyful sunrise).

There are many translations and interpretations of the above prayer. Although the general gist of it is:

“Righteousness is the best virtue

(and) it is happiness

Happiness comes to the person

Who is righteous for the sake of it!”

I’d like to delve a bit into this lovely and poetic prayer.

“Ashem, ashai” is Asha. Asha is cosmic truth or order. It generally has 7 aspects or facets to it: Righteousness, Order, Beauty, Truth, Purity, Law, and Freedom.

Asha or Arta is cognate of Sanskrit “Rta”, “order/truth”. From root “Ár” it means “to fit in rightly, to be orderly”. It means a brilliance, an excellence and great goodness; the very self of Ahura Mazda.

As an Amesha Spenta, Asha is represented as Asha Vahishta (who is written here as well: “Ashai Vahishtai”), the best or most good truth. The element of this divinity is Fire, because like Fire, Truth burns away Druj (the lie), it brightens our lives and keeps us protected, nourished, and warmed. It inspires us; it illuminates the mind. To be a follower of Divine Truth, to be at peace and oneness with creation and God’s way, to live according to that which is truly right is Asha.

“Vohu, Vahishtem, Vahishtai” (adj.) is that which is wondrous and extremely good. It is a virtue that is superb. Although subtly, this is connected to Vohu Manah, the all-great Universal/Divine mind. It was by Vohu Manah that Zarathustra encountered Ahura Mazda. Manah from root “man” is “mind” or conscious/spirit.

This “spirit” is endowed with such a radiance. It is like a higher sense, a spiritual wisdom. In other words, it is the “good mind” that innately knows and understands and can grasp the light of God.

“Asti” means “to be”; “is”. It is an affirmation.

“Ahmai” is translated as “to us”, to the Zoroastrians, to the people and creatures of the world. To whomever is saying this sacred chant.

“Hyat” is invocation to the power of the Manthra. Along the lines of “it shall be”, or “to it ___”.

Finally, my favourite, “Ushta”. Ushta is “happiness”. But it’s not just a material happiness... It is a spiritual or blissful one. A newer and refreshed state of being.

I mentioned above the “sunrise” or “early light”. This is because the word Ushta is given a derivation from “Hausōs”, the Proto-Indo-European goddess of the dawn (cognate with Vedic Ushas, who plays a similar role, as the victorious bringer of the dawn/dawn’s sunlight). Alternatively, ushta may be derived from ish/ishta, meaning ‘wish’, or desire.

The emphasis on Dawn (Av. Ushah) is associated with renewal, brilliance, driving out darkness, and re-establishing divine order (Av. Asha). The IE root *aus means “to shine”, “to be bright”.

Ushta thus means a radiant happiness. A liberation or awakening from the veil of night. A shining inner contentment.

And so, to finalize everything...

Living according to (Divine) Truth is the most good, the best of all virtues, and it is by such a mindful virtue that happiness of the soul is ultimately experienced. Such bliss comes to those who are Truthful/Righteous for the sheer desire to be or do so.

- - -

“Having said this, Ashem Vohu further proclaims: it is therefore the bounden duty of Ye, the humans to tread on the Path of Asha, so that you will attain Freedom, Frashogard, Mukti.”

- - -

#zoroastrianism #zoroastrian #asha #amesha spenta #frashogard = frashokeriti which is the cosmic renewal (in our eschatology)#mukti/mokti is spiritual liberation #in case anyone is wondering #not my quote btw but the article did not have the author’s name... for some reason

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warsofasoiaf · 6 years ago

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Geopolitics for Writers and Worldbuilders - Part 1: The Players

The essence of worldbuilding always boils down to an essential question: “Will my reader immerse himself or herself in this world?” There are plenty of schools of thought as to how and why this immersion occurs, but a core component is a certain threshold of believability. Entities within the fictional world do not necessarily have to correspond to the rules of the physical world, but they should follow internal rules that are clear, coherent for the reader to understand, and consistent from one moment to the next.

A world is complex, vast thing, and plenty of writers pale at the thought of crafting a large, believable world. This apprehension is perfectly rational: the real world is terrifyingly complex, to the point where entire historical and analytical careers can be built on exploring the facets of one small region in one small part of history, and even the well-documented, recent past can seem distant. This response leads many to not bother trying, convinced of their own failure, or to exert minimal effort, acting under the assumption that they could not hope to possibly generate a believable world and so focusing instead upon crafting the story itself, hoping the characters, action, or prose sell the story over the worldbuilding itself.

This doesn’t have to be the case; a writer can (and demonstrably have) been able to develop a believable geopolitical world for his or her stories to take place in, from fiction novels to comic books, from tabletop roleplaying to video games, where fans write essays and entire literature groups debate components of the fictional world with all the enthusiasm of real-world historians. Whatever the medium, all it requires is the time, the will, and a bit of knowledge to anchor the writer’s ideas. I cannot give anyone time, and I cannot force the will, but I might be able to provide an anchor.

Who Are You? Heads of State and the Nation as a Character

Before any question of geopolitical relationship between nations can come up, the nations themselves have to be built, which is no small task. Even the name “nation” can be considered a misnomer, depending on the time period of the novel. The technological limitations of the world could mean that a political entity could be a Stone Age tribe, a kingdom administered by a feudal warlord and held in dynastic succession, or a remote mining colony on a distant asteroid containing some rare mineral. Even more radically, a group of people bound by a common focal point such as a non-governmental organization or medieval mercenary company could be considered to act as a group. None of these would be considered nations in the modern sense of the world, but as a unit they take actions and have actions taking place upon them, so for the sake of this essay, they qualify, and will be referred to as “nations” throughout.

While there are always exceptions that prove rules, in general, the less technologically advanced a nation is, the more the nation is bound in individuals, and thus the personal becomes political. In more modern societies, particularly after the birth of modern nations, institutions take the place of the personal. While still having its leaders and notable figures, institutions tend to be more static, in the way that a single man is more capable of changing direction than a formation of men. These institutions can still be thought of as characters for the purpose of worldbuilding, but their efforts are geared less towards individuals than they are toward other institutions. As an example, revolutionary movements attempt to overthrow and replace governments; personalization of a hated government figure is a useful tool for these movements, but the ultimate goal often transcends one individual and focuses upon an institution or idea, at least in theory.

It’s worth mentioning specifically that what goes into determining a foreign policy depends greatly on the people who are in charge of making decisions, and this state of affairs changed significantly over the course of history. While researching the mechanisms of a specific time period can help with the particulars of worldbuiding, for a general gist, the head of state and his or her advisors are the primary decision makers. This does not mean that only a small number of people make decisions. In a modern liberal democracy, a head of state is answerable in some way to the electors with their own opinions; stray too far and a politician doesn’t get voted back in. A politician is also answerable their political party and their donors, and any foreign ministry or state department will have a small army of analysts for every department and dimension, all who have their own ideas which will range to all points on the map and in every method from foreign aid to trade policy to tools of political intimidation. Domestic non-political bodies of interest and foreign governments will employ their own analysts and lobbyists, donate to sympathetic politicians, and stage political stunts in an attempt to fulfill their objectives. Any or all of these individuals could be interesting characters, or create interesting drama in any world waiting to be built.

These individuals, then, must be built and built well for them to be able to influence the world in a way that’s both believable and interesting. Their characters, once built, can translate who they are into how they act on the world stage. Aggressive and bellicose personalities might posture aggressively toward their neighbors and rivals. A timid leader might be afraid to take chances, and might pass on an opportunity that a more cavalier leader would pounce upon, perhaps without even thinking. Idealists may attempt high-minded policy, whereas pragmatists might scoff at pursuing impossible abstracts. Combined with aspects of the nation itself - such as the availability of resources, economic and military conditions, and any lingering disasters, these options can give a writer a cornucopia of writing material to work with. Since the end-state of the worldbuilding procedure is the jumping-off point for a novel or other creative work, an author works both backwards from the beginning point of his or her writing project and forwards from the bare bones of the setting and genre.

Similarly, the shape of a government often determines the techniques used by that government. In pre-modern times, dynastic monarchy was the norm, and so the continuity of government was dependent on the monarch having children to inherit the reins of government. Thus, marriage and adoption became techniques of foreign policy, as these actions did actually have serious influence on the actions and succession of the government. So the techniques of government continuity, whether they be succession, elections, or petty warlordism, matter for the purposes of creating believable geopolitics, and must be considered.

In sum, a good way to help simplify the process of creating believable geopolitics is to treat the nation itself as a character, with important characters within it being treated as personality traits or competing desires and goals. The interactivity between personalized nations helps whittle down the scale and make the task seem less herculean. An idealistic nation becomes an idealistic person, whose actions are performed through charitable foregin aid instead of personal donations, who commits to funding wildlife preserve efforts instead of volunteering one weekend a month at a local animal shelter. A cynical nation practicing realpolitik becomes a cynical character, suspicious of others. A paranoid nation produces domestic propaganda and engages in far-reaching espionage the same way a paranoid individual is suspicious of motives and develops rationalizations for interactions in his or her own personal life.

What Do We Want? Determining the Strategic Objectives of a Nation

If shifting alliances, espionage, and other geopolitical intrigue forms the meat of geopolitical thriller, then determining strategic objectives are the bones of any good geopolitical world. A strategic objective is a long-term goal, and in terms of a nation it is often an ongoing process, the pursuit and maintenance in the face of ever-changing circumstances and operational constraints. It is a vital aspect of your worldbuilding; if a reader constantly says “this makes no sense,” the story suffers from poor communication of strategic objectives, even despite quality prose and spectacular character building. If a story loses coherence, it can pull readers out of the story, even making them put down the work for something else.

In order to avoid this outcome, it’s important to remember these questions: what is the expected gain, and how critical is achieving this objective. Once these are figured out, then comes what is the nation doing, and why is it doing this course of action and not something else. This seems counterintuitive, it seems logical to determine what a nation is doing before outlining what it seeks to gain, but decision-making doesn’t work that way. Determining national policy first and foremost means identifying the desired end state, and then working toward it, not establishing policy and looking to reach a goal.

The first objective that the nation needs to take into account is its own survival. A nation wants to persist and wants to take rational action to continue to persist and to maintain itself. Actions taken to this effect include securing borders, pacifying internal unrest, and securing critical resources to sustain an economy. Take into account the strengths of relative neighbors and their ability to project their own power, as much of the main strategic thinking of a nation consists in factoring how its neighbors might act. A small nation might be frightened at a powerful rival pursuing an expansionary policy, while a powerful nation might weigh the benefits and weaknesses of taking over a smaller neighbor, either by establishing it as a protectorate, a vassal, or outright conquest. More complicated scenarios might involve two nations of relatively equal power looking to project themselves as stronger than they really are to deter a suspected invasion, or a nation holding a critical pass playing two rival nations off each other in order to maintain some semblance of independence. A nation with a rare, critical commodity might use trade exclusivity as a means of establishing strength, or threaten to destroy it as a nuclear option to stave off invasion. Nations might secure a system of border forts at critical passes, even incorporating them into toll collection and anti-smuggling efforts to preserve their borders from low-level threats and provide early warning for large-scale efforts. It’s rare, however, that security is exclusively defensive. Nations would employ both diplomats gather information in neighboring countries and to advance their own interests, and employ spies and informants to ensure that they have access to as accurate information as possible to make the most informed decision possible for their nation.

Culture factors into these developments, as it often determine what actions would be considered acceptable or unacceptable. The right of conquest in the modern era is considered an unacceptable justification, an act of unprovoked, naked aggression inviting international condemnation and retribution, but in another time it was considered acceptable. A nation that lacked the military capacity to defend its own borders or its people was once considered not worth the authority it held because it did not enforce peace and stability. The goal is to make the logic clear and consistent, a world lives and dies by the rules the author sets for it.

After securing its survival, a nation will often focus on expanding power to become a regional hegemon. At its most simple, this development is a logical progression and extrapolation from the notion of survival; it is easier to maintain survival when the nation possesses the most power, has much more operational flexibility to pursue its interest, and can react to unexpected circumstances. This idea should not descend to mere militarism: the most successful nations throughout history blended diplomatic power, alliance-building, economic aptitude, trade policy, and military force to create a multi-faceted apparatus of power, a hydra capable of maintaining regional security in the interest of the nation. Military matters will always remain an aspect of concern, if for no other reason than there will inevitably be situations where the nation will have to resort to its military, such as fending off a foreign invasion or handling domestic unrest.

Under the balance of power theory, threatened states band together to form an entity capable of resisting the strength of a regional hegemon. This scenario might be a natural place for an author to start, for a variety of reasons. Primarily Western readers with a smattering of half-remembered history might remember something about the Great Power colonial struggles of England, France, and Spain, the various coalitions of European powers that fought Napoleon Bonaparte, or the feuding city-states of Athens, Sparta, and Thebes in Classical-Era Greece, forming a connection from literature to reader that stirs interest. Similarly, an alliance offers an easy in to portray different nations represented across the author’s world without the need to invest large portions of time on the political wranglings and intricacies that might drag down the prose, and comes pre-loaded with its own conflict to drive story beats within the novel itself. There is a large Big Bad, there is a coalition of smaller nations who are often more naturally sympathetic, and one character can be introduced as a means to personalize the worldbuilding, each hand-built as a representative from each of the nations to emphasize the culture, outlook, and quirks as they interplay off one another. This is a veteran trope, developed everywhere from the Last Alliance of Elves and Men or the Alliance of the Free Peoples in the Lord of the Rings to the Alliance of Lordaeron in Warcraft II. The real history of this is muddled, Rome and Qin China became regional superpowers, but the Congress of Vienna represents a real effort to establish a European balance of powers, so aspiring worldbuilders should neither feel obligated to use this idea nor should they reject it as unrealistic and fanciful.

When the nation becomes secure, it does not mean that the nation can rest easy. Indeed, history demonstrates that maintaining a pre-eminent status is difficult and tedious; however, the alternative is a slip into obscurity in the best case, or left open to a critical vulnerability in more pessimistic circumstances. So a regional hegemon still has plenty of things to do when considering how to secure and maintain its hegemony. Espionage on rivals, securing technological funding to ensure dominance, preventing a coalition of smaller powers, these are all activities a superpower can participate in that can secure its future, and offer rich writing fodder for an aspiring writer within its borders.

I’ll be writing part 2 soon, which will either be alliances and enemies, unless it gets too long in which case I’ll split it into part 2 and 3.

-SLAL

#writing #worldbuilding #essays on writing and worldbuilding

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srinithyananda · 5 years ago

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28 AUGUST 2020, 08:14 PM, FRIDAY - NITHYANANDA SATSANG - ENGLISH GIST *PARAMASHIVA’S MESSAGE DIRECTLY FROM KAILASA: *36 PRINCIPLES OF MY OWN MANIFESTATION, LEARNING BY WHICH YOU WILL INTENSELY MANIFEST MULTIPLE POWERS FOR WHICH YOU ARE HARDWIRED AND GLORIFYING YOUR EXISTENCE AS PARAMASHIVA, MANIFEST YOUR PARAMASHIVATVA. *THE MOST BEAUTIFUL THING ABOUT HINDUISM IS: EVERYTHING IS EXPLAINED ONLY TO MAKE YOU ENLIGHTENED. *DO NOT LEARN ANYTHING WHICH IS NOT DIRECTLY MAKING YOU MANIFEST POWERS AND MOKSHA. *PARAMASHIVA MANIFESTING THROUGH YOUR BODY IS PARAMASHIVATVA. YOU MERGING INTO HIM IS PARAMASHIVA GADHI. EITHER YOU SHOULD BE MANIFESTING PARAMASHIVATVA OR MERGING IN PARAMASHIVA GADHI. *TO ALL MY KIDS, I WANT TO TELL THIS: DO NOT LEARN ANYTHING WHICH IS NOT MOKSHA CENTRIC, PARAMASHIVATVA OR PARAMASHIVA GADHI CENTRIC. *ONE SMALL INCIDENT: MY GURU, YOGANANDA PURI USED TO TELL ME, ‘DON'T EAT IN THE NIGHT TIME. ONCE SUN SETS, DON'T EAT. AFTER SUNSET IF YOU FEEL HUNGER, IT IS FALSE HUNGER.’ *IN TAMIL HE WILL TELL CUTELY, ‘AFTER SUNSET IF YOUR STOMACH FEELS HUNGER, IT IS FALSE HUNGER. DON'T GIVE IT FOOD. TAKE A COLD WET CLOTH. DIP IT IN COLD WATER AND PUT IT ON YOUR STOMACH. IT SHOULD TOUCH YOUR LIVER. THE WHOLE AREA YOU SHOULD COVER AND SLEEP OFF.’ *IN INDIA, THIS IS USED AS DEFINITION OF POVERTY WHERE PEOPLE WOULD SAY, ‘WE DON’T HAVE ENOUGH MONEY FOR FOOD, SO WE JUST PUT WET CLOTH OVER THE STOMACH AND SLEEP.’ IT IS NO MORE A SYMBOL OF POVERTY. IT IS A SYMBOL OF RICHNESS NOW! THIRD RATE, POOR, LOWER MIDDLE CLASS, EAT LIKE A PIG 3 TIMES A DAY. RICH ROYAL KINGS ONCE IN A MONTH! *STOP EATING AFTER SUNSET. DON'T ASSOCIATE FOOD AND RICHNESS. *AFTER SUNSET IF YOU ARE FEELING HUNGRY, YOUR STOMACH IS LYING TO YOU. IT IS FALSE HUNGER. JUST PUT A WET CLOTH ON YOUR STOMACH COVERING UP TO THE LIVER AREA AND SLEEP. ONLY FIRST FEW DAYS YOU MAY STRUGGLE A LITTLE BIT, BUT DO THIS FOR HEALTH. *ONE PERSON ASKED MY GURU, ‘WILL I NOT GET GASTRIC PROBLEM IF I DON’T EAT WHEN I AM FEELING HUNGRY?’ *HE SAID, ‘GASTRIC PROBLEM WON'T KILL YOU. BUT IF YOU EAT AFTER SUNSET, YOU WILL GET LIVER PROBLEM AND DIE!’ *AFTER SUNSET, YOUR BODY HAS ENOUGH FIRE/FUEL, JATARAGNI, ONLY TO BURN WHAT IS ALREADY CONSUMED. *IN DIGESTIVE FIRES, THERE ARE 3 LEVELS. JATARAGNI HAS 3 FORMS OF EXISTENCE. *AFTER SUNSET THE JATARAGNI DOES NOT HAVE THE ENERGY NEEDED TO RECEIVE MORE LOAD. *AMONG THE BRAHMANAS, THE AGNI GOTRIS AND BHARADWAJA GOTRIS - FLYING BRAHMANAS DON’T EAT AFTER SUNSET. IT WAS BHARADWAJA RISHI WHO WROTE THE WHOLE SCIENCE OF FLYING. THOSE BRAHMANAS USED TO FLY AND MOVE FROM PLACE TO PLACE. *HINDUISM HAD BOTH THE MECHANISMS - AS AN INDIVIDUAL WE COULD FLY HAVING A SMALL ATTACHMENT TO THE BODY - AKASHA MARGA - AND WE HAD THE TECHNOLOGY TO FLY AS A GROUP! WE HAD BOTH TECHNOLOGIES, MECHANISMS. *THE ADISHAIVA VELLALAR COMMUNITY AND THE JAIN COMMUNITY DON’T EAT AFTER SUNSET. *NOT EATING AFTER SUNSET IS ONE OF THE MOST INTELLIGENCE KINDLING TECHNIQUES. *EVERY NIGHT, IT IS NOT THAT YOU FALL INTO THE SAME DREAM STATE OR DEEP SLEEP STATE. DEPENDING ON THE CHEMISTRY OF THE BODY ON THAT DAY, THE STATE IN WHICH YOU ARE GOING TO SETTLE DOWN WILL BE DECIDED. *IF THERE IS SO MUCH OF FOOD, TOXINS IN YOUR BODY, NATURALLY YOU WILL FALL INTO THE SHIT STATE. *IF YOU HAVE DONE NIRAHARA SAMYAMA, YOU WILL UNDERSTAND, EVEN YOUR SLEEP WILL BE ROMANTIC, LIGHT, BEAUTIFUL! *WHY YOU LIKE ROMANCE SO MUCH YOU KNOW? IT MAKES YOU LIGHT. IT GIVES YOU JAGRAT-SUSHUPTI EXPERIENCE: THE LIGHTNESS OF SUSHUPTI AND ALIVE FEELING OF JAGRAT! *IF YOU STOP EATING AFTER SUNSET, THE BODY GOES THROUGH SELF CLEANING. I GUARANTEE YOU THAT IN 11 DAYS, THE WHOLE NIGHT, THAT STATE WILL BECOME A ROMANCE KIND OF A SPACE. *STOP EATING AFTER SUNSET. *FROM MORNING TILL NIGHT, WHATEVER YOU DO, DO WITH YOUR ATMA LINGA. YOU WILL SIMPLY SEE THAT IN THE NIGHT, YOU WILL BE CUDDLING PARAMASHIVA, YOU WILL BE SLEEPING IN THE LAP OF PARAMASHIVA! *LESS FOOD OR NO FOOD IN THE STOMACH IN THE NIGHT, KEEPS YOUR WHOLE STATE OF CONSCIOUSNESS PURE. *HALF AN HOUR OF TURIYA STATE OR THE SWEET ROMANCE SPACE, REJUVENATES YOUR BODY AND MIND MORE THAN 10 HOURS OF SLEEP AND DREAM STATE. THE QUANTITY OF YOUR SLEEP WILL DRASTICALLY REDUCE. THE TIME YOU ARE ROLLING ON THE BED WILL DRASTICALLY REDUCE. THE QUALITY OF YOUR REJUVENATED FEELING WILL DRASTICALLY INCREASE. *MY WHOLE LIFE IS FOCUSED ON RAISING THE QUALITY OF YOUR CONSCIOUSNESS. *LAST 26 YEARS, AFTER MY GURUS ORDAINED ME AND GAVE ME THE PEETHA, THE INHERITANCE, THE ONLY WORK I AM DOING, I AM FOCUSSED ON, IS RAISING THE QUALITY OF YOUR EXISTENCE. *KEEP THE STOMACH EMPTY IN THE NIGHT TIME. YOU CAN HAVE COLD WET CLOTH OVER YOUR STOMACH UP TO THE LIVER AREA. IT WILL RAISE THE QUALITY OF YOUR WHOLE CONSCIOUSNESS. YOUR WHOLE SLEEP WILL BE CONVERTED TO MEDITATION TIME AND TURIYA STATE. *IF YOUR STOMACH HAS SO MUCH UNDIGESTED FOOD, SHIT, IF IT IS RUNNING LIKE AN INDUSTRY, IT WILL RUIN YOUR REST, REJUVENATION. IF YOUR JATARAGNI IS CLEAN AND PURE FIRE, AND NOT LOADED, IF IT IS LIKE THE PURE LAMP OF A GARBHA MANDIR OF A TEMPLE, THE WHOLE FIRE WILL REACH THE CROWN CENTER. YOU WILL REACH TURIYA AND TURIYATITA - HIGHEST CONSCIOUS EXISTENCE. *I GUARANTEE: ANYONE WHO DOES NOT EAT AFTER SUNSET LIVES HEALTHY, RICH, LONG LIFE. *HEALTH IS NOTHING BUT A SMART STRATEGY TO BE USEFUL TO OTHERS AND MAKE THE WORLD USEFUL TO YOU. THAT DEVELOPS IN YOUR SYSTEM EVEN IF YOU ENJOY TURIYA AND TURIYATITA STATE FOR A FEW MINUTES A DAY. *WITH NO FOOD IN THE STOMACH AFTER SUNSET, AUTOMATICALLY YOU WILL FALL INTO TURIYA AND TURIYATITA. *I HAVE A SHASTRA PRAMANA FOR YOU FROM SUSHRUTA SAMHITA, 64TH CHAPTER, 85TH SLOKA - सायं प्रातः मनुष्याणाम् अशनं श्रुतिचोदितम्। नान्तरा भोजनं कुर्यात् अग्निहोत्रसमो विधिः।। SĀYAṂ PRĀTAḤ MANUṢYĀṆĀM AŚANAṂ ŚRUTICODITAM। NĀNTARĀ BHOJANAṂ KURYĀT AGNIHOTRASAMO VIDHIḤ।। TRANSLATION HUMAN BEINGS SHOULD EAT (ONLY) IN THE MORNING AND IN THE EVENING, AS PER THE VEDIC INJUNCTION. FOOD SHOULD NOT BE EATEN IN BETWEEN THESE TWO MEAL TIMES. THIS RULE IS EQUAL TO THE RULE OF AGNI HOTRA VIDHI. *I WANT ALL MY DISCIPLES TO FOLLOW THIS. *IF YOU HAVE BECOME MY DEVOTEE/DISCIPLE RECENTLY AND HAVE POT BELLY, IT IS TOLERABLE. BUT IF YOU HAVE BEEN MY DEVOTEE/DISCIPLE FOR MORE THAN A YEAR AND HAVE A POT BELLY, THEN SOMETHING IS SERIOUSLY WRONG. YOU ARE SOMEWHERE CHEATING… *THOU SHALT NOT HAVE POT BELLY. THOU SHALL ENTER THE KINGDOM OF KAILASA ONLY WITHOUT A POT BELLY. I HAVE MADE THE ENTRANCE OF KAILASA IN SUCH A WAY THAT POT BELLY PEOPLE WILL BE STUCK! *DON’T SAY, ‘GANAPATI ALSO HAS A POT BELLY.’ HE HAS THE WHOLE BRAHMANDA IN HIS POT BELLY. BUT YOU HAVE SO MUCH SHIT IN YOUR POT BELLY! *BEING SLIM, TRIM, HEALTHY IS THE BASIC QUALIFICATION OF NITHYANANDA’S DISCIPLES. IF YOU ARE NEW, IT IS TOLERABLE, BUT NOT IF YOU ARE MORE THAN A 1-YEAR-OLD DISCIPLE/ DEVOTEE. *IN HINDU TRADITION, ANY TATTVA WE EXPLAIN IS ONLY FOR LIBERATION, FOR MOKSHA CENTRIC LIFESTYLE, MOKSHA CENTRIC KNOWLEDGE. *ALL THE BEST HEALTHY, RICH, LONG LIVING COMMUNITIES - BHARADWAJA GOTRA BRAHMANAS, PRACTISING IYENGARS, ADI SHAIVA VELLALARS, CREAM OF THE JAIN COMMUNITY WHO PRACTICE SALLEKHANA DON’T EAT AFTER SUNSET. *MY GRANDMOTHER USED TO SAY, ‘ONLY GHOSTS WILL EAT AFTER SUNSET. IF YOU EAT AFTER SUNSET, YOU WILL BECOME GHOST!’ *YOU CAN BECOME INTENSELY ACTIVE, ALIVE, RICH, HEALTHY, LIVING LONG LIFE, IF YOU JUST TAKE UP THIS SIMPLE PRINCIPLES. *AND IT IS NOT THAT YOU NEED TO STRUGGLE WITH THESE PRINCIPLES FOREVER. NO! JUST FIRST FEW DAYS IS ONLY PRACTICE. ONCE YOUR BODY STARTS TASTING THIS LIFESTYLE, EVEN YOU WILL NOT BE ABLE TO DESTROY YOURSELF. THAT IS THE BEAUTY OF THIS GREAT SCIENCE! *ESPECIALLY NOW WITH THIS PANDEMIC FATIGUE, I CAN SEE THE WHOLE WORLD GOING THROUGH THE DELUSIONAL ARROGANCE. EVERYBODY IS READY TO DIE BUT DON'T WANT TO HAVE ANY MORE RESTRICTIONS OR QUARANTINE PRINCIPLES. *PEOPLE ARE SICK AND TIRED OF THE QUARANTINE PRINCIPLES OR TRAVEL RESTRICTIONS. THEY ARE NOW READY TO DIE! *IT IS NOT THAT THE NUMBERS OF DEATH DUE TO CORONA HAS COME DOWN, BUT THE RESTRICTIONS ARE RELAXED. PEOPLE ARE READY TO DIE BUT DON'T WANT TO RESTRICT THEMSELVES. THIS IS WHAT I CALL PANDEMIC FATIGUE, DELUSIONAL ARROGANCE. *UNFORTUNATELY POLITICS GOT MIXED INTO CORONA. LET US KEEP THE PURE SPIRITUAL TRUTHS AS IS. *TO ALL MY FOLLOWERS, LISTEN: STAY HOME, STAY SAFE AT LEAST TILL DECEMBER 14TH. LET THIS PRALAYA BE OVER. *36 TATTVAS CAN BE EXPLAINED FROM VARIOUS ANGLES, FROM THE ANGLE OF PHYSICS, CHEMISTRY, BIOLOGY, ALCHEMY. *I AM GOING TO EXPLAIN FROM THE ANGLE OF ENLIGHTENMENT - PARAMASHIVATVA AND PARAMASHIVA GADHI. *PARAMASHIVATVA MEANS PARAMASHIVA MANIFESTING IN YOU. PARAMASHIVA GADHI MEANS, YOU RESTING IN PARAMASHIVA, YOU BECOMING ONE WITH PARAMASHIVA. *THIS WORD ‘SHIVA GADHI’ IS THE EARLIEST RECORDED BY TIRUMOOLAR. சிவசிவ என்கிலர் தீவினையாளர் சிவசிவ என்றிடத் தீவினை மாளும் சிவசிவ என்றிடத் தேவரும் ஆவர் சிவசிவ என்னச் சிவகதிதானே. SHIVA SHIVA YENGILAR TEEVINAIYAALAR SHIVA SHIVA YENDRIDA TEEVINAI MAALUM SHIVA SHIVA YENDRIDA DEVARUM AAVAR SHIVA SHIVA YENNA SHIVA GADHIDAANE IT MEANS: PEOPLE WHO DON'T KNOW THE VIBRATION ‘SHIVA SHIVA’ FALL INTO THE LIFE NEGATIVE. THOSE WHO KNOW THE VIBRATION ‘SHIVA SHIVA’, WILL REACH THE SPACE OF DEVAS. ALL THEIR LIFE NEGATIVITY WILL BE DESTROYED AND ULTIMATELY THEY WILL HAVE THE SHIVA GADHI. *DETOXING YOUR CONSCIOUSNESS SUPPORTING YOUR CONSCIOUSNESS FOR IT TO MANIFEST IN YOUR BODY IS THE PURPOSE OF MY LIFE. *I AM GOING TO EXPLAIN THIS 36 PRINCIPES FROM THE ANGLE OF ENLIGHTENMENT, HELPING YOU TO MANIFEST SHIVA GADHI. *BEFORE STARTING THE DEEPER LEVELS OF EXPLANATION, I WANT ALL OF YOU TO SIT STRAIGHT. KEEP YOUR ATMALINGA AND JNANANJANA NEXT TO YOU, SO THAT EVERY PRINCIPLE I EXPLAIN WILL DIRECTLY GET INTO YOU AND JUST START OPERATING. *SHIVA, SHIVA, SHIVA, SHIVA….. *AKSHUBDHA BINDU - IS THE PURE PARAMASHIVA SPACE. *I BOW DOWN TO PARAMASHIVA GANAPATI. I BOW DOWN TO PARAMASHIVA. LET PARAMASHIVA’S AKSHUBDHA BINDU STATE MANIFEST IN ALL OF US AND MAKE US ALL REALISE THESE 36 TATTVAS FROM THE SHIVA GADHI. *I AM GOING TO EXPLAIN THESE 36 TATTVAS FOR ENLIGHTENMENT TO MANIFEST PARAMASHIVATVA AND PARAMASHIVA GADHI AND WITH THE REALIZATION OF ESTABLISHING PARATVA. *THE SUPREMACY AND ULTIMATE STATE OF PARAMASHIVA, பரமசிவ பரதத்வத்தை உணர்ந்து (PARAMASHIVA PARATATVATTAI UNARNDHU) - REALIZING THE SUPREMACY OF PARAMASHIVA OVER THIS WHOLE EXISTENCE, I AM EXPLAINING PARAMASHIVA’S VIEW OF THIS 36 PRINCIPES FOR ALL OF US TO MANIFEST PARAMASHIVATVA, PARAMASHIVA GADHI, PARAMASHIVA PADHAM. *THE FIRST AND FOREMOST REQUIREMENT FOR THIS AKSHUBDHA BINDU STATE IS ‘DHEERAHA’. DO NOT STOP ANYWHERE IN BETWEEN WHEN YOU ARE GIVEN WEALTH, OR ANYTHING ELSE, TILL YOU REACH THE PARAMASHIVA STATE. *ONE OF THE BIGGEST PROBLEMS YOU WILL HAVE WHEN YOU START MANIFESTING POWERS IS NOT ‘NOT HAVING’ WHAT YOU WANT, BUT YOU WILL BE HAVING ‘TOO MUCH’ OF WHAT YOU WANT, AND YOU MAY START GETTING STUCK WITH THIS PSYCHODRAMA OF WANTING AND HAVING, WANTING AND HAVING AND FORGETTING PARAMASHIVA. *POVERTY WILL NOT BE YOUR PROBLEM. TOO MUCH OF WEALTH, LUXURY WILL BE YOUR PROBLEM. DECIDE YOU WILL BE DHEERA. YOU WILL NOT STOP ANYWHERE BY BECOMING DEVA OR DEVENDRA OR ANY OF THE OTHER HIGHER STATES. *YOU WILL HAVE THE GUTS AND COURAGE NOT TO STOP TILL YOU MANIFEST PARAMASHIVATVA. *TAKE THE SANKALPA AND REQUEST PARAMASHIVA TO SUPPORT YOU IN THIS SANKALPA. YOU SHOULD MANIFEST PARAMASHIVATVA. TILL THEN YOU SHOULD NOT STOP. *I AM NOT SAYING, ‘DO NOT ENJOY THE LUXURIES OF DEVALOKA OR BHULOKA.’ I AM ONLY SAYING, ‘DON'T BE STUCK THERE. DON'T STOP THERE!’ I AM ONLY SAYING, ‘STOP GETTING STUCK.’ *HAVE A BIG COUCH. YOU CAN REST THERE, BUT YOU CANNOT PUT THE SEAT BELT ON THE COUCH AND BECOME A COUCH POTATO UST BECAUSE YOU BOUGHT IT FOR 2000 DOLLAR! *WHENEVER YOU ARE STUCK WITH YOUR LUXURIES, YOUR LUXURIES BECOME MORE VALUABLE THAN YOUR CONSCIOUSNESS. *I WANT TO SELECT AND ELECT KAILASA ADMINISTRATION AND PEOPLE FOR HINDU PARLIAMENT. *BEFORE THAT I WANTED TO DEFINE THIS 36 PRINCIPLES AND ONLY PEOPLE WHO UNDERSTAND THESE 36 PRINCIPLES, I WANT THEM TO BE PART OF KAILASA ADMINISTRATION AND HINDU PARLIAMENT. THAT IS WHY I AM EXPANDING ON THESE PRINCIPLES AND CONCEPTS. *DO NOT BE STUCK IN ANY LUXURY. LET YOUR LUXURIES NOT MAKE YOU FORGET YOUR AKSHUBDHA BINDU STATE - PARAMASHIVATVA, PARAMASHIVA GADHI, PARAMASHIVA PARATVA NIRUPANAM. *I WANT TO ESTABLISH THE SUPREMACY OF PARAMASHIVA, ULTIMATENESS OF PARAMASHIVA, SO YOU WILL NOT GET STUCK IN ANY OTHER LUXURY, COMFORT, OR FULFILLMENT OR ANYTHING ELSE. *FEW DAYS AGO I WAS TELLING IN THE SATSANG, ‘WHEREVER I OBEYED MY GURUS 100%, I GOT MANY NOT ONLY KNOWN BUT UNKNOWN BENEFITS.’ WHEREVER I DID NOT LISTEN TO MY GURUS’ WORDS DIRECTLY, NOT ONLY I GOT OTHER REPERCUSSIONS, I GOT MANY UNTOLD PROBLEMS. *TAKE THIS SANKALPA OF BEING A DHEERA. DHEERA MEANS, ‘BEING BOLD, COURAGEOUS, POWERFUL, FEROCIOUS AND WILL NOT STOP ANYWHERE IN BETWEEN TILL I MANIFEST PARAMASHIVATVA, PARAMASHIVA GADHI, PARAMA PADHAM.’ TAKE THIS SANKALPA! *EVEN IF INDRA LOKA IS OFFERED TO YOU, EVEN IF YOU ARE MADE AS KING OF HEAVEN, DON'T BE STUCK THERE. TELL THEM, ‘THANKS FOR YOUR OFFER, BUT I WANT TO BE WITH PARAMASHIVA. THAT IS PARAMASHIVA PARATVA NIRUPANAMA.’ *THERE IS A BEAUTIFUL VERSE IN VAISHNAVA TRADITION பச்சைமா மலைபோல் மேனி பவளவாய் கமலச் செங்கண் அச்சுதா. அமர ரேறே. ஆயர்தம் கொழுந்தே. என்னும், இச்சுவை தவிர யான்போய் இந்திர லோக மாளும், அச்சுவை பெறினும் வேண்டேன் அரங்கமா நகரு ளானே Pachai Mamalai Pol Meni Pavalavaai Kamala Chenkan Achyutaa Amararere Aayar Tham Kozhundhe Yennum Ichchuvai Thavira Yaan Poai Indira logam Aalum Achchuvai Perinum Vaenden Arangama Nagarulane *DEVOTEE OF VISHNU CRIES TO VISHNU, ‘THE TASTE OF ME CELEBRATING YOU, SINGING THE GLORY, THE TASTE OF ONENESS, FEELING CONNECTION WITH YOU IS BEST. EVEN AS RULER OF INDRALOKA, I DON'T WANT THAT. I WANT ONLY THE FEELING CONNECTION WITH YOU.’ THAT IS THE DHEERA OF A BHAKTA, DEVOTEE’S DHEERA! *ALL OF YOU SHOULD HAVE THE DHEERA THAT PARAMASHIVATVA, PARAMASHIVA GADHI, PARAMA PADHA IS THE ONLY GOAL. *TILL THEN, YOU CAN ENJOY WHAT COMES IN THE WAY, NOTHING WRONG. YOU CAN ENJOY, BUT DON'T BE STUCK. YOU CAN SIT IN THE COUCH, BUT DON'T PUT SEAT BELT! *HAVE YOUR BEAUTIFUL PURITY. IN VILLAGES, WHEN THEY CUT the JACKFRUIT, THEY WILL APPLY CASTOR OIL ON THE HAND, SO THAT THE GUM IN THE JACKFRUIT WILL NOT GET STUCK IN THE HAND AND MAKE IT MESSY. *POUR CASTOR OIL EVERYDAY IN YOUR SYSTEM. THE NEGATIVE PATTERNS IN YOUR BIO MEMORY WILL NOT GET STUCK IN YOUR INTERNAL ORGANS. IT MAY LOOK VERY FUNNY BUT DO IT, YOU WILL UNDERSTAND. IN THE BHAGAVAD GITA, CHAPTER 18 SHLOKA 55, IT SAYS: भक्त्या मामभिजानाति यावान्यश्चास्मि तत्त्वतः। ततो मां तत्त्वतो ज्ञात्वा विशते तदनन्तरम्।। BHAKTYĀ MĀMABHIJĀNĀTI YĀVĀNYAŚCĀSMI TATTVATAḤ. TATO MĀṂ TATTVATO JÑĀTVĀ VIŚATE TADANANTARAM.. TRANSLATION: BY DEVOTION HE KNOWS ME IN REALITY, WHAT AND WHO I AM; THEN HAVING KNOWN ME IN REALITY, HE FORTHWITH ENTERS INTO THE SUPREME. *YOU SHOULD KNOW, PARAMASHIVATVA, PARAMASHIVA GADHI, PARAMA PADHAM, IS YOUR ONLY GOAL! *EVERYTHING ELSE IS OK ON THE WAY TO ENJOY BUT NOT TO GET STUCK. *I WANT ALL OF YOU TO UNDERSTAND: ANYONE WHO DECIDES TO BE DHEERA, THE PURE PARAMASHIVA STATE STARTS BLESSING YOU, SUPPORTING YOU, GUIDING YOU, AND STARTS MANIFESTING ITSELF INSIDE YOU. *DECIDE WITH DHEERA, ‘OH MAHADEVA! PARAMASHIVA! I BELONG TO YOU. I WANT ONLY YOU TO MANIFEST IN ME. LET ME NOT GET STUCK WITH ANYTHING ELSE.’ *WITH THIS, THE MOMENT YOU APPLY FOR VISA TO PARAMASHIVA FOR KAILASA, HE STARTS LOOKING AT YOU, NOT JUST FOR ISSUING VISA, BUT HOW TO GET YOU TO KAILASA AS A CITIZEN AND TRAIN YOU TO BECOME HIM, AND MERGING YOU INTO HIM. *YOU PLAN FOR KAILASA VISA, HE PLANS FOR MAKING YOU PARAMASHIVA! *YOU LOOK AT HIM FOR VISA, HE LOOKS AT YOU AS SHIVA! *THESE INITIATIONS I AM GOING TO SHOWER ON ALL OF YOU WILL BE SO INTENSE, SO ENERGETIC, SO ALIVE, MANIFESTING POWERS, JOY, ECSTASY, THAT POVERTY WILL NOT BE YOUR PROBLEM, RATHER, LUXURY WILL BE YOUR PROBLEM! DISEASE WILL NOT BE YOUR PROBLEM, RATHER, HYPERACTIVE ENERGY WILL BE YOUR PROBLEM! *DON’T STOP TILL YOU REACH PARAMASHIVATVA. *LET ME EXPLAIN DHEERA! ONLY IF I MAKE YOU DHEERA, ALL MY 36 PRINCIPLES DEFINITION WILL BE USEFUL FOR YOU. OTHERWISE, IT WILL BE USELESS FOR YOU. IN TIRUMANDIRAM, 1536th VERSE: சிவகதி யேகதி மற்றுள்ள எல்லாம் பவகதி பாசப் பிறவியொன் றுண்டு தவகதி தன்னொடு நேரொன்று தோன்றில் அவகதி மூவரும் அவ்வகை யாமே. 1536 SHIVA GADHIYE GADHI MATRULLA YELLAAM BAVA GADHI PAASA PIRAVI ONDRUNDU TAVA GADHI TANNODU NERONDRU THONDRIL AVA GADHI MOOVARUM AVVAGAI YAAME TRANSLATION: SHIVAGATHI ALONE LEADS TO TO ETERNAL LIBERATION SHIVAGATHI ALONE IS THE ULTIMATE PATH; ALL OTHER STATES, GATHIS - PATHS WILL =LEAD ONLY TO THE CYCLE OF BIRTH AND DEATH; BONDAGE COMES BACK TO YOU; ANYTHING OTHER THAN SHIVA GADHI SHOULD NOT BE ALLOWED. WITH YOUR PENANCE, TAPASYA, PUNYA, CHOOSE ONLY SHIVA GADHI, NOT ANYTHING ELSE. ANYTHING ELSE WILL LEAD ONLY TO THREE MALAS - IMPURITIES AND BONDAGE, BIRTH AND DEATH CYCLE, DELUSION. *FUNDAMENTAL QUALIFICATION FOR ANYONE TO BE PART OF KAILASA IS DEFINITE DHEERATVA - BEING FEROCIOUS WITH YOURSELF, ‘I WILL ACHIEVE ONLY SHIVA GADHI. ANYTHING WHICH COMES ON THE WAY IS OK, BUT I WILL NOT BE STUCK OR STOP WITH IT. I WILL NOT BE CONSCIOUSLY DECIDING TO CHERISH, ENTERTAIN, ENGAGE OR BE WITH THOSE INTERMEDIARY STATES, SPACES, POSTS, LUXURITES, COMFORTS. *SHIVA GADHI IS THE GADHI! SHIVA PADHAM SHIVATVAM PARAMASHIVATVA PARAMASHIVA GADHI PARAMASHIVA PADHAM *WITH THIS PARAMASHIVA PADHAM, PARAMASHIVA GADHI, PARAMASHIVATVA - KEEPING THIS AS GOAL WITH DHEERATVA, WITH FEROCIOUSNESS AND COURAGE, IF YOU START UNDERSTANDING THE 36 TATTVAS, YOU WILL START MANIFESTING POWERS IMMEDIATELY. *THAT IS WHY PATANJALI TEACHES SAMADHI PADA FIRST. THEN HE TEACHES ALL THE OTHER PADAS. *I WILL CONTINUE TO EXPAND ON THE 36 TATTVAS IN FURTHER SATSANGS. *ONLY WHEN YOU UNDERSTAND THE ULTIMATENESS OF PARAMASHIVA AND DECIDE TO BE WITH THAT, YOU CAN BE PART OF KAILASA ADMINISTRATION OR HINDU PARLIAMENT. SO FIRST I AM DOING WHAT NEEDS TO BE DONE FIRST! *SO SIT STRAIGHT. LET US ALL ENTER INTO PARAMASHIVATVA, MANIFEST PARAMASHIVA GADHI AND PARAMASHIVATVA. *I HAVE A SHASTRA PRAMANA FOR YOU ON DHEERA FROM THE SRIMAD BHAGAVATAM, 3RD SKANDHA, 6TH ADHYAYA, 45TH SLOKA - तथापरे चात्मसमाधियोगबलेन जित्वा प्रकृतिं बलिष्ठाम् । त्वामेव धीराः पुरुषं विशन्ति TATHĀPARE CĀTMASAMĀDHIYOGABALENA JITVĀ PRAKṚTIṂ BALIṢṬHĀM TVĀMEVA DHĪRĀḤ PURUṢAṂ VIŚANTI TRANSLATION: THE DHEERAS, BY THEIR SHEER POWER OF SAMADHI - ALWAYS BEING IN ONENESS WITH THEIR TRUE SELF - THE PURE CONSCIOUSNESS, CONQUER THE POWERFUL PRAKRITI - THE WHOLE MANIFEST WORLD AND ALSO THEIR OWN ANTAH KARANA - INNER SPACE WHICH ARE INFLUENCED BY THE THREE GUNAS - SATTVA, RAJAS, AND TAMAS AND ULTIMATELY INDEED ENTER INTO YOU OH LORD! *WE WILL NOW ENTER INTO THE PARAMASHIVA GANAS MEETING WITH THE COMMITTED BRAHMANAS, KSHATRIYAS, VAISHYAS AND SHUDRAS. Read the full post here: https://www.facebook.com/138595819561610/posts/4283922591695558/

#Nithyananda #KAILASA

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haillenarte · 6 years ago

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full steam ahead;

Here is a translation of the dialogue between Ran’jit, Minfilia, and Thancred in “Full Steam Ahead,” the level 77 Shadowbringers main story quest.

First, a preface: This translation is not a word-for-word translation, though it is slightly more loyal to the Japanese script than the official localization. As always, the Japanese text is enclosed for you to make your own comparisons and judge my decisions if need be. I have some more comments about where I departed from the original text at the bottom of the post.

FULL STEAM AHEAD 廃都ナバスアレン "the sealed city of nabaath areng”

ランジート : ……無様よな、反逆者ども。我が主に従っていたなら、かように地を這うこともなかった。ランジート : おお……ミンフィリア……哀れな娘よ……。お前はそのまま待て、すぐに鼠どもを始末してくれよう。

TRANSLATION RAN’JIT: I pity you, apostates. Had you surrendered to my liege when you were given the chance, you would have no need to squirm through the darkness and the earth like rats. RAN’JIT: And you, Minfilia... my wretched daughter. You shall wait there as I exterminate these pests.

LOCALIZATION Ran'jit: Had you only sworn fealty to Lord Vauthry, you would have no cause to skulk about like frightened animals. Ran'jit: You will remain as you are, while I dispatch these villains.

ミンフィリア : だめ……だめです、そんなこと……！ランジート : 何故だ。かつて我は、拾うたびにお前を育て、ともに戦場に立ち、何百何千もの罪喰いを屠った……。ランジート : されど世は変わらず、お前は幾度も、幾度も死に続けた！ランジート : この薄汚い鼠どもはッ！哀れなお前に、なおも戦うことを迫り、混迷の世に招き入れようとしている！ランジート : 惑わされてはならぬ……ならぬぞ……！お前を苦しみから永久に解き放てるのは、我が主、ヴァウスリーのみッ！

TRANSLATION MINFILIA: No... No, you can’t! You can’t... RAN’JIT: Why not? Have you forgotten who I am? It was I who found you. I who raised you, time and time again. I who stood on the battlefield beside you, slaying hundreds and thousands of sin eaters by your side! RAN’JIT: But we accomplished nothing. The world never changed. And I watched you die, over and over and over again! RAN’JIT: What would these filthy vermin bring you?! They encourage you to fight only because they would lead you down a path of chaos we have already tread! RAN’JIT: Do not be deceived, child! Only Lord Vauthry has the power to save us from this endless cycle of torment!

LOCALIZATION Minfilia: No! I won't...! I won't let you! Ran'jit: You forget to whom you speak! Who armed you? Trained you? Fought and killed a thousand sin eaters with you!? Ran'jit: And when you were inevitably cut down and lay lifeless in my arms─who sought out your successor to carry on the futile struggle again and again!? Ran'jit: We seek to bring peace to what is left of this shattered land, while these mad fools would only bring further chaos down upon us! Ran'jit: Do not be deceived, child! Only by Lord Vauthry's hand will this dying world know a sliver of salvation!

ミンフィリア : ……いいえ、私はそんな風に救ってもらいたいわけじゃない。ミンフィリア : 今だって、痛くて、つらくて、とても苦しい……。それでもこれは、ここまで旅してこられた証です……！ミンフィリア : みなさんからかけてもらった言葉を、覚えています。一緒に見た風景を、覚えています……。ミンフィリア : その思い出があるからこそ、苦しいのだとしても…… なかったことになんて、絶対にできません……�� ミンフィリア : 伝えたいんです。大好きだと……ありがとうと……。私のこの、命ぜんぶで。ミンフィリア : だから、あなたの手は取りません。そこを……通してくださいッ！

TRANSLATION MINFILIA: ...But I... I never asked to be saved. MINFILIA: I know that fighting hurts. Living hurts. It hurts, and we suffer, through the bitterness and the tears... But that very pain is proof of how far we’ve come. MINFILIA: The things that everyone said to me... I remember them. The things that everyone showed me... I remember them. MINFILIA: Even if having these memories hurts me, I can’t just go back to my cell and pretend that nothing happened. MINFILIA: ...I want to be able to say things like “I love you” and “thank you” because that’s what it means to be alive. MINFILIA: So I can’t take your hand anymore. I won’t accept what you offer me. Please, stand aside and let us pass!

LOCALIZATION Minfilia: I don't know about the world...but I never asked to be saved. Minfilia: However much it hurts, and however hard it gets, it's my life, and I want to live it on my own terms! Minfilia: And those “mad fools” you want me to abandon? The ones I've traveled with, fought with, and may one day die with─they feel the same. Minfilia: So no, I will not be deceived! No matter what you say, I refuse to believe it's all for nothing! Minfilia: They're everything to me. All I have and all I need. And I would gladly do anything for them. Minfilia: Let us pass, or kill me. I'm not leaving here without them.

ランジート : 愚かな……！反逆者どもに染められおって、仕置きが必要か……！

TRANSLATION RAN’JIT: Foolish girl...! Very well — you must be disciplined. If you would stain your hands with rebellion, then you have earned your father’s ire!

LOCALIZATION Ran'jit: How dare you! Very well─if you would cast your lot with villains, then you shall share their fate!

サンクレッド : ……お前が伝えようとしてくれた気持ちは、痛いほど、よくわかってる……。言葉で示せず、すまなかった。サンクレッド : 行けッ、こいつは俺が食い止める！ミンフィリア : でも……っ！サンクレッド : だから誰のためでもない、お前の望みをぶつけてくるんだ。サンクレッド : 俺は…… お前のわがままくらい、いくつだって受け止めてやる……！

TRANSLATION THANCRED: ...I heard what you said. And I understand how you feel. I know it so well that it hurts... I’m sorry I never said it myself. THANCRED: Go! I’ll deal with him! MINFILIA: But — THANCRED: You’re doing this for yourself, right? And not for anyone else. THANCRED: I... If it’s for you, I’ll do anything.

LOCALIZATION Thancred: I heard what you said. And I'm sorry for all the things I've left unspoken. Thancred: You have to go. Now! Minfilia: Thancred, no─ Thancred: Go! Do what you came here to do. Thancred: I'll not have you waste that newfound resolve on me.

サンクレッド : そいつを頼んだ！必ず、「ミンフィリア」のもとまで届けてやってくれ。

TRANSLATION THANCRED: I’ll leave her in your hands. Take her to Minfilia!

LOCALIZATION Thancred: I leave her in your hands. Hurry!

サンクレッド : 行かせはしない。妹と娘、ふたりの家族への想いだ……打ち破れると思うなよッ！ランジート : 笑止ッ……！貴様のような未熟者が、あれの父など名乗るではないわ！

TRANSLATION THANCRED: You’re not getting past me, old man. My sister, or your daughter... which do you think she’d rather be? RAN’JIT: Don’t make me laugh, boy... A brat like you couldn’t possibly call himself her kin!

LOCALIZATION Thancred: Not another step! Your fight is with me. Ran'jit: You think yourself her protector!? Hah! As if a whelp like you could be a better father to her than me!

(After the battle...)

ランジート : ……あの娘は、苦難の星のもとに生まれたのだ。苦しむぞ……これからも……。サンクレッド : 護っていくさ。……あいつが、それを望むかぎり。

TRANSLATION RAN’JIT: That girl... she was born under a calamitous star. She must be shielded from her misfortune... I must... THANCRED: You don’t understand. You can only protect her as long as she wants to be protected.

LOCALIZATION Ran'jit: You would have her suffer and die. I would spare her that fate! Thancred: That is not for you or anyone else to decide─ever again.

サンクレッド : ……でも、一度くらいはちゃんと叶えたいだろ。俺は、お前の、「お兄さん」なんだから。サンクレッド : ミンフィリア…………

TRANSLATION THANCRED: ...Still, I wanted to do it right, just once. Because I’m your big brother... THANCRED: Minfilia...

LOCALIZATION Thancred: One last time, with a little help. I'm so proud to have been a part of your life... Thancred: Oh, Minfilia...

TRANSLATOR’S NOTES

I wound up “rewriting” the script a lot more than I intended to, mostly for emotional impact, but for fairness’s sake, let me note where I really changed things up.

MINFILIA: Even if having these memories hurts me, I can’t just go back to my cell and pretend that nothing happened. To be fair, Minfilia does not mention going back to her cell in Eulmore here. However, I threw it in because her speech about pain being inevitable in life doesn’t really sound like she’s even talking to Ran’jit otherwise. The gist of their argument, obviously, is that he wants to insulate her from all of life’s suffering by throwing her in a cage, but she is trying to tell him that she can accept that pain.

MINFILIA: ...I want to be able to say things like “I love you” and “thank you” because that’s what it means to be alive. This isn’t a significant change in my opinion, but I had to reword the nuance of the original text very slightly or else it wouldn’t make a lot of sense. What Minfilia says in Japanese is something closer to “I want to convey it... [things like] I love you, and thank you, and everything in this life of mine,” but I went with “what it means to be alive” since that’s a much more familiar turn of phrase in English literature and pop culture.

RAN’JIT: Very well — you must be disciplined. If you would stain your hands with rebellion, then you have earned your father’s ire! There’s nothing actually wrong with the localization’s decision to render this as “cast your lot with villains.” I actually might have done the same thing if not for the fact that I try not to repeat the localization unless it’s necessary. What he says literally is “if you would allow yourself to be stained by the rebels,” but I didn’t like the sexual connotations of words like “tainted,” “besmirched,” and “corrupted,” so I avoided all that by turning “rebels” into “rebellion” instead. This isn’t really important enough to be explained, but I just wanted to defend myself against anyone who might think that I misread this sentence. I know it says “rebels” — it was just unpleasant to keep it that way!

THANCRED: If it’s for you, I’ll do anything. Definitely the most aggressive rewrite on my part here, but I think it’s defensible (and would have hurt me a lot more than “I'll not have you waste that newfound resolve on me”). Thancred’s Japanese line, in a really clunky literal way, is “If it’s for your selfishness, I can accept a great number [of burdens/blows]” — but obviously, no one talks like that in English, so I felt it made the most sense to straight up render it “If it’s for you, I’ll do anything.”

THANCRED: You’re not getting past me, old man. My sister, or your daughter... which do you think she’d rather be? Thancred doesn’t call Ran’jit an old man in Japanese here, but I thought the aggressive banter between “old man” and “boy” was charming, so I threw it in. The second line is also a pretty liberal reinterpretation on my part: the Japanese is something like “Sister and daughter, two feelings of family, don’t think you can break it so easily!” — but, again, this is weird as hell in English, so I made it more of a taunting statement on Thancred’s part.

RAN’JIT: That girl... she was born under a calamitous star. She must be shielded from her misfortune... I must... THANCRED: You don’t understand. You can only protect her as long as she wants to be protected. This is, again, a reinterpretation on my part. Ran’jit says something roughly like “That girl was born under a calamitous star, she has always been suffering, even now,” and Thancred replies, “Then I’ll protect her. As long as she wants me to, that is.” I think the English script wanted this exchange to be more about giving Minfilia the ability to decide her own fate, but I thought this take on it gave more weight to Ran’jit’s madness — the reason he’s so hellbent on “protecting” her is because he still thinks of Minfilia as his daughter, the one that was born under a bad sign, and he still needs to protect her, because he’s still her father. The localization probably changed this because they didn’t want Ran’jit spouting random mumbo-jumbo about stars, but I think there’s actually something very sad about Ran’jit suddenly going on about his daughter’s astrological sign, do you know what I mean? He doesn’t at all understand that she’s long gone. There’s certainly power in “That is not for you or anyone else to decide─ever again,” though.

THANCRED: ...Still, I wanted to do it right, just once. Because I’m your big brother... THANCRED: Minfilia... I don’t know if I successfully carried this thought over from the previous sentence correctly, and maybe this was already obvious in English, I'm not sure — but what Thancred says in Japanese is “I wanted to make it happen just once,” where when he says “make it happen” he means essentially, “I wanted to see my dream come true.” Basically, his “dream” is that he wanted to protect Minfilia like a real big brother — both the Minfilia from the First, yes, but also the Minfilia from the Source, whom he feels he failed to protect. Yes... This dork really just wanted to have that big damn hero moment where he gets to protect his little sister from the bad guys that are after her... I also cried...

#thancred #minfilia #ryne #ran'jit #ffxiv

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wonderfulworldofmichaelford · 6 years ago

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Psycho Analysis: Mewtwo

“Diary: Feb. 6. Mew gave birth. We named the newborn Mewtwo.”

And so a legend was born unto the Pokemon world, one who to this day is still massively popular as evidenced by his two Mega Evolutions (a feat matched only by Charizard currently) and his reappearance in the Smash Bros. series after years of absence. Still, nowhere was Mewtwo’s popularity more apparent than in his appearance as the main antagonist of the Pokemon franchise’s first foray into feature films.

Mewtwo is perhaps the most fascinating and philosophically charged antagonist of the entire franchise. From his creation, his tragic backstory, his murderous rampage that starts off the film, and his numerous bitter actions as he lashes out at a world he feels created him just to use him, he is a much darker and more terrifying character than one would expect coming off the mostly lighthearted and kid friendly Pokemon anime. However, he is handled extremely well, even in the English dub; this will be mostly based off of how he appears in the English dub. Keep in mind The Birth of Mewtwo prologue has been dubbed in English, and I will be treating it as canon, so while there is a bit that sadly is lost between English and Japanese, the basic gist is still there.

Actor: Jay Goede, under the alias Philip Bartlett, voiced Mewtwo in what is easily the biggest role in his filmography, and he does an absolutely fantastic job, giving Mewtwo exactly the sort of voice you’d expect from the original ultimate badass of all Pokemon-kind.

Motivation/Goals: Mewtwo’s ultimate goal in the English dub is to completely eradicate all non-clone life and create a world where only clone Pokemon exist, as he views clones to be superior beings. He is utterly incapable of believing Pokemon and humans could be friends after his horrific upbringing, where he was created at the behest of Team Rocket to be the ultimate weapon of Giovanni. In a lot of ways, Mewtwo is similar to the villains of Pokemon Black/White, due to his desire to liberate Pokemon from the bonds of trainers, though Mewtwo goes a bit beyond what N wanted by cloning the Pokemon into more ‘perfect’ states and outright attempting planet-wide genocide. Honestly though, it is really hard to blame Mewtwo for his sheer anger, as after bonding with the cloned child of the scientist who created her, she not only suffered clone degeneration and died, but Mewtwo was then from childhood into maturity kept in his tube and pumped full of drugs to forget this event, and then moments after being awakened for as far as he knows the first time is told he is a tool for humans to use while a bunch of scientists high five each other. If that happened to me, I’m pretty sure I’d go insane and want to wipe out humanity too. Of course, in the original Japanese, his goal was much more existential; he was attempting to find his purpose by toying with trainers and cloning Pokemon, and ultimately prove the worth of his existence. There are still traces of this in the English version, and this can easily be inferred, but it is a bit of a shame this wasn’t translated over. It does detract a bit from Mewtwo, but only a little bit, because he is a fascinating and tragic antagonist regardless of what his goal is.

Personality: Mewtwo is, in a word, badass. He is calm, collected, stoic, and affable at almost all times when interacting with the trainers… which is a stark contrast to his earlier life post-awakening, in which he not once but twice nukes an entire facility out of sheer anger at his creators. Mewtwo’s temper is obviously nothing to mess with. Keeping in mind his backstory, it is very much possible that Mewtwo’s mind was warped by the drugs pumped into him during development to help him forget Ambertwo, the little clone girl he befriended, thus leading to much of the exacerbated negative traits, traits which were likely only worsened by Giovanni’s tutelage. Thankfully, even as bitter, resentful, and lost Mewtwo is, there is still a spark of good in him, one that eventually comes out.

Final Fate: Mewtwo, so moved by Ash’s sacrifice in the finale, ultimately realizes the worth of all life, and decides to do the right thing and fix everything… though by doing so he erases everyone’s memories and removes all the lessons they learned. Mewtwo would show up again once more in the film Mewtwo Returns, this time in a much more heroic role.

Best Scene: Mewtwo is a walking moment of awesome, but he truly cements it from his very first scene, in which he unleashes the full extent of his power on the scientists that made him. "We dreamed of creating the world's strongest Pokémon...and we succeeded."

Best Quote: "I see now that the circumstances of one's birth are irrelevant; it is what you do with the gift of life that determines who you are." The fact a quote so beautiful, existential, and philosophical came out of a movie that was made to sell video games to children is just one of those magical things about this strange world we live in.

Final Thoughts & Score: Mewtwo is the benchmark by which all Pokemon villains after him are judged by, and, to this day, I don’t think there has ever been one that surpasses him. He has a fantastic character arc, though one that is sadly a bit watered down in the English adaptation, numerous fantastic scenes, a great voice, an intimidating presence, and in general just lives up to the hype that children who grew up playing the game surely had for him.

Now, keep in mind that I do take into account what sort of films the villains I analyze are in when I assess and score them. It’s the same as with movies; a 10/10 comedy is not good for the same reasons as, say, a 10/10 crime drama. And so when I grant Mewtwo a 9/10 it is because as far as villains in children’s movies go, Mewtwo is one of the richest and most fascinating of the lot. The only reason I deduct a point is because the English dub, while good in its own right, admittedly does lose a little bit of the existential quality of Mewtwo that I love and The Birth of Mewtwo prologue which contextualizes a lot of his motivation and the reason why he ended up the way he does is sadly very obscure unless you’re really in the know. All that being said, Mewtwo is still fairly morally complex for a villain in a film like this, and if nothing else he is undoubtedly awesome. But in the end, what makes him so great is that the former wasn’t even necessary; they could have made Mewtwo a generic doomsday villain who had cool battles and we would have eaten him up regardless. The fact the creators saw fit to add complexity and morality that not even the people at 4Kids could eradicate really does just cement how magical the Pokemon franchise is.

#Psycho Analysis #Mewtwo #Pokemon #Pokemon: The First Movie #Mewtwo Strikes Back

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starbudspresents · 6 years ago

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DGM 231 - Panthaleia’s Translation Notes

Hello, dear friends and fellow fans! We return to the rubble of Tumblr you with DGM 231, the first chapter of this new year. Thanks for sticking with us!

Please see below the cut for my translation notes and reactions, as per usual. If you have any questions, do feel free to come say hi on Discord at Panthaleia#9705. :3

The Novel I'm Not Writing About DGM & Buddhism

Oooooookay, first things first! The four bubbles across Allen's collar on the cover page say 生々流転 seiseiruten. When spelled 生生流転 (homophonous), it simply means "ever-changing," but when spelled the way it is here (fantastic catch, thank you so much @togaochi ♥), it's defined as "all things being in flux through the endless circle of birth, death, and rebirth; the circle of transmigration."

That concept is much more succinctly described by the Sanskrit term saṃsāra. Now, to preclude confusion: yes, if you look up "samsara" in a Japanese dictionary, you'll get 輪廻 rin'ne rather than this. That said, this term is if anything more specific and descriptive than that one. See also 生死輪廻 seishirin'ne, which has the exact same definition as seiseiruten; think "cell" vs. “cellular phone” vs "mobile telephone." All words for the same thing, with varying degrees of descriptiveness.

The concept of samsara shows up in several religions (notably Buddhism, Hindu, and Jainism). The one most relevant to DGM by far is Buddhism, and this is far from the first time I've run into it in search of answers.

Crash course on some Buddhist jargon for those of you who aren't familiar:

The word samsara, meaning "continuous flow," describes the beginningless and potentially endless cycle of life and existence, through birth and living and death to re-birth and so on. It could also easily be pictured as a helix, if you'd prefer, and that could in fact make some of DGM a little easier to understand.

(If I may take a moment to get super self-indulgent here: a very related philosophical concept is panta rhei, "everything flows", which is what my "panthaleia" handle is mostly based on. This chapter very nearly literally has my name written on it. IT'S A SIGN. Of.... something. Not sure what, exactly, but IT'S A SIGN.)

Every living thing is trapped within this cycle by its attachments and its ignorance of the truth, which causes great suffering and generates karma, which then affects the shape of one's next life. (Yes, Alma's second name is that for a reason.)

There are a number of branching denominations of Buddhism, much as there are of Christianity, and while they mostly share certain core tenets such as the Eightfold Path, they vary widely in ideals and practice. The influences I see on DGM mostly come from a Japanese variant called Shingon ("True Words") and its predecessors: Shingon is a descendant of Tibetan Vajrayana, which is in turn sometimes considered to be part of the broader East Asian Mahayana umbrella.

I've talked a little bit about Shingon before, because all the chanted spells used throughout the series follow the pattern of Shingon mantras and Kanda's tattoo is written in Siddhaṃ (theorized to be the predecessor of both modern kana systems, by the way).

Shingon shares its overarching goal with its predecessors: rather than seeking to break the cycle just for one's own self and achieve individual escape from suffering (as in Theravada, for example), one should seek to become an enlightened being — a bodhisattva — and willingly continue to subject oneself to the cycle in order to help those who are struggling and thereby bring the whole world closer to moksha ("liberation") and subsequent/synonymous nirvana one step at a time.

Obviously, reincarnation and transmigration play a massive role in DGM. Let me list just a few of the ways in which this particular concept is a running theme throughout the story:

The Noah fragments being reincarnated into new bodies without also reincarnating the human souls they previously coexisted with;

The Earl's victims having their souls transmigrated in the bodies of their loved ones to rebirth them as Akuma;

The Third Exorcists, also transmigrated into new bodies to bring them back (Helix magic in general, really, including the Atuuda);

Nea's transmigration into Allen (not a rebirth, but an avoidance of death while waiting for a chance at rebirth), as well as Allen's regression to childhood via de-aging and memory loss;

The original Earl (Adam in my theories, fyi, in case I reference that later) deliberately rebirthing himself in smaller pieces for goals as yet unknown;

The Bookmen keeping records of each iteration of the repeating narrative, ever-changing but eternal themselves;

Even fukkin Komlin, lmao, constantly destroyed and improved and remade.

So many others? Soooo many others.

The eureka moment (for me): this chapter is subtitled "Curtain Rise," as in the beginning of a stage play when the curtain goes up. If you'll think all the way back to the very first chapters of the series, you may remember that the Earl's Scenario is meant to bring about curtain fall... on humanity.

Looking at that in the context of samsara, that whole thing suddenly looks very different. Our heroes assumed that the Earl's victory would result in the destruction of the world, the destruction of humanity, but I've never bought that idea from the very start. When the curtains finally close on samsara, the cycle of death and rebirth, humanity will not be "dead" in the tragic sense, but free. Nirvana =/= death. Nirvana is the peace of being one with all, knowing all, loving and being loved by all without the need for suffering. It isn't "heaven" in the Christian sense, but it is an end to suffering, without also being an end to existence.

Tragedy and suffering are the consequences of remaining bound to the cycle. Directly using the energy of them in order to break the cycle creating them, as the Earl claims to be doing with the Akuma, is a very very Vajrayana idea, and fits seamlessly into my existing suppositions as to what the Earl is doing and why. Here, have a relevant quote:

Negative mental factors such as desire, hatred, greed, pride are not rejected as in non-Tantric Buddhism, but are used as part of the path. As noted by French Indologist Madeleine Biardeau, tantric doctrine is "an attempt to place kama, desire, in every meaning of the word, in the service of liberation."

And another, from the Hevajra tantra:

Those things by which evil men are bound, others turn into means and gain thereby release from the bonds of existence. By passion the world is bound, by passion too it is released.

One more, same source:

One knowing the nature of poison may dispel poison with poison.

Bluntly put, I think the (original) Earl was an enlightened soul — a bodhisattva — who voluntarily returned to the cycle via deliberate rebirth into multiple ignorant beings in order to help heal the struggling world of its suffering via bringing about enlightenment viiiaaaa SUFFERING HARDER. Good Plan™?

Here are a few more related meta posts from a few years ago, just so I can find them again when I inevitably decide to delve deeper into this:

Helix magic will be the key to the plot

It's all happened before

Destroyer of Time

2.) I'm so delighted to see Mana as he was when Allen knew him before, genteel and whimsical and delighted with Allen's existence. It's easy to understand why Allen would become so attached to him.

3.) Raws for the "Therefore I write many of them, as if God can see me doing so. / As if He might find me" lines: こうして神さまに見えるように沢山書くんです　／　見つけてもらえるように These don’t sit well with me, so I’ll probably change them in the future. The gist is that he’s drawing them in order to draw God’s attention to him.

Raws for "Here I am": 私はここにいる。@togaochi and I concur that he uses watashi here instead of his own preferred boku because he's teaching it to Allen, and means it as a more general "I."

Anyway: hooooo boy, here's some more evidence for the Two Gods theory. And how!

It seems pretty safe to assume he's not calling out to the Order's God, since that god would pretty happily wipe him off the face of the earth. The Noah have called that god "false," though, and expressed their intent and desire to kill it, while still referring to a "God" entity of their own whom they regard as being on their side (or perhaps, they're on its side).

Mana calling out to the Noah god to come find him, without remembering why he wants that, is very interesting. I wonder if and how anyone answered him.

4.) I have a strong hunch that Mana's "secret alphabet" is also related to Siddhaṃ, but that language is written in such a complex way that it's actually impossible for me to be sure without just... learning it. Which! To be clear! I fucking well might. WATCH ME.

5.) This entire scene is so much to me. How furious they both are that the other won't just let themselves be saved/protected. Allen wanted to leave Kanda behind so he and the others would be safe from everything that's hunting him. Kanda wants Allen to stay put so they can save him from what he can't fight alone. All that rage and frustration, because they care.

Quick note: in the first draft we initially posted on Imgur via our Discord server, I had the subject wrong for one of Kanda's lines here, which I caught and fixed. Sorry for any confusion that may have caused!

5.5) ETA: Forgot to mention that I’m fairly sure the beautiful Grecian-style temple they’re hanging out in is referenced from St. Bernard’s Well, again in Edinburgh. Excuse me, “Edinston.”

Thanks to an enterprising anon, we have a much better match for that structure: the Dugald Stewart Monument!

6.) "maybe I'll go sucker-hunting" CARD SHARK ALLEN LIIIIIVES, where's Tyki when you need him (to lose his shirt again)

7.) fjkldjlkagd the turnaround where Allen finally cracks and is like "fine!! you want in?? IN YOU GET. no take-backsies! happy now???" and Kanda's like "yep, here I am" and neither of them have ANY IDEA how to deal with ANY OF IT. Kanda struggling to pull Allen's story out of him without throwing up his hands and quitting. Allen baffled and twice as guarded as before, put off by Kanda's uncharacteristic interest.

So beautiful, it brings a tear to my eye. (Actually, many tears. So... so many tears.)

8.) That apology, which I never thought I'd get, for Allen having seen what Kanda would never have consented to show him. It wasn't his fault, and they both know that, but the fact still remains that it was a violation, and I've always always wished for that to be addressed somehow and HERE IT IS. RIGHT HERE.

I want to tattoo that look on Kanda's face onto my brain.

9.) And then they're FUCKING INTERRUPTED, AGAIN

But Allen's "ask me again when we're done dealing with this" was such a promise of trust that I can't even be that mad, augh.

Onward to the bitter end, I guess!! Haha!!!! · ͜͜ · -

Thank you all so much for reading and following along! I’d like to tip my hat to Kougeki Scans, who love this series too and are helping us spoil the fandom rotten. :P Again, if you have any questions or comments, feel free to either find us on Discord HERE, find me on Discord at Panthaleia#9705, or use the comment box on MangaDex! I’m always happy to geek out with fellow fans. <3

#dgm 231 #dgm231 #dgm #d gray man #dgm meta #panthaleia

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infectedworldmind · 7 years ago

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On an unseasonably warm Saturday morning in early February, my wife suggested that I take a break to go see the new Black Panther movie on our way back from a local Chinese New Year parade. We were having a very good day after an exhausting, impossible week. At the time, I did not know that this pattern would repeat itself over the following four months. We had a great breakfast at one of our favorite local spots (Zoi’s, which makes terrific breakfast sandwiches) and I successfully convinced my son that the colorful dragons marching in the parade were fun and not frightening (“See? They’re not real dragons, they’re just costumes!” <man under dragon costume gives a friendly wave to skeptical son>).

We discussed the Black Panther phenomenon while we munched hash browns and sipped coffee – it had premiered a few days earlier and was already a giant success at the box office and in the culture. I was curious and she was ambivalent – while the concept and creative folk involved piqued her interest, she mostly checked out on Marvel movies after the underwhelming Avengers film in 2010. When she made her offer later that morning, I thought about declining until I realized that if I didn’t accept, I probably wouldn’t see Black Panther until it arrived on Netflix (or whatever over the top digital service Disney comes up with). So I accepted her offer and was surprised by how excited I felt.

I found an amazing seat at our local theater (a spot that made up for its lack of modern features with decent screens and pleasant staff). I was surrounded by a representative sample of New Haven – earnest college students from a wide variety of backgrounds, excited African Americans from the local community and pleasant Yale/Yale New Haven Hospital retirees. There was a lot of conversation in the room that died down when the trailers and commercials and PSAs ended. Everyone focused their attention on a dark screen and heard a boy ask his father to tell him a story.

A few hours later, another curious boy asked a man who he was, and the screen faded to black. There were two more scenes tucked in a seemingly endless scroll of credits, but they felt like post-film trailers for future Marvel movies, a reminder that Black Panther takes place in a larger (and quite lucrative) narrative and a suggestion that the cinematic Wakanda will play a much more prominent role in the Marvel movie universe than its comic book counterpart. Some stayed for the scenes, and others did not, but it was clear that the boy’s question was the end of the story that Ryan Coogler spent 200 million dollars to tell. Some people were energized, others were talking about their favorite scene or which one of the many attractive actors in the film was the most stunning. I saw a few people with tears in their eyes, a few repeating Michael B. Jordan’s last line in the film.

Black Panther is an excellent film, possibly the first Marvel movie that feels completely engaged with our world. Coogler sustains an emotional resonance throughout the entire film that can only be found in isolated sequences in other Marvel films – a glance from Jeff Daniels, a provocative question asked by Cate Blanchett, a moment of intimacy between Chris Evans and Sebastian Stan. These genuine, emotionally honest moments are as important to the Marvel Studios storytelling formula as all of the third acts filled with expensive digital effect sequences and schematic plots. Black Panther departs from this formula by grounding these moments in a personal story with meaningful stakes. The stakes of the story matter because all of the artists involved in the movie – from the director, writers and cast to the costume designer, the makeup and hair people and the experts who helped with dialects – worked to make all the characters feel fully realized, with hopes, dreams and flaws independent from our hero and his journey. We care about the fate of Wakanda because we care about the characters who inhabit it – and T’Challa’s family turmoil matters because the love, joy and resentment expressed by the family members feels real.

Coogler reminds us that the desire for representation in the African American community isn’t just about seeing black faces on a screen. We want to be taken seriously, to feel like our gaze is as valid and important as the white gaze that we are accustomed to seeing in Hollywood films. We want to see a dramatization of the kinds of debates and tensions that exist within the black community without an explainer for everyone else. We want movies where dark skinned people are properly lit and stories that aren’t mediated by the perspective of outsiders (even the very well meaning ones).

Coogler uses a familiar hero’s journey framework to tell a story about community, societal boundaries and black liberation. Black Panther dramatizes the discourse within the black community about identity and freedom in mythic, larger than life terms without sacrificing the black perspective. He invites the audience to view in-group conversations without translating anything for them. It’s a mainstream movie about black lives that cheerfully ignores the urge to reassure or defy the “little white man deep inside all of us” who wants to limit our freedom to imagine and create fictional worlds.

Coogler trusts his audience. He trusts them to tease out the distinctions between and within the liberal and radical visions for black liberation presented in the scenes and layers the narrative with allusions to events and ideas relevant to the African American experience.

There are limits to the scope of ideas explored in Black Panther. The film is set in Africa and is filled with images and items that we associate with Africa, but its narrative is driven by the concerns, dreams and dilemmas of the members of the African diaspora who were brought to America hundreds of years ago. In one sense, there aren’t many African American characters in Black Panther, but in another, we are everywhere. We are asked to reflect on the obligations that a privileged black community owes to less privileged black communities and while the characters do reference the struggle against white supremacy (not named, but you know…) in global terms, the visual reminders of oppression and that struggle are all tied to America, and the African American civil rights movement (in the early nineties) serves as the catalyst for the story.

This dynamic is not confined to the film version of Black Panther. In the late winter, I planned to (and may still) write about Black Panther and Wakanda as incomplete afrofuturist projects. Here’s the gist: Black Panther and Wakanda were created by two Jewish American comic book creators in the 1960’s, and while a number of Afro-diasporic writers and artists have helped shape our understanding of the Black Panther’s world over the years, almost all were telling stories from a perspective that was both African and American. They explored African American hopes and fears about empowerment, colonialism and intergroup conflict, but rarely incorporated the viewpoints of other members of the diaspora, particularly those who remained in Africa. I found great value in exploring the dreams and possibilities of the African American experience through a story like Black Panther (and a nation like Wakanda), but wondered if the absence of non-American perspectives (particularly African ones) blunted its potential impact. I also wondered how much sharper – and more transformative – the story would be if we were reading/watching a story that Africans were telling us about their world.

Black Panther is also a Marvel Studios movie, and cannot escape the positive and negative associations of that corporate relationship.

It shares the basic plot structure as many of their films centered around a solo hero, from the role of the two villains in the narrative (and how they are introduced) to the hero’s fall from grace and eventual triumph in a CGI fueled battle.

I wonder if that relationship contributes to the intriguing tension between the radical and conventional elements in Black Panther. The film’s visuals shake mainstream (at least in the world of blockbuster commercial Hollywood filmmaking) assumptions around beauty and power, with a diverse, nearly all-black cast presented as larger than life figures and shot in a manner that highlights the richness of their individual skin tones.

We are shown pieces of culture from all over Africa in a way that makes them feel modern and vital (and not ancient or exotic). But while the story gestures towards quasi-radical politics, it ultimately delivers a full throated defense of traditional monarchy that would’ve seemed downright reactionary in another film. The dialogue that evokes a long history of black nationalism/radicalism is delivered by a character presented as a violent faux populist tyrant. T’Challa’s plan to reengage with the world felt audacious on my first viewing, but upon reflection, it sounded pretty vague. My wife (who watched the movie with me when it was released on Blu Ray) remarked that she expected T’Challa to announce an initiative that would improve the material circumstances of the people of Oakland – a housing or education or employment program.

The Africana spread throughout Black Panther highlights this tension. The visual look of the scenes set in Wakanda is thoughtfully considered and creates a distinctly non-American context for the story. The interviews and profiles surrounding the movie make it clear that the visual aesthetic for the film is intended as a celebration of a wide range of African cultures, a rare thing for mainstream American films. This celebration is complicated by the film’s narrative, which is mostly set in a fictional isolated African nation. In this context, the blend of different African cultures in a single place without any in-text explanation becomes a reminder of our troubling habit of treating Africa as if it were a single location. A cinematic Latveria (the fictional Central European home of Fantastic Four villain Dr. Doom) that just combined elements of Greek, Czech, French and British visual and physical culture wouldn’t seem authentically ‘European’, it would feel artificial, the product of an outsider unfamiliar with the diverse cultures and societies on the continent.

Latveria, from a bad Fantastic Four movie. This needs some Greek columns and a couple of domes. Maybe a circuitry covered henge in the background.

The mix of conventional and radical elements make Black Panther feel less satisfying and more substantial. I would have wholeheartedly welcomed a mainstream Hollywood funded full throated meditation on dismantling white supremacy and the pain caused by colonialism, but I know that Americans – that we – have a limited appetite for blockbuster films that unnerve or threaten. I still want to see a movie that shows the non fictional black community – my community – through a non-tragic lens. Many countries in Africa still face huge challenges, but there have been a number of meaningful improvements of social and economic conditions in nations throughout the continent over the last two decades. African Americans still face a wide range of disadvantages relative to European Americans, but there has been (some) progress (particularly in the areas of education and wages). We are more than nameless youth at an urban basketball court. The scenes set in Wakanda are triumphant and transporting, but I couldn’t shake the thought that there are also happy and prosperous and successful (in the broadest definition of the word) black people who live in actual neighborhoods in real countries.

Coogler’s Black Panther is a piece of entertainment, a commodity owned by a multi billion dollar corporation that has a mixed history with black people and social justice and which is unlikely to green light a blockbuster with radical politics or that challenges viewers. It’s also a thrilling and thought provoking work of art made by a promising young African American director who has successfully infused social commentary and emotional honesty in a series of mainstream films of steadily increasing size and scope. Black Panther’s success is a win for films made by and starring black people, but it’s also a big win for Disney shareholders. It’s a story that excites by centering the perspective of African Americans (even in allegorical terms), but leaves one hungry for more that reflects the experiences of people from other parts of the diaspora.

It’s a movie that entertains and inspires, but as Yasiin Bey might say, it can’t save us. Thankfully, no one promised that it would.

Next Week: Second Take (Four Things).

Black Panther: First Take. In which I finally put some thoughts about a popular movie into writing. On an unseasonably warm Saturday morning in early February, my wife suggested that I take a break to go see the new…

#Afrofuturism #Black Panther #Ryan Coogler

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tuchimuchibrainvomit · 8 years ago

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EPISODE 1:

Aloha, fellow Sakuga Seedlings!

Welcome to my case study series, Brain Vomit.

Name’s

Tuchimuchi Yoshinori – or just Tuchi...

And I enjoy animation. Especially animation from the eastern archipelago of Japan, also called “Anime”

In this series, right here, I’ll be exploring Japanese Animation Production and enlightening this growing community and myself to the power they have in this expansive animated medium.

In this episode, we will focus on Defining Anime, Production Roles that go into creating anime and more!!

I welcome you all to join me on this exploration into Anime.

Without a moment’s hesitation, let’s start with the crust and make our way downward!!

What is Anime?

Anime (アニメ) the word, is moniker for Japanese Animation.

Anime, the art form, is a style of Limited Animation that came into prominence during the rise of Disney in the 1960’s, although Japanese animation dates back to the beginning of the 20th century. The most prominent and well known anime began from Osamu Tezuka -- known for Astro Boy, Black Jack and Kimba the White Lion -- creating new techniques after being inspired to simplify Disney’s rigorous animation aesthetics.

As manga began to be noticed as the popular thing in the 70s, anime began to shift from a Disney imitation to a new style of its own.

Sakuga (作画) is a catch-all term in Anime, where a certain scene or event’s production value and animation quality exceed the usual fare. It’s often these moments that enraptured our eyes to anime and got us interested. This can be anything from effects, to characters to background animation! Sakuga is limitless in it’s potential EPICNESS!!

Here are some awesome examples by Web Animator’s Yotsube and Bahi JD!

I know, it’s pretty damn cool. And Sakuga, there is actually a word for it! Literally translated from “Creating Pictures”. The name for this community that I call “Sakuga Seedlings” comes from the pun of “Saku” also being read as “to Bloom”.

(Source)

Some of the most famous anime were created by the world renowned Studio Ghibli and Hayao Miyazaki.

But other important, often forgotten legends are:

Hideaki Anno, Katsuhiro Otomo, Mamoru Hosoda and Makoto Shinkai.

If you haven’t heard of these guys, check them out. I’ve linked to their wikipedia articles in their names, so feel free to click on them and get a basic gist of what these guys are about.

In a future episode I plan to go over each and every one of them!

Next, I know you all saw that word “Limited Animation”...

Q: What is Japanese Limited Animation?

Unlike most Disney animation -- or Full Animation, where every frame is painstakingly drawn to create an almost true to life smooth motion -- Limited Animation is a style that takes advantage of the limited frames, partial frame changing and movement to create visually stimulating works. This is a much cheaper method and can be used to varying results.

Most Western TV cartoons and pretty much all anime is Limited Animation.

Full Animation is In an environment in which redraws most every frame are MANDATORY to create as realistic/fluid as possible movement. Unlike it though, limited animation often breaks traditional norms by keeping redraws to a restriction (often by getting creative with animation styles and shortcuts), but allowing for a more dynamic visual spectrum, as they are, ironically, not limited by realistic standards of full movement.

Many techniques of Limited Animation can be incorporated into more Western Full-Animation as well.

Limited animation is not limited to Japanese Animation, but because that is the focus, I want to focus my attention there.

(source) (source) (source)

So let’s, compare them!

Q: Compare Limited vs Full Animation

Let us compare Disney’s Full Animation and Limited Animation.

For this example,

Compare to Disney, which has very realistic perceptions of movement to Limited Animation.

Limited Animation often MUST exaggerate movements, repeat frames and manipulate the camera far beyond to get the sense of movement without frequent redraws.

It takes advantage of the mind’s magnificent ability to fill in movement on it’s own.

Note this: All of this is considered Sakuga. Pretty cool, right?

This type of animation still on paper before colored and composited is called “Genga” (原画).

No, not the Pokemon, Gengar! Nix the “R”!!

(Thank god, for now Tumblr gives have the sources -- so I can save time on listing them. As the series goes on, I’ll be grabbing actual clips and editing them in my own way, so those sources will have to be better defined...)

Q: OK. Back to Anime, How is Anime Produced?

Using the anime Shirobako as a fantastic launchpad, as well as other studies, Anime Production is built upon multiple roles and hierarchies.

(If you are at all curious about Japanese Anime Production, watch this series; It’s on Crunchyroll for free. I’m not being sponsored, but I recommend it. Linked above.)

(I will also be leaving Executives, Producers, Writers, Voice Actors and Sound Crews out of this list, which have a different important roles. But I would like to give this focus eventually along with Marketing Techniques, etc.)

For now, I’ll use basic definitions to keep things simple, but the most common roles in any anime production are:

Director: The individual in charge of keeping production staff on task and keeping the overall visual aesthetic. For Example: Akiyuki Shinbou of SHAFT fame.

Animation Director: This is the head person in charge and oversees all of the individual animation production. They are ALWAYS talented Key Animators with years of experience and have the last say on EVERY FRAME USED THE FINAL PRODUCTION. They have other responsibilities such as as Redraws and Correction.

Character Designer: The person who either creates or adapts designs for TV animation. This is Episode 2’s main message in a nutshell. But to sum it up here, it is not uncommon for Animation Directors and Character Designers to either be the same person, or a pair who have worked together on a lot of stuff.

Key Animator: The people in charge of drawing key poses (important movements and poses). There can be very few or very many depending on the production staff. We’ll get into that at a later time. These can often be Freelance Animators as well, which is very important as Studios often Freelance and can get different feels because of it.

In-Between Animator: The people who draw in-betweens to keys, connecting them all together and clean-up. These people refer to the Key Animators, while Key Animators refer to the Animation Directors.

Color Artists: Pretty straight forward, depending on whether traditionally or digitally animated, add color and shade to the basic animation. During the days of Cel-Shading, these were hand-painted, but with technology, tools like Photoshop, Toonboom and After Effects are more commonly used.

Check Artist: This person reviews each frame and checks for inconsistencies. They help the central aesthetic, style and models are on point. If not, a frame may have to be redone. When these guys mess up, we get things like this. These also can be Animation Directors themselves. Many roles can bleed into one another, if that wasn’t obvious enough. (Show example of animation error)

Background Artist: These guys design the backgrounds, whether 2D or 3D. We’ll get into this more later as well. My 3D knowledge is very limited, so I’ll do my own homework on more information on that.

Compositor: This group puts everything together, can take care of digital effects and edits such as atmospheric lighting and weather, depending on the production company. These guys create the crisp polish you’ll see in Ufotable Productions.

I know you must be thinking, these are very similar to Western Production Studios, and you’d be right.

They are very similar, as each piece is needed to produce like a well oiled machine. But there are many VERY important differences. If you know Animation History, Anime production was based on and eventually deviated from Disney’s original model.

Now that you have most of the basic pieces to understand we can begin digging in the differences from the ground up, work to each role and it’s importance and how that all comes together.

Now we can start to looking into the question of,

Q: What is different about Japanese and Western styles of animation production?

Not in the aesthetic choices, but in the setup and philosophy of animation.

It all comes down to the production at hand, but the main basic philosophy is something I like to call “Western Order and Eastern Individuality”.

This is a good start and the start of some of my liberal take on defining different parts of anime and animation -- A main point of this series was to break down and find a way of defining little things like this in a more digestible method:

So, what is the Western idea of “Order Animation”.

Well, how staff is put together is what dictates it.

If you look at any Disney frame, what do you see? Animation that is completely kept on model and shows the visions of the Director and Animation Leads based on strict values of Order and Perfection.

This is often formed by having teams for every character and aesthetic throughout the entire picture remaining as physically consistent as possible.

It’s very impressive that they can get this group of people so on point! I admire it, even if it isn’t the philosophy I prefer in my own tastes in animation and production.

Then, there is the Eastern idea of -- what I like to call -- “Individuality Animation”. This is just another way the production team is staffed and ordered. Most Key Animators have what are called Cuts -- specific scenes in each production that they are in charge of animating. Think about a Cut like cutting a camera in a film to a new scene. Many film making techniques are used in animation, this should always be kept in mind constantly.

Once again, this goes more onto which you find better in your opinion, but I tend to find these definitions slightly ironic based on their respective cultures, but there is a lot of truth to them.

Q: Now, why does this Individuality Animation interest me?

Because, it allows for every Key Animator and In-Betweener to add their own spice and flair to a scene, to the point where based on the animation, you can tell which individual worked on it.

-- AND THIS IS WHAT I LOVE!

LOOKING AT A PIECE OF ANIMATION AND BASED ON STYLISTIC AND AESTHETICAL TROPES, YOU CAN POINT OUT A SPECIFIC ANIMATOR OR ANIMATORS INSPIRED BY ONE ANOTHER!!

I believe Order Animation tries to represent a company as a whole, which is great in its own right.

While Individual Animation tries to represent the identities of those who worked on it. Which I am much more in support of and interested in. If you’ve ever met me, I am the type that remembers faces and personalities more than names and the bigger picture. With how I work and how I love to meet new people, Individuality Animation allows me to really get to the heart of an animator.

Ahem, I lost my composure there! Haha!

Next on the chopping block:

Q: Digital Animation vs Traditional Animation...

How are they addressed?

Simply, are Keyframes and In-betweens hand-drawn on paper and then scanned for clean-up and color?

Or are they drawn on digital tablet or are they 3D models?

Traditional Animation is still very common in Japanese Animation production, and most every anime you’ve seen started as hand drawn on paper.

Digital Animation uses programs such as Photoshop, Flash, ToonBoom and etc. to draw everything. Animators that focus on this medium are lovingly called Web Generation Animators. Believe it or not, one of the eldest animation studios, Tatsunoko has evolved to include many web generation animators.

youtube

(From the Studio Tatsunoko produced “Yoru no Yatterman”, hosting a wide array of web generation animation talent!)

In a later episode, I will do a more complete diegesis on Digital Animation Programs as it’s one of my favorite topics.

3D Animation is a new sensation that started an arise in anime at the start of the 2010’s. All of these anime are produced in 3D animation softwares, but are produced using techniques descended from Limited Animation. Look as series like Guilty Gear Xrd and Black Rock Shooter for some amazing examples of this.

youtube

(Guilty Gear Xrd belongs to Arc System Works. It is on PS3, PS4 and Steam PC, Go play it! The GDC also produced this great video on how the 3D Cel-Shaded style was used to imitate sprite anime form the previous entries! It’s about an hour long, but super informative!!)

Mixed Media is often used, where anime can be produced using all three methods for different reasons, be it backgrounds or the animator had a preferred way of animating. Most modern anime uses a form of mixed media from Pokemon XYZ’s 3D Camera to To Aru Majutsu no Index’s 3D Background design. It’s more common than you’d think.

(Most noticeable at 0:39 and 0:58. Look how the ground around Ash’s feet is swiveling in a new way. Or how the camera follows Pikachu to Pangoro and Honedge. Fun Fact: Quick Attack is ineffective on Honedge, it’s a Ghost type!)

youtube

(Pokemon XY belongs to OLM, Game Freak, Nintendo and Creatures Inc., OLM actually means Oriental Light and Magic, inspired from Industrial Light and Magic, known for Cinematic VFX.)

But these can be used in a myriad of creative ways to make each cut feel distinct depending on which animators are behind the wheel.

Since I’m focusing on Japanese Animation Philosophy, as it’s what I know better and prefer, I will focus on that through most of my future studies.

However, you are free to use whichever method you want!

The great thing about art and animation is that you have a choice in how you go about doing it. I wholeheartedly believe in having whatever style interests you and making the most of your creativity.

If I can help bring in a new interest or skill set into your work, or just entertain you with my geekiness about anime, then it will all be worth it.

Who knows, you may be surprised at what we discuss!

I’ll call this episode a wrap for now! Next time we’ll be discussing the basic principles of animation.

If you haven’t gotten a copy of the Animator’s Survival Guide, I highly recommend finding a copy of it! It’s a must-have for animators of all skill levels, even amateur ones like me.

I’ll see you all next time!!

ON THE NEXT BRAIN VOMIT!!

EPISODE 2: ANIMATION PRINCIPLES ARE THE MOON PRINCESSES?!!

STAY TUNED NEXT SATURDAY AT 7PM EST FOR NEXT EXPEDITION INTO SAKUGA GOODNESS!!

DON’T MISS IT, OR I’LL HAVE TO PUNISH YOU!!

Remember: Always bloom proudly,

– TUCHI OUT!!!

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