#bridge mankind collapse

[terracoota]

BRIDGE MANKIND COLLAPSE!!!

i just really wanted an excuse to talk about it cause ive been thinking about it non-stop…

Puma Marcelo i love you hes. uhh i wouldnt say my favorite cause i also really like Mikhail, theyre both great

not great morally but i like the way they look..

GUYS. Mikhail and Abrahams death killed me inside..especially Abrahams. Crushed.

I wasnt too devastated at Marcelos death cause he kind of deserved it after all but it was still sad

moral of the story dont take pink drugs and pay your debts🤤

[yamperzzz]

I just watched "bridge mankind collapse" and I swear to god that shit just altered my brain chemistry forever regarding MadCom animations

[kns103]

c n

bridge mankind collapse

[sunraizo]

Heya i love your arts! Btw, what your fav animations in Madcom?

Omg sorry for answering late, haven’t been checking stuff for a bit but hmm… favourite animations in madcom? Idk what specifically you’re asking for but there are a lot of things I like from Krinkels (of course) and then from the community specifically I really like the “Feelings” series by Tuvster, “Madness nightmare” by Afk-MAX, I also like Gabriel’s stuff, but there is a lot more that I like!!!!!! But I can’t remember everything currently. I am also still looking through all the madness day 2024 stuff (from there for an example I really enjoyed “madness project nexus animated” and “bridge mankind collapse”). I haven’t finished everything cus I’m busy but everything so far I’ve seen is SO FIRE!!!! I LOVE IT!! Everyone did amazing

[schmedterlingfreud]

May I ask what is your stance on feminism?

Sure! It makes me vomit, plain and simple.

I think modern feminism bases its narrative on shitting on the backs of what men have built for women and with women through the history of mankind.

Modern feminists are nothing more than ungrateful whiney brats, accommodated by a decaying society that right now needs strong men more than ever. They are hypocrites who scream at Patriarchy in a Western society, from their privileged homes and positions, without ever spending a single word to denounce those Countries and cultures that kill women just for the guilt of showing their hair.

I'm tired of living in a society that accommodates women like them, a society that puts them in positions they don't deserve just because they are women and not because of their true merits. And we all see the consequences, right? Plane crashes, forests on fire, collapsed bridges. Modern feminism isn't about equality,  it's about sinking men in favor of women who don't deserve to take their place.

I'm sick and tired of double standards. I'm tired of seeing men and the Patriarchy blamed for every flaw in modern society, and I'm tired of seeing children educated under this narrative. Girls are taught that they are capable of anything, that they are unique and special (spolier alert: we are not), while boys are only taught not to be Toxic.

Every day I see the world moving forward in this direction, and I am terrified by the thought of living in a world ruled by these so called progressive women. It literally makes me puke how the mainstream media, Hollywood, and corporations brainwash the younger generations into believing that a world governed by women would be more just, equal and ideal. Anyone who has worked with women even for just a day knows that this is not the case.

Women may fight many enemies, true, but I've always thought that women themselves are women's first and most feared enemies.

I'm speaking too much from my personal experiences? Maybe? But honestly I don't care anymore. In fact, I have always suffered the greatest cruelty and injustices from women hands. I have never seen those much vaunted qualities in practice: solidarity, collaboration, justice, sensitivity.

"Boo-ohh, but it's not their fault, it's the Patriarchal Society that pushes women to behave like this"

No! Fuck this shit! Women can be mean, cruel, stupid, useless, and our behavior is our responsibility, period.

... e ora vediamo quanto ci impiega l'amabile e tollerantissimo tumblr a bannarmi per aver osato parlare male delle femministe :D

[thestorieswesay]

Hi! For the fic writer ask game : ) ✅ 💕🦉😊🔥

list one or two favorite lines you’ve written and explain why they’re your favorite

Some Sanctuary goodies this time! (I tried to narrow it down, really I did, but I have so many favorites in this fandom it was impossible to choose):

The fashionable vampire has been back in Old City for only a few hours, but he seems well-rested and cheerful considering what he has been spending his time doing. As if sensing his thoughts, Nikola sets his wineglass down and takes a small bite of roasted artichoke heart, chewing thoughtfully, carefully considering the food. When he speaks, his voice is light - "I ripped a man's throat out today. You ever get aroused by violence?" The carefully delivered bomb explodes in Declan's face, making him flush hotly and choke out, "We're having antipasti!" "Yeah, sure, but do you?" He asks, blue eyes sparkling with mischief as he bridges his hands across his chest.

This is from the second fic in my Declan/Nikola trilogy ('colours you know that I can't see with anybody else') and I love this scene so much. It came fully-formed in my brain and I wrote the whole front end of the fic just to deliver this exchange. I love Nikola fucking with Declan and making him regret ever taking him to dinner. Writing Nikola is such a treat!

Soon she will begin to cough, begin to choke. Her organs will fail her, leaving her a damaged, collapsing body of lost and broken parts. Her magic, effervescent blood will fail her. There will be nothing left but a small, desiccated husk to finally put in the ground, beside Nigel and James and everyone else he has ever cared about. He pours over the blood samples, agonizes over his notes. Pours himself another glass of wine only to abandon it and drink straight from the bottle. He's not a medical doctor by any sort of formal training but he knows blood more than anyone perhaps ever will. He isn't a vampire anymore but above all else, he knows blood. He can see the collapse of the white cells, see the dying and the fading and the lack of new cells being made. He can see the radiation sickness spread. There is no way to stop it. Helen is going to die.

From 'Blood is Compulsory', my Whumptober 'Radiation Poisioning' fic. (I need to write the second chapter). I live to write vampires and blood, but this is an interesting twist on the subject because this is when Nikola was human and the blood is not being drunk, but destroyed. I don't write vignettes a lot but when I do, I end up madly in love with the results.

"Nikola, please," she whispers, kissing the side of his head. He opens his eyes to stare at her uneasily, pain written across his features. "Let me help you," she hears herself saying. "You don't know what you're doing," he pants out, twisting to try and get out of her arms, but he's too weak to do so. "I know exactly what I'm offering. My blood has healed, has sustained. It can help you. Please..." "Begone, vile temptress," he says a little too loudly, but she lets her face break into a wan smile at his attempt at humor. "No," she responds simply, rolling him onto his back. He gasps and stares up at her helplessly, looking every inch a wounded animal she simply must save. It's incredibly vulnerable, and she feels her heart and her soul ache for this man. "I'm going to help you," she whispers, sitting herself down on the bed beside him.

Carentan Rewrite, my beloved! 'never found the answer (but we knew one thing)' is one of my favorite Sanctuary stories I've written and my first real attempt at writing Teslen. It was so fun to write from Helen's point of view for the first time! I have a weak spot for a pathetic man so I made Nikola extra wetcat and vulnerable in this fic.

He spends most of his time alone. The Project is time-consuming and he is ever busy even though he is restless. The idea of succeeding is so elating, so damning. He knows he is playing with fire, but so was Prometheus, and look what that did for mankind! Though it isn't mankind he is interested in anymore (and things didn't quite work out for Prometheus in the end either, sadly. No one appreciates a true genius, he knows well).

and

"That's not my blood, Johnny boy," he calls out mockingly, laughing as the other man raises his palm and slaps him. "Shut up," Druitt snaps, slapping him again for good measure. It's a sharp crack of pain that filters through the drugging and Tesla bares his teeth in a mirthful snarl. Druitt snarls back and kisses him again, biting his lower lip and drawing some blood. It's not enough for what he needs from him, Tesla knows, but he's offended all the same and punches at the other man uncoordinatedly, trying to hit him in his throat. John avoids it and catches his wrists, grasping them in one hand, holding them over his head. "Behave," he says severely, grabbing his chin with his free hand, smearing blood from his lips across it with his fingers. "John, it's like you don't even know me," Tesla laughs again, though he is struggling more in earnest now. He hates how easy it is for John to manhandle him, hates their size disparity even though he is normally just as strong these days. Except when someone drugs him; hello, rude, he thinks wildly.

These sections are from my very first Sanctuary fic, 'Blood in the Cut', which was written as a birthday present for my best friend. I watched Sanctuary to begin with just so I could write her this fic and my God, how it has CONSUMED ME. I love writing Nikola as a mouthy little shit and I adore how I managed to portray him in this fic. But 'Hello, rude' lives rent-free in my skull now lmao.

what's your favorite part of your writing process?

Honestly, the spit-balling, note-making, pre-writing process is my favorite part. I call it 'spaghetti' - you throw it at the wall and if it sticks, it's ready. I honestly enjoy outlining and planning stories more than I enjoy the actual labour of writing them (though I love rereading them when they're done - nobody writes my favorites doing my favorite things like I do, lol). But I live to engage with other people, so if more people see the finished result than the friends I spaghettied with, it's all worth the work!

give yourself a piece of writing advice

IT'S NEVER TO LATE TO REVISIT AN IDEA!

I finished a fic this year that I started in 2013. I have another one from 2021 that's ALMOST done. My magnus opus ('Humane', Stargate Universe) was started in 2012 and completed in 2021. I have so many old WIPs that were started before my stroke that I'll never be able to finish now (my brain has just literally lost the plot) but I haven't given up hope on all of them. Because it's really never too late.

say something nice about your writing

I write great dialogue. There's that one tumblr post that's like 'How do you write such realistic dialogue- I TALK TO MYSELF I TALK TO MYSELF I TALK TO MYSELF' and that is me. I can hear the characters saying the lines in my head and so I write down what I heard, the way I heard it, and everyone goes 'hey this is pretty good!' and that's my special little skill.

what’s something that’s currently going really well?

I am outlining and making notes for a dear friend's Christmas present (well two friends' presents, my bestie and my secret friend). The notes are going great. I have a fic title, a series title (it's a sequel to something I already wrote), and chapter titles. I have three chapters planned. I have the pullquotes prepared and the last line of the fic written. Thank you, Taylor Swift.

[agnerd-bot]

Fate Fanservant: Red Riding Hood, Wayward Hunter of the Forest(Pretender)

Ascension Stages:

First Stage: Red Riding Hood’s iconic cloak, the outside a deep crimson and the inside a gleaming golden, rests on her shoulders, coupled with a white shirt and a black skirt. A pair of glasses is perched on the bridge of her nose, and a huntsman’s rifle hangs over her shoulder. 

Second Stage: The rifle is replaced by a pair of twin woodcutter axes, and a pair of wolf ears now poke out from her head. Her hood is pulled further over her head in an attempt to hide these features, shadowing parts of her eyes. Red Riding Hood’s left arm is transformed to that of a werewolf’s claws, and her teeth are narrowed and sharpened.

Final Stage: Red has now taken the form of a massive white werewolf, towering over everything in sight, her mouth split into four parts and revealing a blinding white light within. In her hands is a titanic blade shining with the light of the sun, and on her head is a crown of four antler-like horns. Her red cloak continues to billow in the wind behind her.

Theme:

Traits:

Class: Pretender, Beast

Alternate Class: Assassin, Archer

True Name(s): Little Red Riding Hood, The Big Bad Wolf, The Werewolf of Auvergne, Fenrir, The Beast of Gevaudan, Beast IV: R

Source: French Fairy Tales Norse Mythology, French Legend

Region: France

Alignment: Chaotic Evil Attribute: Beast

Known as: Blanchette, Le Petit Chaperon Rouge, Rotkäppchen The Beast of Ragnarok, The Beast of Rampage, The Monster That Heralds the End Times, The Beast of Childhood Fables, Mankind’s Fear of Wolves

Voice Actress: Inoue Marina

Deck: QABBB

Parameters:

Strength: A+ Endurance: EX Agility: B Mana: C Luck: D NP: EX

Passive Skills:

??? A:

A power granted to the one who lay claim over the dark forests themselves, yet one still unknown by Chaldea.

(FGO Effect:)

-Increases own critical damage by 12%. -Increases own damage by 250.

Independent Manifestation E(X):

A skill common to her class, Red Riding Hood's nature is to stray off of the set path she is meant to take, instead opting for the journey to take a more 'scenic route'. No matter who gives her the warning or how the tale is told, Red Riding Hood will always wander off the beaten path one way or another. As a result, it is incredibly hard for Red Riding Hood to be properly corralled into doing something without her either getting lost, getting distracted, or simply having horrible luck.

"Whoops! Where did the time go? Guess I should've listened to those instructions better, huh?"

In reality, Red Riding Hood's own flighty nature and unreliability is a facade, meant to lure those around her into a false sense of security. Whenever Red Riding Hood ends up 'getting lost', she is furthering her own goals as a Beast. As her ultimate goals are the collapse of all histories of man, she is immune to any type of temporal anomaly, and so long as a world has a fear of the unknown wilderness, she can manifest there. 

(FGO Effect:)

-Increases own critical damage by 10%. -Increases own Instant-Kill resistance by 10%. -Decreases own mental debuff resistance by 10%[Demerit].

Basket Full of Goods B:

In almost every version of Little Red Riding Hood, the little girl carries a basket with her full of cake and sweets, meant to help her grandmother get better. It was for this reason that she entered into the Big Bad Wolf's forest in the first place, having been sent out by her mother to give grandma this gift basket. Even the Big Bad Wolf wished to consume of the goods once he learned of its contents, and ate the cake and wine after consuming Red Riding Hood and her grandmother.

As a result of the story being tied to that of Red Riding Hood's delivery, this basket serves as a pseudo-Reality Marble, granting Red Riding Hood the ability to pull out vast amounts of food and drink for herself or for others. This food has the remarkable property to rejuvenate and heal those who eat it, curing ailments or enhancing performance in some way. Red Riding Hood claims to have made all the food herself, but the actual proof of such has not been documented yet.

(FGO Effect:)

-If in First Ascension, recover a random ally's HP by 600 each turn. -If in Second Ascension, recover all allies' HP by 200 each turn. -If in Third Ascension, recover own health by 500 each turn.

Active Skills:

Gentle Hand Stained Red A:

Red.

Red is the color that has defined her. It has become her name, her sole means of identity. Few people know of her True Name, and even fewer even care to speak of it in favor of her title of 'Red Riding Hood'. From the wine and cake she brought to her grandmother's house, to the wolf's tongue that spoke of gentle lies into her ear, to the strange meat that sat in her grandmother's cupboard, to the wolf's insides after she swallowed her whole. Red was the first thing she saw after the woodsman pulled her out from the monster's corpse, and red is the trail her hood left behind on this world.

Red is the color of slaughter and death. Red is who she is.

(FGO Effect:)

-Increase Attack of all 'Fairy Tale' Servants for three turns. -Increase NP Gauge of all 'Fairy Tale' Servants for three turns. -Increases own Buster performance on 'Forest Battlefield' for three turns. -Increases own Critical Strength on 'Forest Battlefield' for three turns.

Hunter that Roams the Mountains C:

A talent acquired through years of hunting and exploring the mountains and forests of France. After exploring and understanding everything she could in the region, Red Riding Hood eventually became a peerless hunter that could survive any hardship and fell any creature that crossed her path. It mattered not what she found in her searches, she would always come out the victor. Any bear who thought they could eat her would crumble with one swing of her axe. Any rabbit who caught her eye would be shot dead by her rifle.

This skill includes knowledge of setting traps, tracking enemies, incredibly good hearing, maintenance for her weaponry, and all the other skills that are expected for any enterprising huntress. When on a forest battlefield, Red Riding Hood can only be outmatched by even greater skilled hunters such as Atalante, Orion, or William Tell. Naturally, in her native France, this skill's power increases several times over.

"And yet despite my immense talents, here I am, still needing glasses to see five feet ahead of my face... The Throne of Heroes really is a titanic mess of a place, isn't it..."

(FGO Effect:)

-Increases damage against all ‘Beast’, ‘Child’, and ‘Elderly’ Servants for three turns. -Apply Skill Seal and NP Seal on all ‘Divine’ Units, including allies, for one turn. -Apply Skill Seal and NP Seal on all ‘Prophesied Hero’ Units, including allies, for one turn(has a chance to stack with ‘Divine’ effect) -500% Chance to grant self Forest Battlefield buff for three turns.

Seeker of Glory and Fame:

The skill held by a Servant who dedicated their life to making themselves known in history. However, despite Red Riding Hood's pride in her talents, she does not have much in the way of desire for fame and fortune, leaving it unknown why she has this skill in particular.

Before being betrayed by the Aesir, the beast known as Fenrir desired to attain a place as a great figure of the Norse pantheon, to the point where he arrogantly accepted a challenge from the gods, letting himself be bound in iron chains to prove his strength. When the gods successfully bound him with Gleipnir, they jeered and mocked him for his aspirations, giving him the nickname 'Hróðvitnir', or 'famous-wolf.' Since then, Fenrir has borne a grudge against all gods for their actions against him, and when the time comes, he will break free of his bonds and wreak his terrible vengeance on all that lives.

For if Fenrir cannot make his fame as a hero of legend and might, then he will go down in infamy as a villain feared by all.

(FGO Effect:)

-Gain a large amount of Critical Stars. -Increase own Critical Star absorption for three turns. -Apply Guts to self(two times, five turns).

Noble Phantasms

Noble Phantasm: Le Petit Chaperon Rouge - The Blessed Hood of Gold and Flame

Rank: B Maximum Targets: 1 Range: — Classification: Anti-Unit(Self)

The titular Red Riding Hood that Blanchette wore on that fateful day, and the most recognizable part of her legend. In some versions of the tale, this cloak was spun by her grandmother from a ray of sunshine and enchanted to bless the young Red Riding Hood with safe passage. Due to the nature of the hood, it serves as a powerful deterrent against those with evil intentions and a defense against magical curses. The cape can also be used offensively, swung around to leave a trail of flame in its wake that burns those who seek to do her harm.

In addition to its use in combat, the cape also can be used as a form of disguise. By pulling the hood over her face, Red can alter her appearance to look like another person, blending in even among close friends. However, these disguises are not perfect, and those with strong enough perceptions or the ability to see through illusions will be able to realize they're being deceived very quickly. In addition, those who are close to the person Blanchette is disguising herself will be able to detect small holes in her disguise over time, even if those flaws are not readily obvious.

(FGO Effect:)

-Deal heavy damage to all enemies. -Decrease ATK for 3 turns to all enemies. -Decrease Defense for 3 turns to all enemies. -Chance to Stun all enemies.

Noble Phantasm: Le Grand Méchant Loup - The Monster that Waits Outside Your Door

Rank: EX Maximum Targets: — Range: — Classification: Anti-World(Self)

The Big Bad Wolf itself, the most infamous monster of fairy tales. After the traumatic experience at nearly being slain by the monster and eating her own grandmother, Blanchette became obsessed with it, over time growing into a beast herself, the Loup-Garou, a monster driven by madness and hunger, uncaring of who or what she slew. Such is the true nature of Little Red Riding Hood, a foolish young girl that became a monster after facing the awful truth.

As a Beast of Humanity, Red Riding Hood has become of a living embodiment of mankind's fear of wolves, taking on aspects of multiple wolves in folklore, such as the Wolf from Aesop's Fables, the Romanian Pricolici, the Inuit Amarok, and the Greek Lycaon. Among the two most fearsome aspects of this transformation, however, are the Beast of Gevaudan and Fenrir. The former was a wolf famous for killing and eating over one hundred people, becoming an infamous terror across the French countryside. The latter is one of the beings fated to destroy all things in the time of Ragnarok, slaying Odin and swallowing the sun itself. Combined with the Big Bad Wolf, Red Riding Hood essentially becomes a nigh-unstoppable force of gluttony.

When using this Noble Phantasm, Red transforms into an impossibly massive werewolf that towers over all, destroying everything in its path by merely breathing. Despite the monster's size, the greatest power it holds comes from within. Much like the stories, the Big Bad Wolf's hunger is insatiable, able of consuming anything and everything it pleases. This manifests as an entirely separate dimension within the Beast, where everything it swallows enters with next to no hope for a possible escape. Because of its size, it can eat nearly anything, from Novum Chaldea, to entire Singularities, to even the entirety of Proper Human History given enough time.

Noble Phantasm: Vargr Ragnarök - The Song that Sings of The End of All Creation

Rank: EX Maximum Targets: “All the better to kill you with.” Range: “All the better to reach you with.” Classification: Anti-Narrative

A secondary Noble Phantasm to Le Grand Méchant Loup, Vargr Ragnarök is a devastating ability that is the sister Noble Phantasm to Loptr Laegjarn. It is said that when Fenrir breaks free of his bindings, the end of the world shall begin, and the Age of Gods will be no more. So fearsome is the chaos and noise from Fenrir and Jormungandr's rampage that the heavens themselves split open. This prophecy manifests as a ferocious howl that can rend entire worlds asunder, driving those who hear it in a maddened fear as the very concept of Ragnarök is forced upon the victim's minds.

So great is this Noble Phantasm's power, it can conceptually force the idea of 'an ending' onto its target. As Fenrir's eating of both the sun and moon is the last event that will herald the end of the Age of Gods, when the Big Bad Wolf uses this Noble Phantasm, the very idea of 'the end' will be set into place, and the fall of this Noble Phantasm's target would be fated to happen, becoming a destiny that is next to impossible to overcome. Only a Noble Phantasm explicitly meant to defy the fates themselves could destroy the destiny that this Noble Phantasm sets into place.

Voice Lines (Red Riding Hood):

Summoned: So this is Chaldea? A land where heroes from all lands and all stories gather. To think a simple peasant like myself is considered important enough to be here... It's kind of humbling, I have to admit. Ah, where are my manners? Bonjour, folks call me Little Red Riding Hood. Well, I guess I'm not really 'Little' anymore, huh? Either way, I'll lend my axe and rifle to whatever purpose you need. Wherever the monsters are walking, I won't be far behind.

Summoned(Post-True Name Narration): ...heh. Kehahahahahahaha! Well, well, well, we meet again so soon, huh, Master of Chaldea? I must say, the facility looks none the worse for wear after I got through with it. Tell me, how're your little friends? Awwwww... Don't look at me like that, ma biquette... You look much prettier with a smile on.

Level Up 1: *crunch crunch* Mmmm... nice and sweet, but it's missing something, non?

Level Up 2(Post-True Name Narration): Feed me. C'mon. I'm starving!

1st Ascension: So this is Servant Ascension... I look good, don't you think? My body is stronger, my senses are sharper, all to make me a better Servant that can help you take down your enemies. Eh, you say there's something wrong with my ears? Hehe... All the better to hear my enemies, non?

2nd Ascension: What's wrong, ma biquette? You seem... nervous. There's no need to be afraid of what walks in the woods. I was, when I was a kid. Then I learned to pick up an axe. Monsters, demons, creatures that go bump in the night, they all have one thing in common. Not one of them is scarier than I am.

3rd Ascension: Hmmm... That feels nice. It's good to be able to stretch my legs and feel the sun at my back again. And I have you to thank for this, ma biquette... The Big Bad Wolf is at your service. I'll feast on whoever you order me to feast upon, break your enemies' bones upon my teeth, and swallow the world itself all in your name. And when all is said and done... I suppose you'll serve as a nice dessert.

4th Ascension: I don't know whether it's because you're that much of a fool or because you fear me... Either way, you've doomed yourself now, ma biquette. Locked in a room with the Big Bad Wolf. Nowhere to run, nowhere to hide... Kehehehehe... How should I end your life? Should I tear out your throat? Shoot you in the brain? Maybe slice you to ribbons? Or maybe I should just swallow you whole! ... Hah! Just kidding~! There's no fun in doing something so obvious so easily. No, I have a much better idea... I'll let you look over your shoulder and wait for the day I eat you alive. Watching, waiting for me to make my move.... And when you break down in fear, the Big Bad Wolf will pounce on the foolish young Master, and Little Red Riding Hood will live happily ever after... The end.

Fight Start 1: Ohhhh…! Who’s that I see walking in these woods?

Fight Start 2: Damn, have I gotten lost again?

Fight Start 1(Third Ascension): Yes, yes, eliminate the enemy, I know…

Fight Start 2(Third Ascension): Well, what little morsels do we have here?

Skill 1: Hmm, hmm, hmm~

Skill 2: Let’s see what I’ve got here…

Skill 1(Third Ascension): Time to eat~!

Skill 2(Third Ascension): AROOOOOOOOOO!

Command Card Select 1: My, what big eyes you have!

Command Card Select 2: Oh, what big ears you have!

Command Card Select 3: Well, what big teeth I have…

Command Card Select 1(Third Ascension): Meat shall be eaten…

Command Card Select 2(Third Ascension): Bones shall be crunched…

Command Card Select 3(Third Ascension): Blood will be sucked up dry…

Noble Phantasm Select: The hunt has reached its conclusion…

Noble Phantasm Select(Third Ascension): Just in time for the feast…

Attack 1: Lock.

Attack 2: Stock.

Attack 3: Barrel.

Attack 4: Did you think you could outmaneuver me?

Attack 5: You walked right into my trap!

Extra Attack 1: You’re mine!

Extra Attack 2: Time to cut you open!

Attack 1(Third Ascension): Odin sought to bind me!

Attack 2(Third Ascension): Tyr chose to betray me!

Attack 3(Third Ascension): Sòl believed she could run from me!

Attack 4(Third Ascension): Nowhere to run.

Attack 5(Third Ascension): Nowhere to hide!

Attack 6(Third Ascension): THIS IS THE END FOR YOU!

Extra Attack 1(Third Ascension): AND YET, HERE I STAND!

Extra Attack 2(Third Ascension): AROOOOOOOOOO!

Noble Phantasm 1:

A gift, woven from the very rays of the sun themselves.

Given to a woman whose kindness knew no bounds.

Guarding me, protecting me from the evils that roam these woods.

Are you a villain or a hero? Let the Red Hood decide.

Le Petit Chaperon Rouge...

Noble Phantasm 2:

Stray off the path, to your own detriment.

For these woods have beasts roaming them.

And yet none are to be as feared as I am.

Fear me, monsters, for I am Little Red Riding Hood.

Noble Phantasm 3:

When you walk through the forests, be sure to greet me with a smile.

I shall return in kind.

An exchange of words, a bow to your partner, and so the story is set in motion.

None of us can escape our fates now...

And yet, I will still continue to try.

Noble Phantasm 1(Third Ascension):

Kehahahaha…

Tell me, little one, why have you entered my forest?

Have you gotten lost? Or perhaps you meant to find me all this time.

Either way, you’ve come just in time…

For the feast.

Le Grand Méchant Loup…

Noble Phantasm 2(Third Ascension):

Come, step closer, my dear…

Let me see you…

Let me hear you…

Let me embrace you…

Let me…

TASTE YOU!

Le Grand Méchant Loup!

Damage from Noble Phantasm: I’m sorry, was that meant to hurt?

Regular Damage: Tch!

Defeated 1: Hey, wait! This isn’t how the story goes…!

Defeated 2: Ghhh… I’ll put a bullet between your eyes yet…!

Defeated 1(Third Ascension): Grr… Don’t think this is over!

Defeated 2(Third Ascension): No… No, I’ll tear you to shreds!

Victory 1: That was a fun little detour, wouldn’t you say?

Victory 2: I wonder if I can carve anything off here…

Victory 1(Third Ascension): Kehahahahaha! It’s not enough for me! Come on, onto the next meal!

Victory 2(Third Ascension): Was that supposed to feed me? That barely qualifies as a crumb.

My Room Dialogue(Red Riding Hood):

Bond Level 1: Hey, do you have anything to eat around here? I'm starving... I haven't eaten in the last... Ten? Fifteen minutes? ...hey, why are you giving me that weird look? I'm a growing girl, ya know.

Bond Level 2: You know, it's quite nice around here, I gotta say. Reminds me of when I once spent a time as the wife of a nobleman. Hm? You don't know that story? Hehe, the long and short of it is, I spent some time in Auvergene region, and I settled down for a bit. It didn't last long, but it was a fun little affair. I'll tell you all about it later.

Bond Level 3: It's nice having the chance to sit and talk with you. You've got so much to bear, with the Incineration of Humanity and the Death of Proper Human History, but you still find time to relax and forget about the hard times. I feel a lot of people could learn from that kinda mindset. Who cares about how much is lost, and how much will be lost? You're alive, you've got friends with you, and you got food to eat. Hehe! Sometimes, nothing's better than just shooting the breeze, eh?

Bond Level 4: Thank you for taking me this far... I mean, I never expected that you'd put so much faith in me. I'm really just a kid from the sticks who picked up a rifle and chose to hunt. But that doesn't mean I'm gonna disappoint you. I know I've already made an oath, but let me say it again: I will take up arms, and whatever enemies the world sends here, I will hunt them down. This I swear to you, ma biquette...

Bond Level 5: This hood of mine... It's my entire identity, the totality of my own existence. Most Servants would probably hate the idea of their names being lost to time, but I don't think I mind it. My grandmother made this hood, wove it out of sunlight, and gave it to protect me. It's like she's always with me, even after she's gone. I wonder if she'd be proud of me now…

Dialogue 1: I hate being cooped up like this… Don’t we have any missions to do or something? Being stuck inside is the woooooooorst!

Dialogue 2: Hm? You want to know about my glasses? Well, my eyes were always pretty bad ever since I was a kid. Thankfully, it seems that manifesting in this era lets me correct that annoying little problem of mine. Plus, they make me look clever, don’t you agree?

Dialogue 3: Nggh… This damn hand of mine always starts to itch at the worst time! Damnit, why won’t you behave! *scratch scratch*

Dialogue 4 (If you have Cinderella): The Queen of Fairy Tales herself! I must admit, I’ve never been the company of royalty! Tell me your majesty, should I bow, or curtsy? Eh? I don’t need to do that? C’mon, why shouldn’t I if you’re supposed to be so important?

Dialogue 5 (If you have Pinocchio): The wooden boy himself… I almost forgot what it was like, being able to walk around without a care in the world. Heh, then again, I guess that’s why you fight, isn’t it? So little boys like him can be so carefree?

Dialogue 6 (If you have Dame Gothel): The witch of the tower herself. To think that such a feared and legendary villain would end up walking the halls of heroes and champions… Hah! Guess that goes to show that this world really is unpredictable!

Dialogue 7 (If you have William Tell or Atalante): To think Chaldea had such amazing hunters walking its halls! I almost feel kinda bashful having to match up to hunters like these!

Dialogue 8 (If you have Goldilocks): Eh? Oh, it's Goldie! Nice to see a friendly face here for once... Ya hungry? C'mon, let's get something to eat, I'm starving. Drinks on me, hey?

Dialogue 9 (If you have Nursery Rhyme): The childhood storybook herself, eh? I’m more particular to Mother Goose, myself, but I suppose she has her place here, too.

Dialogue 10 (If you have Scheherazade): The queen who told of 1001 Nights… I have to say, I admire her will to see her story through, even when faced with the spectre of death. I wonder what kind of stories she’d have to say about me…

Dialogue 11 (If you have Marie Antoinette): To think the Queen of France is a fan of my story to the point that she dresses like me… Hah! As a peasant from the forests, it’s kind of mind-boggling, to say the least!

Dialogue 12 (If you have Barghest): Ehhh… Master, I don’t want to bother you, but is it possible to keep me in a room separate from this one? She keeps giving me weird looks… I don’t think she and I are the kind to get along, to be blunt.

Likes: What do I like? Well, it’s hard to go wrong with a good meal. Something sweet is best, like a fine wine or a shortcake… But I’m good with anything, really.

Dislikes: Talking about the past is too gloomy for my tastes. All these Servants talking about their regrets and pain… It’s a lot nicer to try and look to the future, non?

About the Holy Grail: The Holy Grail, huh…? Infinite potential in such a tiny little goblet. …the things I could do with it. I guess if I had to pick one… It’d be to have dinner with the huntsman I met all those years ago. I don’t think I ever had the chance to thank him…

During an Event: Seems that a new hunting ground has opened up for us. Shall we head out, ma biquette?

Birthday: Happy birthday! Might as well break out the sweets, non? I hope you don’t mind, but I already ate some of them. …most of them. …all of them. Ah, well the main point is to celebrate another year of your life, isn’t it?

Profile(Red Riding Hood):

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As far back as 10th Century France, among the most terrifying beasts said to roam the lands were bzou, better known as werewolves. Terror and fear of these monsters ran rampant across the continent of Europe, with wolves being seen as near-demonic entities that deserved to be destroyed. Out of this fear, the story of Little Red Riding Hood was born.

There have been many different versions of this story told by countless authors around the world. The first written version, and the most famous, was by Charles Perrault in the 17th Century as a part of his famous compendium of stories 'Tales of Mother Goose', which also introduced the trademark red hood she is famous for today.

Despite her being most iconic as a little girl, she instead manifests as a fully-grown adult, arming herself with two razor-sharp axes and a powerful hunting rifle to fell any creature that stands in her path. If asked why she has become a hunter, her response would simply be a wide grin and the statement.

"Because that man gave me the desire to hunt."

Bond Level 1:

Height/Weight: 215cm • 117kg/Bigger Than You Source: French Fairy Tales Region: France Alignment: Chaotic • Evil Gender: Female

"From this story one learns that children, especially young lasses, pretty, courteous and well-bred, do very wrong to listen to strangers, And it is not an unheard thing if the Wolf is thereby provided with his dinner. I say Wolf, for all wolves are not of the same sort; there is one kind with an amenable disposition – neither noisy, nor hateful, nor angry, but tame, obliging and gentle, following the young maids in the streets, even into their homes. Alas! Who does not know that these gentle wolves are of all such creatures the most dangerous!"

-Charles Perrault, 'Little Red Riding Hood'

Bond Level 2:

A fair and good-hearted girl, Little Red Riding Hood is one of the most famous heroines of fairy tales to ever live, only matched in her fame by figures such as Cinderella and Snow White. Due to her innocent nature and love of exploration, many people find themselves resonating with her in some way.

However, it is that same innocence that doomed her to be captured and eaten by the wolf, and it was only through random chance that she manages to escape thanks to the woodsman.

As an adult, Red Riding Hood has learned from her past mistakes. While still bearing a wide grin and a love for the outdoors, she is far more clever than she lets on, having killed many wolves who assumed that she'd be as easy of a victim as she was before.

Simply put, she is prey who has become an apex predator in her own right.

Bond Level 3:

Despite taking on the role of a hunter, Red Riding Hood does not like to talk about the matter of death. Her reasons for why tend to differ every time. "It's not fun to talk about those things, so why bother?" "It's not the time to focus on those dead and gone." "They're dead. What does it matter what they have to say?"

For Red Riding Hood, dwelling on the death and despair of the world is an errand left to fools. Why would anyone bother mourning over the dead and lost, when it's far more fun to rejoice over the fact that you're still alive? Why would you dare worry about the past or future when the present lay before your eyes? What use is it to focus on the dismal and sad when it's far more fun to just eat, drink, and hunt?

Yes, what is the point of living in a world of pain and misery?

Bond Level 4:

A red cloak, woven from the very sunbeams themselves, flows behind her as she walks through the forest. The leaves crunch beneath her feet as she swings around her basket merrily, blissfully unaware of the monsters at every turn. A fistful of flowers is clenched tight in her hands, a kind suggestion from a wolf in the forest. After all, why wouldn't her grandmother enjoy some nice flowers from the meadow? She can see it now, her and granny eating cake and drinking wine as they admire the flowers the wolf had found for her.

Raising her hand, she raps on the door, once, twice, only for the door to swing open slowly. For some reason, she feels a chill going down her spine, but she does not know why. Her grandmother's house is the same as it always is, and yet all the same, there is something terribly wrong. She peers in, and sees nothing but darkness, and hears nothing but a beckoning voice call out from the shadows.

"Shut the door well, my little lamb. Rest your basket on the table and eat. I know you must have walked a long way, after all. After that, come rest with me in bed and take off your coat. It's been so long since we've slept together, hasn't it?"

Despite the fear that gripped her heart, Red Riding Hood obeyed, walking into the darkness as the wolf's jaws tightened.

Bond Level 5:

"To think, it'd end up going this way... I thought I was so clever... But then he came in and caught me. Ah... Ahhh, what rotten luck I have... I guess this whole affair couldn't last for me, huh? Such a shame. It was a lot of fun, getting to roam around like this."

"..."

"...it's nice, though. Getting to see the sunlight one last time. It's so nice... So warm... I can feel it all around me now."

"Ah, Granny... I'm sorry that you had to be cursed with such a stupid granddaughter like me. If I'd only listened to you, maybe we'd get the chance to be happy together. Thank you, Granny... For everything."

Extra (Clear Interlude “World of Hopes and Dreams - Happily Ever After”):

The one who saved Little Red Riding Hood was no god or hero. He was no king or saint. No, her savior came in the form of a simple human huntsman, who came across her grandmother's house by mere luck. All the same, the huntsman saved her from being eaten by the monstrous werewolf, and for that, he was more great a champion than all of the Nine Worthies combined.

After that horrible day, Little Red Riding Hood was driven to be a hunter herself, taking up arms and becoming a wanderer of the forest in her own right. She never got the name of the man who saved her, and she never saw his face ever again, but the impact he had on her life was incalculable.

If she could have one possible wish to make on the Holy Grail... It would be to know the man who had saved her then, and then let him kill her.

My Room Dialogue(Post-True Name Narration):

Bond Level 1(Third Ascension):Oh? What, you wish to have a little small talk? Kehahahahahahaha! Isn't that a bit presumptuous of you? Aren't you afraid I might just get bored and make a meal of you? … *snrk* Yeah, right. Might as well get to know each other. I'm bored of sitting around anyways.

Bond Level 2(Third Ascension): Do you still insist on trying to understand me? Trying to peel back the layers and find out what kind of damaged person I am? Hah! If you consider that a fun way to pass the time, I won't stop you. But are you sure you'll like what you'll find in the end?

Bond Level 3(Third Ascension): Why do you continue to try and have conversations with me? Is it because you wish to know more about the Beasts of Humanity? Or is it because you don't trust me to be on my own? I wonder what kind of game you're playing at, ma biquette? What is your purpose in trying to talk with me...

Bond Level 4(Third Ascension): Did you ever consider that perhaps the bond we share is nothing more than a false reality? That the connections we share don't even exist to begin with? Perhaps you merely see me as another tool to be used. Perhaps I see you as another potential meal in the end. Does that make the time we've spent any less meaningful? Perhaps. Or maybe it makes it all that more important to carry. Regardless, the day will come when one of us leaves the other forever. Until then, why not enjoy what little time we have left.

Bond Level 5(Third Ascension): You know... You're such a tiny thing, now that I look at you. With one swipe of my paws, I could crush your body into a fine paste. With a single breath, I could reduce you to nothing but ashes in the wind. And yet here you are, staring up at me without fear, treating me as an equal... What the hell kind of monster are you, Master of Chaldea? Are you just a nascent Beast like me? Or are you a monster even worse than that... I guess only time will tell, huh? Kehahahaha... I can't wait to see what kind of hunter you become, ma biquette.

Dialogue 1: *crunch* *snap* …what do you want? Let me eat in peace.

Dialogue 2: Hey, do you mind doing something about the little fluffball? It seems my predecessor doesn’t like having me sit in his spot… If you don’t move him, I may just decide to have a snack.

Dialogue 3: Nnn? What is it? If you’re fine wasting your jaw about talking about pointless things, I may just eat it myself.

Dialogue 4 (If you have Cinderella): Ah yes, little miss Queen of Fairy Tales. Hiding behind a face of stoic calm and regality... But we both know that's just a facade. You're like me, aren't you? You're angry at this world... You want to lash out and scream against all the wrong that's been done to you. So, tell me... Why won't you? How can you sit there, so calm, so elegant, despite everything that's happened?! Huh?! Tell me!

Dialogue 5 (If you have Pinocchio): The little pilgrim made of pine... I'm sorry, but I don't think I can ever see the world through your little painted eyes. But it's nice to know, I guess. That some have the chance to have their eyes hidden from the horrors of the world.

Dialogue 6 (If you have Dame Gothel): Dame Gothel, the witch who haunted the fairy tales... A monster who lurked in tales told thousands of times... Aching for a chance to escape the narrative... Perhaps that's why she wanted to believe in me so badly. Or perhaps she just hates mankind that much. Either way, she was a nice pawn for me while it lasted... Though I don't think she'd like to hear that if I'm honest.

Dialogue 7 (If you have William Tell): ...no, he's not the same. But he's so close... No, forget it. It's nothing. ...hey, old man! Fancy a shooting contest? My rifle against your crossbow?

Dialogue 8 (If you have Sòl): Damnit... To think that you were hiding underneath my damn nose this whole time. Don't I feel stupid for not eating you alive when I had the chance. Still, I gotta admit, you're not as spineless as half the other gods in the Norse Pantheon. I suppose that I can't be mad at you for that.

Dialogue 9 (If you have Hans Christian Andersen or Nursery Rhyme): Oh, joy, the little brat is here to stare at me in contempt. I don't like having to be in the same room as you any more than you enjoy me, let me make it clear... I was denied my happy ending by people just like you. I intend to reclaim it however I so choose.

Dialogue 10 (If you have any ‘Sun-Related’ or ‘Moon-Related’ Servant): Oh, would you look at that? Lunch.

Dialogue 11 (If you have any ‘Beast-Class’ Servant): Oh? The Beasts of Humanity are here too? Wow, to think that my elders would all be here! Maybe we should have some coffee or wine and talk? I mean, I'd love to learn how you all can act so smug when you failed so badly...

Dialogue 12 (If you have Scathach-Skadi):  The last surviving Aesir who lived through the Twilight of the Gods... They say she became the Lostbelt King, ruling over the remains of the lands as its queen. ...kehahahahaha! What a sad joke! A sad excuse for a mother goddess, outliving all her children! Though, then again, they were less 'children' to you and more like dolls, weren't they? And you were their master, desperately trying to play out a godhood that died long ago... I don't know whether that's funny or just sad...

Dialogue 13 (If you have Qin Shi Huang): You know, Emperor of China, I quite liked the way you handled your Lostbelt. Knowledge is something that can be a far too dangerous tool in the wrong hands. You keeping it out of the hands of your people was the right way to guarantee they wouldn't be hurt. The only criticism I'd have...? You should have kept it out of your own hands.

Dialogue 14 (If you have Atalante Alter): 'Guardian of Children', huh...? To think there'd be a Champion of Humanity with such a goal... Either way, it's too late for someone like me. I'm just a monster that folks like her will eventually slaughter in pursuit of those same goals...

Likes: What do I like… Well, to put it simply, I like winning. The feeling of catching my prey off guard… The look on their faces as I stand over them, ready to end their existence… The knowledge that I’ve completely fooled them all… Kehahahaha… Well, simply put, I don’t think there’s any better feeling.

Dislikes: Those who try and prolong the inevitable are just a pain in the ass, to be honest. When the story reaches its end, you’re supposed to bow out gracefully… Instead you have losers trying to cling onto their last few breaths as if it makes a difference.

About the Holy Grail: Everyone has a wish they want to make, and if they don’t, they’re lying to your face. I’m no different. As for what it is… well, that’s a bit personal, non?

During an Event: Oh good… Fresh meat! Kehahahaha! Well what are we waiting for! Time to hunt!

Birthday: Happy Birthday! Where’s the cake, huh? *smack* Ow! Fine, fine, I’ll wait…

Voice Lines(Beast IV:R):

Fight Start: Alright, I'll play with you for a bit. I owe you that much for helping me. I'm going to enjoy how sweet this dessert tastes.

Fight Start (Decisive Battle): No more games, no more tricks. Your life ends here. Your life ends now. You stand before the herald of Ragnarök, the wolf that sings of the end. Beg, scream, and cry all you like. It changes nothing about the end.

Skill 1: The crimson hood woven from sunlight.

Skill 2: The teeth that shredded through hundreds.

Skill 3: The jaws that breached Heaven and Earth.

Attack 1: All that lives shall burn!

Attack 2: I'll crush your bones between my fangs!

Attack 3: Kehahaha... Die already!

Attack 4: Come on... Break beneath my maw!

Extra Attack: This is the end of your story!

Noble Phantasm 1:

Kehahahaha... Ahahahahaha!

Do you really think you can run from me?!

Wherever you go, whatever hole you try and slink into, I will always find you!

The only ending left for you now is to enter a world where even death itself dies!

COME NOW, AND JOIN YOUR FRIENDS IN OBLIVION!

GLEIPNIR BRAUT - VARGR RAGNARÖK!

Noble Phantasm 2:

The wolf shall rise to swallow the sun, and ascend to devour the moon.

Tremble and quake before me as the song of Ragnarok is sung.

The end of all things has arrived, and all that is, was, and will exist will be rent asunder.

As all things crumble around you and fall to pieces, know that this is my mercy.

Gleipnir Braut - Vargr Ragnarök.

The time has come to say goodbye.

Damage from Noble Phantasm: Go on, thrash and scream. It makes no difference in the end.

Damage from Noble Phantasm (Decisive Battle): Why...? Why do you still resist?!

Regular Damage: How sad... Is that your best?

Regular Damage (Decisive Battle): This joke isn't funny anymore...

Defeated (Decisive Battle): No... No, the story's not supposed to go this way! This is supposed to be the end! How did you change it?!

Profile(Beast IV:R):

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Beast IV:R.

A conceptual manifestation of humanity's fear of wolves and the greater unknown that lies beyond their dwellings. A monster that has absorbed the identity of several other monsters in order to become a beast that exists solely to end human life. While the other qualifiers for Beast IV, Cath Palug and Tamamo Vitch Koyanskaya, are both animals that ascended to Beasthood, Beast IV: R is instead a mere human girl that became an animal out of anguish and grief. After losing her grandmother and consuming the flesh of the original Big Bad Wolf, Little Red Riding Hood has become a monster that hunts down and eats other monsters, humans, and anything else that lay within its sights, uncaring about the death and despair left in its wake.

As a Beast, the Big Bad Wolf embodies the sin of 'Ignorance', a monster that genuinely believes that only true happiness in this world can be found by refusing to acknowledge painful or uncomfortable truths, and choosing instead to hide within lies and innocence until the end of time itself, never exploring out of one's comfort zone and never choosing to embrace change. To this end, she seeks to achieve the ultimate stage of ignorance for all humanity by destroying all that exists until nothing but silence remains.

“Do you think that pressing forward into the darkness will make you happier? That trudging further along will lead humanity to a happy ending? No. The only ending is anguish and pain. The only path is torment and suffering. The only escape is through me. The only escape is for everything to end.”

Bond Level 1:

Unlike the King of Giants in the Scandinavian Lostbelt, who forcibly took on Fenrir's power by consuming the wolf's flesh, the connection between Little Red Riding Hood and Fenrir is an equal partnership, both seeking to end the world itself and consume everything in an insatiable hunger out of vengeance and anger for how they were wronged in the past. As such, Red Riding Hood has further access to Fenrir's powers than Surtr has, not only carrying the wolf's ability to grow impossibly large, but also harness the beast's powers over the sun and moon that it consumed upon Ragnarok, carrying power over blazing heat and burning cold. After the gods had betrayed his trust and imprisoned him within the chains, mocking him for his desire to be famous and loved, Fenrir is an entity consumed with nothing but the thoughts of vengeance and destroying everything the Aesir had made.

Alongside Fenrir's power, Red Riding Hood has also formed a union with La Bête du Gévaudan, an infamous wolf that tore through the French countryside with horrific results, killing over five hundred people and gruesomely maiming one hundred more. It is said that this monster was killed multiple times before the attacks finally stopped, and the memory of this terrible creature still persists long after its own demise. More than a mere animal, the Beast of Gévaudan is a monster that exists only to kill everything that lives and end human life.

Red Riding Hood is the third and primary identity held by this Beast, serving as the ‘face’ that speaks to the outside world and hides her true monstrous intentions underneath. As a young girl, she was lied to and forced to commit an unspeakable sin by the wolf. As an adult, she has become a wolf in her own right, and deceives all around her with lies upon lies, relishing in the chance to lord her own intellect and cruelty above others. After seeing the terrible things the truth can do firsthand, all she wants is to destroy any possible ‘truths’ that exist in this world and replace them with hollow, satisfying lies. A monster that exists by not existing, a state of being perfect for a fairy tale heroine.

Each of these creatures exist as separate identities, and yet they all are perfectly in sync. They all have identical goals to one another, and as a result, all of them choose to operate within one Servant container. Consequently, rather than being referred to as their individual names, they choose to operate under a single title: The Big Bad Wolf, the monster that haunts all childhood stories.

Bond Level 2:

A monstrosity who only exists to eat everything, leaving nothing behind but bones and blood, stalks the forest at night, leering at his latest meal. He walks up to his victim, coy and smiling, deceiving her with false words and empty promises. When the time is right, he lunges, swallowing his prey whole and relishing in her pain and sorrow. Eventually, a huntsman comes and fells the beast, and the child is freed, forever shaken.

A monstrosity who only exists to eat everything, leaving nothing behind but despair and emptiness, stalks the forest at night, leering at her latest meal. She walks up to her victim, coy and smiling, deceiving them with false words and empty promises. When the time is right, she lunges, swallowing her prey whole, and relishing in their pain and sorrow. Eventually, a huntsman comes and fells the Beast…

And the child dies, angry, afraid, and alone.

Bond Level 3:

The Beast's plot was crude, almost childishly so. After consuming the Wandering Sea, and by extension Chaldea, she tracked down the Last Master of Humanity into the Singularities she herself had set up, presenting herself as an ally that would end the scourge that was the Witch of the Tower, Dame Gothel. At the same time, she had filled the witch's heart with a false hope, promising that she would end her pain and loss from her daughter leaving her, if she helped her find the source of all humanity's stories.

The Beast watched with a smile on her face as she saw the two factions she had set up against each other battle it out to determine the fate of a humanity that was already determined, all the while choosing to disappear in the background as she worked towards her true goals of taking out human knowledge from its basest roots, consuming countless worlds as she traveled alongside Humanity's Last Master, all the while hiding the truth from their eyes.

When the time came for her to make her move, she stabbed the witch in the back with a manic grin, before revealing her true form for the Master to see. She bared her fangs in a wicked smile, filled the air with heat and wind, and revealed her monstrous true form, a massive werewolf whose jaws scraped Heaven and Earth as she swallowed all in her path. She looked down at the fools she had duped so easily, and laughed a wicked laugh, ready to feast on the little scraps of humanity that remained.

Bond Level 4:

Nega-Champion A:

A powerful and unholy ability not unlike that of Goetia's Nega-Summon or Tiamat's Nega-Genesis, this Noble Phantasm 'denies' the arrival of any great warrior or champion of humanity, repelling the forces of the divine and the just from interfering and making it impossible for those types of heroes to ever be summoned against her. The beast of the end times, Fenrir, was a monster feared and loathed by the gods, and a monster that slew the strongest god in the Norse Pantheon. The Beast of Gevaudan was a terrifying and unkillable monstrosity akin to a Demonic Beast that was ultimately defeated by a mere mortal man. The Big Bad Wolf was a horrible trickster who was ultimately defeated by a humble woodsman.

Paradoxically, this means that this Beast of Humanity is near-impossible for a Grand Candidate to truly defeat, as most, if not all of them fall under the category of great heroes or champions of some description, meaning they too would be repelled by Red Riding Hood's ability. Even if a champion could be called forth against her, nothing that they would do would have any effect, as if the Big Bad Wolf merely existed in another plane of reality., completely immune to their attempts on her life. The only type of Servant that would be able to challenge the Monster of Childhood would be a mere human, one who made their mark without the interference of gods or supernatural forces.

Simply put, this skill is one meant to deny any chance at achieving a 'happily ever after'.

Authority of the Beast A:

If Tiamat is the Mother of All Life who sings of a new beginning for all creation, Fenrir is the Monster of the End Times who heralds the fall of all that lives. While the gods jeered and mocked the wolf that heralds Ragnarok when they had safely bound it in unbreakable chains, the day when the shattered ties of Gleipnir echo throughout creation is when all things, living and dead, cower in fear. Even mighty kings are filled with panic and dread. Even gods fall to their feet and beg for mercy. All that has existed and all that will exist know instinctively that when the monster is freed from its bindings, the end of the world has arrived.

As her ultimate goal is the complete and utter annihilation of all of mankind from its very roots, the Big Bad Wolf despises its fellow Beasts Goetia, Tiamat, and the Alien God in particular, loathing their attempts to recreate humanity in their own image or to prolong the existence of doomed worlds. When the story ends, it is meant to end, nothing more, nothing less.

If they ever existed in the same time and place, her response would likely be childish taunting and rude gestures.

Bond Level 5:

As a story, Little Red Riding Hood embodies the very idea of childhood innocence and naïveté. A foolish young girl who strays off the path after being deceived by a wicked and cruel monster, and consequently has the world pulled out from under her feet as she is forced to see just how horrifying and painful life can be. Her life comes crashing down as the wolf's jeering words echo through her mind:

“You truly are a stupid little girl, aren’t you? You trusted me enough to lead me to your grandma’s house, you trusted me to take the long way home, you trusted me to strip down and remove your coat… You even trusted me enough that I could feed you your own grandmother’s flesh and blood.”

Even after the huntsman frees her from the wolf's stomach, the taste of her grandmother never truly leaves her lips, and the wolf's words never leave her mind. As her life goes on, that taste drives her further and further into a maddened hunger, desperate to experience it once again, to find the comfort of her grandmother that was lost that day and end the pain and despair that wracked her heart.

She doesn’t know when she first ate human flesh of her own free will, but she remembers the taste. Sweet. Warm. Gentle. For the first time since that night, she feels truly safe and happy. So she continues to hunt and kill, slowly becoming the very monster that destroyed her innocence all those years ago, a werewolf that roamed the French countryside and slaughtered countless innocents, and the child truly died.

At least, that's what the monster claims.

In reality, the little girl still lives, buried deep beneath the guise of a monster. She screams, roars, and shouts at the world, hating it for how it took away her grandma. Despising it for making her face the cruelty of reality. She will never forgive the world, and all she wants is to see it destroyed.

Her name is Beast IV: R, one of the Seven Evils of Humanity, and the Beast embodying the concept of 'escaping painful truths'.

Extra:

The story is always the same, no matter the time or place. The deep forests where her grandmother lived. The green mountains of Auvergene. The end of all reality where she faces off against Humanity's Last Master.

There is a wolf, there is a hunter, and there is a little girl that dies.

And yet, this time feels different. She does not feel fear or rage as her body falls. Not the terror of being swallowed whole. Not the fury of finally being punished for her crimes. No. Instead, as she looks up at the man who ended her life, she feels a comfort she hasn't felt in a long time. The figure of William Tell slowly vanishes, and in his place stands a different man. A man whose face and name has been lost to time. The man who reached out in her darkest hour and pulled her into the light.

She remembers a warm embrace as a little girl cries her eyes out in both shame and terror, a gentle hand comforting her without a word as the wolf's corpse lay at their feet, unable to hurt anyone else.

She remembers the man taking her hood, the last thing she has to remember her grandmother, and draping it over her gently. She pulls it tight around her, and the two walk off in the forest, hand in hand.

She remembers... a happy ending.

And in that moment... the wolf became a little girl once more, and a flicker of a smile flashed across her face. Despite everything, the Beast dies without feeling any pain, this one memory sending her off to sleep as countless stories throughout human history leave her body and escape out into the world.

Perhaps she never had her happily ever after... But she was happy all the same.

[jabberock]

Beginnings

Thin tendrils in their back feeling like thick fingers piercing their flesh. They curled as best they could and sobbed. Shuddering gasps racked their lungs. Every hitch sent a jagged spear of pain from their shoulder. Instinctively Sojurn would reach out with their good hand which pulled on the strap which ran over their shoulder. It was a loop of pain. They couldn't wipe away tears or snot.

They were going to die here. Humanity was a vestige, and Sojurn had all but literally kicked a hornet's nest instead of helping. They'd been so stupid.

Getting rid of the bugs wouldn't bring him back.

Humanity was gone. It happened so fast, no one knew what happened. Three days, and almost every human was dead. Many of the things mankind touched were also effected. Most of the livestock were dead, crops failed, the works.

It was a strange apocalypse. With so many gone, society quietly collapsed. There was no rioting in the streets, people didn't eat each other. Everything was simply empty. Infrastructure collapsed with no hands left running it. Mother nature took back so much of her land, but humanity didn't need most of it any more. There weren't enough people left to use it.

People found each other. Some still used cars, but deer had grown populous and Sojurn wasn't going to risk it. EMTs and satellite signals were a thing of the past.

Whatever killed off the world didn't discriminate. Some parents survived, some children survived. Sojurn had yet to see both from the same original family. People cobbled together their settlements, coming together to take care of each other.

The world was changing, society was changing, Sojurn was changing. They remained a teacher and came out as nonbinary. No one cared what you went by as long as you were a flesh and blood human nowadays. They collected as many books as they could before insects and mold got to the abandoned libraries. They walked and biked abandoned roads from town to town.

Perhaps they could have rebuilt the world if the bugs hadn't come.

As much as Sojurn wanted, yearned to blame the bugs, it was obvious they weren't the cause. They arrived well after the Event and didn't bother trying to kill off the rest of humanity. They didn't show any interest towards people at all. Exceptions occurred, of course. But it didn't seem fair to blame the hives for actions of idiots fools who were picking fights.

Perhaps in another life Sojurn could have worked towards peace between species. Perhaps, in another life they wouldn't have needed to. Someone else would have bridged the gap.

"I heard you have an interest in bugs?"

The bug were more reminiscent of beetles than any gastropod. Yet, it still left a wet trail.

"Yep! I want to talk to our neighbors!" Said the kid.

The creature shifted, hiking its limp package higher onto its back.

Sojurn chuckled, "I haven't heard them called that before."

There were so few people left.

They looked up from their crouch, past the child enamored with his new book to the adults who'd taken the boy under their wing.

Children were the lifeblood of the world. They always had been. But now, more than ever, they were to be protected.

The four shared a look and a nod.

The force of the kick shuddered up Sojurn's leg. The bug crashed into the brush, the child still on its back. They pulled the kid off, shoving another low kick at it. Weak arms reached for the child. Sojurn hunched, hackles raising. Blood pulsed through their head. Their leg was a distant ache.

The boy in their arms still wasn't moving.

They ran.

[sezja]

Febuwhump Day 7: Made to Watch Fandom: Final Fantasy XIV Characters/Ship: Original Character (Nerise the Dragonrider), Ratatoskr Triggers/Content warnings: Violence

All her life, Nerise has been plagued by visions - images dredged from the depths of time, against her will: the pain, the joy, the secrets. When she was a small child, she feared they'd cost her a chance at becoming a wyvern rider; what if she should be stricken by a vision while in the air? She'd plummet to her death, with her companion unable to save her. No dragon would have her as a companion in the first place, for wyverns trusted only strength, and she was a sickly child. Being prone to collapsing with unwanted, unexpected visions of the past did her no favors.

It was Ratatoskr, the great Mother, who first named her curse a blessing.

"There is a vast presence upon thee, little one," she'd said, lowering her enormous head to peer more closely at Nerise, through eyes as warm and bright as fresh coals, as bright as polished rubies. "Vast and bright, lying upon thy shoulders as a blanket of sunlight. Her will guides thee, child, and to greatness will it guide thy steps!"

And only then had Sohl Amh claimed Nerise: "You stand accused of harboring greatness, little one," they'd said. "And Mother is seldom wrong in these matters."

Thus her past. Thus her future.

But this is no past of her own, nor any past she would ever wish to see.

Men of Ishgard, ancient and archaic, marching on the Mists. A trap laid to capture one of the First Brood; in her vision - try thought she might to claw her way free of it - Nerise hears them scheming. Thordan. King Thordan, he will become; she has learned of what became of the city of her birth. The blood it spilled to rise to power. The endless war it began, the cycle of unending vengeance, and it all began with-

I don't want to see this!

Flailing madly, furiously, without a body to flail with. She marches with them, a faceless soldier. Or perhaps one of the Knights Twelve themselves; Nerise doesn't know. Doesn't care. She'd hurl herself - and him - from the nearest cliff's edge if only she could change the past, stay his hand, stay the passage of time-

Hydaelyn, you could have brought me here! You could have saved her! I could have saved her-

Her, Ratatoskr.

She gleams in innocent morning light, a blue so deep it's nearly black, like the ocean at night. In two hundred years, never has she ceased seeking ways to strengthen the bonds between man and dragon - this in spite of her consort's seething distrust of mankind; this in spite of Ishgard's refusal to allow dragons within her walls. Doors must be opened, Ratatoskr argues, on both sides. There must be brotherhood, kinship, love, between their worlds. In the Mists, this is known: Zenith rises as a testament to the unity between landlords and skylords...

But Ishgard has distanced itself, over the past few decades, from her savage cousins in Dravania; trade routes are neglected, few new wyvern riders are trained. And Dravania responds in kind. Trouble brews. These bridges must be mended; these bonds must not fall - Ratatoskr hopes this meeting will be but the first step on the road to restoring the glory of the past two centuries.

It is not to be.

Nerise knows, screaming, it is not to be.

Ratatoskr all but bears her heart for the blade; she did not expect violence. Unlike her brothers, she is no warrior: Ratatoskr is the wanderer, the traveler, eager to learn and discover, eager to meet others. For this, she was chosen. They thought her to be the weakest.

Even as she dies, she pleads for reason. Even as she bleeds beneath their swords, even as the stones beneath their feet turn black with dragonic blood, Ratatoskr begs them to think of the future, of peace-

Nerise would look away, if she could.. But it is her own hands that-

That-

A helpless rage seizes her, and Nerise ceases to be aware of anything at all for several long minutes - only a red haze of fury. At her own impotence. At Hydaelyn, judging other threats to be more deserving of Her attention than this. At Ratatoskr herself, for failing to lash out at her betrayers. At those betrayers themselves, cruel fools, architects of a war that will see Ishgard all but brought to her knees, and all for greed-

The last thing she sees is the knights prying Ratatoskr's eyes from her dying (but not dead, not yet, still breathing) body, preparing to feast.

And then, in mercy, she wakes.

She wakes, lying on her back beneath the churning sky of what is now called the Churning Mists, watching umbral static crackle. Sohl Amh peers down at her, concerned - and well they should be; it's been some time since a vision last took her so hard it left her nearly unconscious.

"Nerise," they say, nosing her shoulder. "You are well?"

She opens her mouth to respond... but only manages a choked sob.

She is not well; nothing will ever be well again.

[harrison-abbott]

travel poetry - Bratislava

A metallic crash through the open windows wakes you up.

Your body’s all rocklike with the heat, and when you check

The clock it’s 06:57 – and the traffic outside is already in

Gaudy bustle with these whooshes and shoots and bangs.

Beyond the road, though, there’s a little park, filled with

Trees enjoying an amazed bloom of foliage and within their

Leaves there are birds which actually compete with the

Transport when it comes to the volume of their manic songs.

You’re astonishingly dehydrated and it takes forty minutes

To get up properly, taking sips of bubbly water …

You’re somebody that never has the heating on throughout

Scottish winters and the temperature hike here is quite the shock.

But you get dressed and geared up and head out walking.

This is the old town, with crackly-walled buildings in

Multicoloured paint and between them are the blood-red

Trams that pass by you with this astonishing feline agility.

On the horizon of the street is the castle and we don’t really

Need to describe it, just go up and check it out. On the way

There’s the cathedral and it’s one of the most mammoth things

You’ve ever witnessed and as you walk under its main

Turret you look up and it hurts your windpipe, it’s that tall.

You wonder about the folks who built this 400 years ago,

And how on earth they figured out to pull off such an

Achievement … because the cloud-white blocks of the walls

Are the size of a man’s torso and any one of them would

Kill you instantly if they landed on your head … and there’s

A small fantasy of what it’d be like if the tower collapsed

On you right now as its masonry came hurtling down.

You jaunt up the pathways to the castle, and sweat flumes

Down the neck and you’re already soaked anyway and

You take a breather in a shady tunnel and there are a gabble

Of people behind you speaking Slovak and you like the

Thrish-thrash artillery of the language and can’t decipher

A single word therein; and nor can you get the lyrics of

The buskers singing with their guitars but they’re doing

Well and so you toss them a coin and bounce higher upward.

And get to the top. The castle is just sublime and you can

See out now for miles in stunned panorama; and what you

Most like are the flat rises the other side of the city: for

They seem as sultry dominoes in the sun, with a rash

Ironic beauty and there are thousands of people alive within

Them with their own characters that you know nought about.

And, halving the city – of course – is the Danube.

Up at this height it seems enticing and you have the urge

To descend down to it and see it up close and so you do that

And choose the modern bridge over the river and it’s

Rather like approaching a monster or supervillain or god.

You’re familiar with the Thames and Vltava and the Spree

And Vistula … and they’re all spectacles … but there is

Something different about the Danube. The waves lunge

Heavily as you peer down from the bridge banister and

If there was any river to drown yourself in it’d definitely be

This one; and you wonder how many people have done that

Already; and the memorabilia that lies lost and forgotten on

The riverbed – what else may people have lobbed from these

Bridges that dare to span its width; and you look across to the

Bank sides and there are no fences there and you consider

Creeping down them and feeling some of its water, just to know

That you touched the liquid of the Danube; and ponder from

Whence this brute was created and how long it took to

Become what it is today: long before mankind, that’s for sure.

It passes through ten European countries and that’s some effort.

Overhead, the cars hurtle by and they shudder the metal

Plates under you with giddy horror and you cross along to

The far side and come by the by on the city park and because

It’s twenty six degrees Celsius a lot of the woman are wearing

Dresses or skirts and you can’t help but watch their legs.

The white smooth fertile luscious contours of calf and thigh.

You’re actually reading a book at the moment (written by a

Famous American author) who talks about the first time he

Goes to New York and he observes the ladies on the streets, too,

And notices their differences compared with his country roots.

So you’re not the only one who does such a thing and don’t

Think it leery to say so and the park has these spurting

Fountains of angelic water and turquoise pools and now and then

There are statues of prominent Slovak men in purple stone and

You find it marvellous how a person in one nation can be

Eminent enough to have somebody else make a sculptor of them

And yet you’ve never heard of them and have no clue of their

Biographies and you wonder whether they’ll ever be making

Statues for you personally and you conclude properly not. (Ha.)

Next, we go back across the old bridge over the Danube, and

Come to the corporate area where there are a gabble of plush

Skyscrapers in silver and navy blue gleam and it’s like a mini

Island of finance with these fat logos of companies above their

Revolving doors and you feel out of place there – like you’ll

Never be working in such a tower or field of mass business.

And beyond that edge of the city are other towers in construction;

With men in fluorescent yellow and orange and helmets

Working with hammers and ropes hundreds of feet up and

The other ones smoking cigarettes in their vans beneath.

The roads are ragged here and you’ve kinda gotten lost a bit

So you find your way back into the old town, and by now its

Midafternoon and the sunshine shows no signs of relenting.

There’s the national gallery with its pillars, and afterwards

The main square which is about as ancient as anything here;

And dotted around its shape, the embassies of Japan, France,

Spain, Italia & Polska, Czech and Slovenia: right in the hub

Of geopolitical bodywork: and their flags seem half out of place

And a quarter bold and another quarter internationally proud:

And, aside most of them is the starry flag of the European Union;

The sad irony being that there’s a Union Jack flag at one point too.

You pass a church with a pretty spire and head nearer to see if it’s

Open; it’s not, and you decide to head back to the hostel for a while.

They say there will be thunderstorms tonight, because rain’s on its way.

Good. You always liked thunder’n’lightning. You look forward

To the break of humidity and those other sounds rampaging the citadel.

[adamwatchesmovies]

The Giver (2014)

While I didn't enjoy this film, that doesn't mean you won't. No matter what I say, the people involved in this project did it: they actually made a movie. That's something to be applauded. With that established...

For the bulk of its running time, The Giver straddles the line between good and bad. It’s going through the same territory as Aldous Huxley’s “Brave New World” (or 2002’s Equilibrium if you’re looking for something less cerebral) but that’s fine. Then, the ending hits and it’s such a misfire it shatters all of your goodwill toward like a vase that's fallen out of an airplane.

In the future, humanity has largely forsaken emotion, resulting in a utopia that does not know war, greed or poverty. Even the concept of death is only vaguely understood. Information about our history has been scrubbed. The only one with access to information about mankind’s past is “The Giver” (Jeff Bridges), who advises the community elders when they do not know how to proceed. 16-year-old Jonas (Brenton Thwaites) is chosen to be next in line for this role but will he choose to keep the civilization as is, or will the memories of the past convince him to make changes?

An easy flaw with this film and with others like it is the way their society is portrayed. Despite the film’s best efforts we are never truly convinced that this world presented here has any true merit whatsoever. Sure they may not have wars, poverty, racism, sexism or virtually any crime but you immediately recognize that giving up all emotion and even the ability to see color is too steep a burden to pay. As Jonas receives one memory after another and explores both the good and the bad of our world, he begins reaching the same conclusion we did just a few minutes in. If he believed in this world it’d be different. There would be an actual conflict. What if he were Black and saw images of lynchings? What if the protagonist was a girl wth only the vaguest idea of what sex was like before experiencing the memories of someone who was raped? Might have been a tough sell for a film aimed at young teens but this is precisely the problem. The violence we see is never horrific enough to convince us the sacrifices the society has made to avoid it ever happening again are worth it .

In many ways, the story’s problems are compounded by the plot. You’re not going to hear this often but… this film didn’t NEED a plot. It should’ve simply been an exploration. Two characters in a room experiencing the past and a final question at the end. “What would you rather choose?” Instead, “The Giver” embarks on the lazy man’s path. We’re introduced to a villain (Meryl Streep) and a solution to the problem which is so easy, so convenient my only hope was that it would be a lie; a trap to lead unworthy receivers to their doom so they would be unable to single-handedly alter the course of human civilization. You may call this a pet peeve but it’s also frustrating to see the same kind of flashbacks we always do. We’re told Earth was devastated by “The Ruin”, a single event that propelled us toward this new society. Where’s that footage? Why are we seeing the same news clips and nature channel material we always see?

As a whole, The Giver is well directed. The cinematography is nice and attention was paid during the construction of its society. The passion is apparent. Unfortunately, it collapses in the end. I’m not even sure the last few shots make any sense. It might be due to its rushed final act but actually, the sad truth is that some books just don’t translate well to the visual medium. Either way, The Giver is destined to be forgotten. (On Blu-ray, March 7, 2019)

[thejesusmaninred]

"The Cough." Mark 8: 1-5.

Jesus told the Disciples He was not going to speak to them in plain Greek during the relay of His Gospel Torah which as it turns out, focuses on revolution against the Roman government because it was forcing people into conscription while allowing the poor and sick to languish in the streets. The Torah says man may not abandon himself to the whims of a tyrant, but should one surface, you must fight.

The name of the Mother of God, Mary, in fact, means "revolution." If we combine the names of Jesus and His Parents we find a magic formula that reveals the path of the Gospel Torah:

The Spirit, Yah, "by Whom All Things Are Made."

Mary= the mother of revolution

Joseph= the fruitful

Jesus= Salvation

"Salvation is the fruit of revolution."

So long as men dominate each other in non-sexual situations, the Glory of God cannot be known.

Jesus continues to discuss the Glories of God by Feeding the Four Thousand, whom we know are corrupt: The Number is 829, "indebted, buckled, been hit."

Also note once again, the big hurdle is and always has been the Third Day. We are too prone to violence and heartlessness. As far back as the time of Christ, Jesus was trying to get people to put their goddam weapons down, to stop lusting for power and till the land, feed the masses, water the livestock, harvest from the orchards, and engineer a peaceful way to accumulate wealth. This cannot happen until we look for a wayto the Fourth Day, "sentience" the ability to recognize the needs of others.

So convincing the Fourth Millenium of mankind to take the leap was critical to His approach to the Torah. He attempts it by serving Seven Loaves, wich we know are the teachings within all Seven Days.

Saul of Tarsus spoke not a word about the evolution of society. Notice how our very first clear analysis of the Gospels open our eyes to the damage the Early Church has caused by failing to understand the math of the Torah, which it rejected. But Jesus said that was not correct: without the Torah Kabbalah I am about to explain, the soul starves and the land with it:

Jesus Feeds the Four Thousand

8 During those days another large crowd gathered. Since they had nothing to eat, Jesus called his disciples to him and said, 

2 “I have compassion for these people; they have already been with me three days and have nothing to eat. 3 If I send them home hungry, they will collapse on the way, because some of them have come a long distance.”

4 His disciples answered, “But where in this remote place can anyone get enough bread to feed them?”

5 “How many loaves do you have?” Jesus asked.

“Seven,” they replied.

We cannot take the results of the conversion between English and Hebrew for granted. During those days as Jesus stated means 1088, אאֶפֶסחח, "saying I'm sorry." We don't say we are sorry in church to get a blessing we say it to contemplate the plight of mankind and learn how to empathize. Empathy is the root cause of the science that drives the government and industry together to serve in the instrumentation of our happiness. No one buys or supports an enterprise that only makes them more unhappy do they?

So before we can properly understand Jesus we must realize how empathic He was. Surely this is the key to crossing the bridge between the Third and Fourth Days.

The Values in Gematria are:

v. 1: Jesus called His Disciples to Him. Back to the call. Compassion is the call no one answers. The Number is 5696, הוטו‎ ‎‎ ‎huto, "ease up, decelerate, cut people some slack."

This does not mean feel bad for people. Slack means to purify the heart. Did Pope Francis really think the world was waiting for him to tell gay people their relationships are okay?

And what is up with all of this Pro-Life shit all the time? Does it make anyone happy? Does is heal the sick, comfort the mourning, house the homeless or end wars and publish the peace?

Is Pro-Life slack? Or does it demonstrate a profound disconnection from history, the law, the needs of his flock? If we can make the flock happier without too much ado, that is what the Pontif or head of church of any religion must figure out:

"The verb רפא (rapa') means to heal or make healthy. It occurs in all expectable ways, from the healing of an infirm person (Jeremiah 17:14) to the restoration of a nation (Isaiah 6:10, Hosea 6:1), and from sickness (Deuteronomy 28:27) to wounds (2 Kings 8:29) to faithlessness (Jeremiah 3:22).

That the fundamental meaning of this verb is to restore, namely to a previously enjoyed state of proper functioning is shown in 1 Kings 18:30, where Isaiah "heals" (i.e. repairs) the altar of the Lord. And in 2 Kings 2:21 the prophet Elisha "heals" (i.e. purifies) a spring that had gone bad."

v 2-3. Have compassion for these people. The Number is 12346, יב‎גדו‎ ‎"they will betray." "They will not display propriety."

"The complicated noun αιδως (aidos) means propriety (from proper), modesty, respect, humility or even shame. It's unclear where this word comes from — or why it's so curiously similar to the adjective αιδιος (aidios), meaning eternal — but the Hellene culture considered it such a big deal that it was venerated as a deity, namely as the goddess Aidos (equivalent to the Roman Pudicitia).

The much contemplated virtue described by our noun was considered a primary mechanism with which people's behavior was regulated toward the socially acceptable. It was supposed to kick in when someone who was clearly superior (in wealth, skills, pulchritude) came to be in the company of the less endowed, and the greater withdrew into discrete quietness in order for the lesser to not feel jealous, overwhelmed or rubbed out.

Boasting of one's own strength and asserting one's dominance accordingly brings about the natural principle of survival of the fittest, but the veneration of Adios stemmed from a desire for the survival of the weakest; the same desire that results in mankind's rise above nature, the building of a synthetic society and ultimately the ελευθερια (eleutheria), or freedom-by-law, that marks such a society and which is the very purpose of the gospel (Galatians 5:1)."

v. 4-5: How many loaves do you have? The Number is 11188, "cough."

The etymology says a cough is the result of a conflict between two word armies in the mouth. One tells us to be selfish and rash, the other to connect the Self, the Spirit, and the human race. The Gospels are a cough:

The mouth is primarily an organ of exchange, what a market is to society, or a Bible discussion group to a modern popular church (Matthew 15:8). And whatever comes out of the mouth and is exchanged (words, smells, stuff spewed out) is a witness of the situation deeper within (Matthew 12:34). Even time has a mouth, namely the presence. And with the right kind of ears, one can hear words that tell ancient stories that are alive and well in time's vast belly (Matthew 13:35).

Our noun στομα (stoma) meaning mouth occurs 79 times in the New Testament, see full concordance, and from it derive:

Together with the preposition απο (apo), meaning from: the verb αποστοματιζω (apostomatizo), meaning to cough up, to produce via the mouth (Luke 11:53 only). In the classics this verb was mostly used positively, to describe teaching by word-of-mouth or by dictation, or to interrogate or verbally examine a pupil. Luke's use of this verb implies that the Pharisees examined Jesus the way a professor would examine a student who had just accidently blown up the science lab.

Together with the adverb δις (dis), which comes from the familiar cardinal number δυο (duo), two, and which means twice: the adjective διστομος (distomos), literally meaning twice-mouthed; endowed with two areas of exchange. In the classics this word may apply to double-edged weaponry (Greco-Roman swords were all double edged, so this wasn't often mentioned) but also to a double-mouthed cave ("Come, it is your task to serve as my ally in what remains, and to seek where in this region there is a cave with two mouths" — Sophocles, Phil.1.15), or a river that had two mouths rather than a rumored five, or even a place where two road-mouths met."

So our parable of the Feeding of the Four Thousand is not so much about ways to feed the hungry, to put something in the mouths and the stomachs of man, but to try to find a way to get the right things out.

[darkersolstice]

Oh, I can actually explain a tiny part of this, if you wanna be lucky 10k. Have you ever heard of the Ritual of the Calling of an Engineer? It was written by Rudyard Kipling, for graduating engineers at a Canadian college, and is sworn over an iron ring.

I _, in the presence of these my betters and my equals in my Calling, bind myself upon my Honour and Cold Iron, that, to the best of my knowledge and power, I will not henceforward suffer or pass, or be privy to the passing of, Bad Workmanship or Faulty Material in aught that concerns my works before mankind as an engineer, or in my dealings with my own Soul before my Maker. My Time I will not refuse; my Thought I will not grudge; my Care I will not deny towards the honour, use, stability and perfection of any works to which I may be called to set my hand. My Fair Wages for that work I will openly take. My Reputation in my Calling I will honourably guard; but I will in no way go about to compass or wrest judgement or gratification from any one with whom I may deal. And further, I will early and warily strive my uttermost against professional jealousy and the belittling of my working- colleagues in any field of their labour. For my assured failures and derelictions I ask pardon beforehand of my betters and my equals in my Calling here assembled, praying that in the hour of my temptations, weakness and weariness, the memory of this my Obligation and of the company before whom it was entered into, may return to me to aid, comfort and restrain. Upon Honour and Cold Iron, God helping me, these things I purpose to abide.

Technically, this is an Obligation, not an Oath, but it's close enough. This became a thing after the collapse of the Quebec Bridge. Erm, make that collapses. It fell down while under construction (1907), was redesigned and rebuilt and fell down again (1916), and by 1925, the engineering profession as a whole in Canada really decided to, like, take itself more seriously about things, leading to the Ritual.

Alright, does all this apply strictly to the situation in the Leverage episode? Probably not, but there's definitely a 'do no harm' intention here!

"Now, if anyone here doubts that the smart thing to do is to settle generously, why don't you throw that video on up there?"

Leverage Redemption S02E01 The Debutante Job.

Bonus Eliot is going to kill horribly maim whoever wrote this:

[kns103]

c n

bridge mankind collapse

[takeaglance]

HYSTERESIS | Robert Seidel | Soundtrack by Oval from Robert Seidel on Vimeo.

HYSTERESIS Experimentalfilm Cinemascope 2K, color, 2.35:1 Dolby 5.1 D 2021

Film: Robert Seidel Music: Oval Performance: Tsuki Title Design: Bureau Now 5.1 Master: David Kamp Funding: FFA Filmboard Special thanks to Miriam Eichner, Carolin Israel, Falk Mueller and Paul Seidel

In tech companies, universities and artist studios, machines work through and learn the history of mankind. Copyright dissolves; distinctions between original, imitation or inferior reproduction erode. No origin, no responsibility, no clear bias - just a primordial soup that can be transformed into any form without questioning knowledge systems and hierarchies. In this silent, but radical restructuring of entire industries, the artist becomes a template of a future that is digitally assembled from a myriad of fragments of the past.

In the experimental film Hysteresis, Seidel’s analogue drawings and digital processing merge with the queer performance of Tsuki, whose movements improvise between Ballet, Butoh and Berlin club culture. In a fusion process, her image is recorded, fed back through Seidel’s devices and then projected onto her body. An expanding digital sphere beyond labels and identifications with gender, culminating in dehabitualised neural patterns and reconceived fabrics of intimacy beyond rational understanding. In a final step, the resulting sessions are edited and dissolved by machine-learning strategies into a constant flow of pulsating images and folded spatial configurations. The resulting Muybridgean silhouettes, baroque textures and bursting structures fluctuate between the second and third dimensions, unfolding free-floating gestures that unhinge the laws of nature. Meanwhile, delicate abrasions of the pictorial frame build bridges into contradictory concatenations of reality. The soundtrack by Oval (Markus Popp) incessantly corrodes this dense web of associations, threatening to dissolve the remaining fragile points of reference.

At a time when an overriding predictability is forced upon us all, the film celebrates the disruption of pattern recognition and the artistic corruption of results induced by artificial intelligence, specifically machine learning. With Hysteresis Seidel explores new grounds in his experimental practice and collaboration. Unveiling a frenetic, delicate and flamboyant visual language, that speaks to the hysteria and hysteresis in this historical moment. The artist wants to open a discourse about these unique modes of AI creation – with implications beyond the film and other media, to that singularity, where history collapses into a single point in the present.

To the freedom of digital filmmaking beyond (commercial) hyperrealism! (Robert Seidel, December 2021)

robertseidel.com instagram.com/studiorobertseidel facebook.com/studiorobertseidel twitter.com/robertseidelcom

Festival (Selection): 04/22 National Premiere, Filmfest Dresden, National Competition, Dresden, Germany 04/22 Video Installation of HYSTERESIS, Künstlerhaus Bethanien, Berlin, Germany 05/22 Special Mention, ITFS Stuttgart, International Competition, Stuttgart, Germany 05/22 International Premiere, Audience Award, Animation Avantgarde Competition, Vienna Shorts, Vienna, Austria 06/22 Annecy International Animation Festival, International Competition, Annecy, France 06/22 Animafest Zagreb, International Competition, Zagreb, Croatia 09/22 Encounters Film Festival, Bristol, UK 09/22 Special Mention, Festival of Animation, Berlin, Germany 09/22 Ars Electronica, Experimental Film Program, Deep Space Theater, Linz, Austria 09/22 Taichung International Animation Festival, New Angles Program, Taichung, Taiwan 09/22 Bucharest International Experimental Film Festival, International Competition, Bucharest, Romania 10/22 Bucheon International Animation Festival, Short Competition, Bucheon, South Korea 10/22 Hysteresis & Company: LIVE + Screening, Schaubühne Lindenfels, DOK Leipzig, Germany 11/22 Aesthetica Short Film Festival, Artists' Film Selection, York, UK 11/22 Audience Award, LIAF, International Competition: Abstract Showcase, London, UK 11/22 Kasseler Dokumentarfilm- und Videofest, Kassel, Germany 11/22 Kurzfilmtage Winterthur, International Competition, Winterthur, Switzerland 11/22 Special Mention, Tbilisi International Animation Festival, Tbilisi, Georgia 12/22 Beijing International Short Film Festival, International Competition, Beijing, China 03/23 Ann Arbor Film Festival, Shorts Competition, Ann Arbor, USA 03/23 Kaboom Animation Festival, AI & Animation, Amsterdam, Netherlands 03/23 Videoformes, Clermont-Ferrand, France 03/23 Glasgow Short Film Festival, Rise of the Empathy Machines, Glasgow, UK 04/23 Images Festival, The Ghost in the Machine, Toronto, Canada 06/23 Short Shorts Film Festival & Asia, Unlock -Jumping into a New World, Tokyo, Japan

Full list > robertseidel.com/hysteresis/

[mikepelletiernl]

HYSTERESIS | Robert Seidel | 2021 from Robert Seidel on Vimeo.

HYSTERESIS Experimentalfilm HD, Color, 5.1 Sound D 2021, 5:05min

Film: Robert Seidel Music: Oval Performance: Tsuki Title Design: Bureau Now 5.1 Master: David Kamp Funding: FFA Filmboard Special thanks to Miriam Eichner, Carolin Israel, Falk Mueller and Paul Seidel

In tech companies, universities and artist studios, machines work through and learn the history of mankind. Copyright dissolves; distinctions between original, imitation or inferior reproduction erode. No origin, no responsibility, no clear bias - just a primordial soup that can be transformed into any form without questioning knowledge systems and hierarchies. In this silent, but radical restructuring of entire industries, the artist becomes a template of a future that is digitally assembled from a myriad of fragments of the past.

In the experimental film Hysteresis, Seidel’s analogue drawings and digital processing merge with the queer performance of Tsuki, whose movements improvise between Ballet, Butoh and Berlin club culture. In a fusion process, her image is recorded, fed back through Seidel’s devices and then projected onto her body. An expanding digital sphere beyond labels and identifications with gender, culminating in dehabitualised neural patterns and reconceived fabrics of intimacy beyond rational understanding. In a final step, the resulting sessions are edited and dissolved by machine-learning strategies into a constant flow of pulsating images and folded spatial configurations. The resulting Muybridgean silhouettes, baroque textures and bursting structures fluctuate between the second and third dimensions, unfolding free-floating gestures that unhinge the laws of nature. Meanwhile, delicate abrasions of the pictorial frame build bridges into contradictory concatenations of reality. The soundtrack by Oval (Markus Popp) incessantly corrodes this dense web of associations, threatening to dissolve the remaining fragile points of reference.

At a time when an overriding predictability is forced upon us all, the film celebrates the disruption of pattern recognition and the artistic corruption of results induced by artificial intelligence, specifically machine learning. With Hysteresis Seidel explores new grounds in his experimental practice and collaboration. Unveiling a frenetic, delicate and flamboyant visual language, that speaks to the hysteria and hysteresis in this historical moment. The artist wants to open a discourse about these unique modes of AI creation – with implications beyond the film and other media, to that singularity, where history collapses into a single point in the present.

To the freedom of digital filmmaking beyond (commercial) hyperrealism! (Robert Seidel, December 2021)

robertseidel.com instagram.com/studiorobertseidel facebook.com/studiorobertseidel twitter.com/robertseidelcom

Festival (Selection): 04/22 National Premiere, Filmfest Dresden, National Competition, Dresden, Germany 04/22 Video Installation of HYSTERESIS, Künstlerhaus Bethanien, Berlin, Germany 05/22 Special Mention, ITFS Stuttgart, International Competition, Stuttgart, Germany 05/22 International Premiere, Audience Award, Animation Avantgarde Competition, Vienna Shorts, Vienna, Austria 06/22 Annecy International Animation Festival, International Competition, Annecy, France 06/22 Animafest Zagreb, International Competition, Zagreb, Croatia 09/22 Encounters Film Festival, Bristol, UK 09/22 Special Mention, Festival of Animation, Berlin, Germany 09/22 Ars Electronica, Experimental Film Program, Deep Space Theater, Linz, Austria 09/22 Taichung International Animation Festival, New Angles Program, Taichung, Taiwan 09/22 Bucharest International Experimental Film Festival, International Competition, Bucharest, Romania 10/22 Bucheon International Animation Festival, Short Competition, Bucheon, South Korea 10/22 Hysteresis & Company: LIVE + Screening, Schaubühne Lindenfels, DOK Leipzig, Germany 11/22 Aesthetica Short Film Festival, Artists' Film Selection, York, UK 11/22 Audience Award, LIAF, International Competition: Abstract Showcase, London, UK 11/22 Kasseler Dokumentarfilm- und Videofest, Kassel, Germany 11/22 Kurzfilmtage Winterthur, International Competition, Winterthur, Switzerland 11/22 Special Mention, Tbilisi International Animation Festival, Tbilisi, Georgia 12/22 Beijing International Short Film Festival, International Competition, Beijing, China 03/23 Ann Arbor Film Festival, Shorts Competition, Ann Arbor, USA 03/23 Kaboom Animation Festival, AI & Animation, Amsterdam, Netherlands 03/23 Videoformes, Clermont-Ferrand, France 03/23 Glasgow Short Film Festival, Rise of the Empathy Machines, Glasgow, UK 04/23 Images Festival, The Ghost in the Machine, Toronto, Canada 06/23 Short Shorts Film Festival & Asia, Unlock -Jumping into a New World, Tokyo, Japan

Full list > robertseidel.com/hysteresis/