#faustian ideas

[jessdyet]

[royaltea000]

he survives off echolocation alone

[bull-shit-suji]

actually no i need to talk about the green witch arc. ciel and his band of merry fools go to germany and learn that this forest is haunted by WEREWOLVES and in it is a village full of WITCHES with cursed amulets and potions and whatever

and the immediate vibe is "lol what a bunch of bogus" which is really just batshit coming from the kid with a demon butler

and then woah big reveal! it wasn't werewolves or witches it was a covert military operation REPLETE with radar tracking (not a thing until wwii) and electronic displays (most likely crt screens, which again weren't fully developed until the 1930s) and TANKS. for reference the first "tank" was put together by a guy in 1899 who mounted a machine gun to THIS

absolute paragon of engineering. the panzer (the exact model of tank in the arc) was not a thing until wwi.

and. and ciel and ESPECIALLY the Demon Butler in question are like. ohhhh yeah that makes more sense. the amulets were just transmitting our exact locations through technology that won't exist for another three decades. whew glad we sorted that one out. man wouldn't it have been CRAZY if it really was werewolves.

[faustiandevil]

POV: You are Kay Kyser + band and the evil gays are making out right before gunning you down. What you do?

Original meme image under the cut.

[aufhebcn]

getting slowly more attached to my mahito!sorcerer verse.. him being nanami’s friend and a mentor to yuji. and then mahito dying pre-shibuya by a non-CE attack. coming back as a cursed spirit and shibuya continuing as canon. with cursed spirit mahito still killing nanami and yuji watching 🥲

[zapsoda]

mephisto is an ecto hybrid of gamzee and caliborn. for lore reasons thsi is because one of the troll grubbies spilled milk all over the ectobiology apparatus when karkat was making the little paradox clone babies.

for me reasons there is a story behind this.

the whole point of meffy is that i just wanted to make a character who would be a good friend to jake.

so i had to figure out their species. human could work, but thats fucking boring. i thought he definitely deserved a real troll friend, but i felt that a regular troll who grew up in alternian society wouldnt fit the niche i wanted this character to. cherub was a viable option, but whats the point in making a homestuck oc if its not a troll? so i made a compromise. troll cherub ecto baby

i chose gamz and caliborn becsuse uhhh i like them. there are other lore reasons i jusr cant remember them right now

fun fact. gamz is a rage aspect and caliborn is a time aspect. the One aspect directly in between these two on that hive swap aspect wheel is HEART. which is meffys aspect. i think heart complements jake very well and fits the role of someone who was Made just to be a friend to someoen. thus a selfless class (passive) would be most fitting! i chose the passive creation class, sylph, because i think his purpose as i have created him most aligns with the idea of creating bonds and/or identity, for the sake of others [jake]. isnt that something.

[duefault]

i've got some drafts / inbox stuff to do still but ! since its been a second i'm going to put out a little starter / meme / plotting call. if u want to do plotted things i welcome u with open arms but if u want a random starter that is also just as fine ( just specify muse ! )

[kinfraught]

doing some more research for yausko’s combat style and i like the idea of adapting Daito-ryu as a learnable style like how Gege adapted New Shadow Style as thing.

a style with the philosophical underpinning of redirecting cursed energy as opposed to creating more could be interesting - and maybe a fitting style for the kamei to adopt as sort of a way to contrast themselves with isshin’s violent legacy.

also interesting that these concepts both apply to an open-handed style and a sword style. idk how effective neutralizing or injuring an opponent is against curses but against curse users maybe?

[acetrainertabris]

it’s been two months and some change and I still dont get what da:tv was trying to do with mythal and solas’ relationship.

that dude is a spirit of wisdom, of knowing things. not loyalty, or love, or devotion, or faith, or anything else that would explain (to me) why he says “this is the worst idea of all time. I will follow wherever you go.”

what has she done that was deserving of such devotion. how strong was their worm love that he would override his very beings purpose for her hubristic quest for power.

show me the mythal solas sees when he calls her the best of them. the one who cared for and protected her people with the loving hand of a mother and the fury of a high dragon. show me the goddess of terrible bargains, who clawed her way through history to offer flemeth a Faustian deal.

show me the mythal that saw the path before her, who saw elgar’nan and the evanuris and the destruction that they had already wrought upon the world and thought she could gentle their hand. she could not change tyranny but she could guide his rage.

show me the mythal that knew how delicate this dance was. who saw the volatility of the first born, who could feel the temptation, the corruption always simmering beneath the surface of her best intentions. who knew she would need wisdom to keep from falling completely to the corruption of her new power.

show me the mythal that failed. show me how benevolence becomes retribution, and how wisdom becomes pride.

maybe this is just my disappointment with da:tv as a whole talking, but veilgaurd mythal is just so flat and lacking in any motivation beyond being solas’ tragic backstory that it undercuts the emotional payoff of his redemption ending for me.

sorry for the incoherent ramble, i just hate this game so much.

[autisticshadowthehedgehog]

thinking about how there's some incidental dialogue in shadow gens (iirc it's when you enter doom mode) when gerald says smth like "i think i have an idea of what's going on with you. just know that we love you and not to change the timeline lmao" or smth like that. but like. also thinking about how maria knew shadow was half-alien but was surprised at the whole "faustian bargain" thing. and how she stood up to black doom and. i'm now convinced that they got plucked from a time right before they recorded that video message to shadow in '05. i think they got back and knew that shadow was going to have to fight black doom and made that recording.

BUT.

in that recording, maria seems to think she'll be with shadow when it happens. she says they'll do it together.

i think gerald knew he was going to die. he saw how shadow reacted when he first saw him... but not when he first saw maria. gerald ran in late to that. when gerald was talking about being at peace with his fate, i think he was telling the truth. but i don't think he knew maria was part of that. he never thought that maria would die. she was too central a presence in his life. he spent the last decade or so of his life working to cure her. he made his entire life's purpose to help her. he made shadow for her. and his journal shows how much faith he had in his own abilities. he saw himself as a genius. he figured it was only a matter of time before he cured maria. he figured that he made shadow so powerful that he could protect her.

gerald knew he would die, that shadow's hesitancy and desperation to protect them came from a place where gerald wasn't there for him in the future. but he had no idea maria would be gone, too. and that's what broke him

[shredsandpatches]

Okay, I knew about the self-inserts and of course Margarita/Gretchen (the scene where they meet is a rather sweet inversion of Goethe!) but learning that the master was just called "Faust" at first is sending me for some reason 😂

(I suppose you've never even heard the opera Faust!)

Have finally met the title characters in Master and Margarita and am IMMEDIATELY SO INVESTED

[parisoonic]

7!

'show us a picture you drew/sketched recently but did not put on a public site?'

Here's a few to wrap up the night of asks!

This was a little mini comic about Scout finding some owl pellets (and not knowing what they are). It was funnier in my head.

Sketch of the team watching TV (uh...soldier would be in the FG rescuing baby racoons from the back of an old CRT idk). something something they're watching star trek tos and it's what gives engie the idea for the teleporters? idk

the beginnings of an idea about faustian contracts and how medic has more than one. a few for knowledge, longevity, eternal life for archimedes. things like that. and then some because he couldn't be arsed to do the laundry one tuesday.

[literaryvein-reblogs]

Writing Notes: The Fool's Journey

The Fool’s Journey is the archetypal story told by the Major Arcana of the Tarot.

Use the Fool’s Journey for inspiration and brainstorming, rather than for developing a plot or outlining.

It’s far more powerful for suggesting solutions than for suggesting structure (as is true for Tarot in general).

As a writer, the Fool’s Journey can help you:

Pinpoint the emotions your character should be feeling at each story stage,

Find the next step for a character stuck at a particular stage,

Create conflict appropriate to each story stage,

Access archetypal images and symbols to add depth to your story,

Troubleshoot problems caused by your character skipping a vital story stage,

Assess your own progress as a writer.

The ‘Fool’s Journey’ is the term coined by Eden Gray to describe the story of the Major Arcana of the Tarot.

USING THE FOOL'S JOURNEY

Possible pitfalls - useful for adding conflict to your story;

Feelings in life - the things that might be going through your character’s head,

Outward signs - external events of objects that can represent that stage of the story.

TROUBLESHOOTING

If your story is lacking conflict, find the card which best represents your character and use the “pitfalls” list as a starting point.

If you aren’t sure what your character is thinking at a certain point in the story, find their corresponding card and explore the “feelings” list.

If you need more events in your story that relate to the current stage it’s in, find the corresponding card and brainstorm ideas using the “signs” list.

If you don’t know what your character should do next, find which card their current state corresponds to, and use the exercises to brainstorm scenes for the next card.

If you need the influence of a particular card in your story, consider creating a character who fulfills those functions and makes use of similar symbols.

THE FOOL'S JOURNEY: 22 Cards

0. The Wandering Fool

The hero of the Major Arcana

How is your hero a wise fool?

How will this symbol gain new meaning when the hero returns home after their long journey?

1. The Magician

The Magician uses the way of the intellect to uncover spiritual secrets; he is an active seeker of knowledge and clarity. 

Who is the initiator of your character’s current way of life?

Does your character tend more towards the empirical or the mystical? What conflict does this dichotomy cause them?

Outward signs: A juggler, conjurer or magician, an adept, a bookworm.

Possible pitfalls: Megalomania, being a charlatan, omnipotence.

Feeling in life: Tapping into huge reserves of power, feeling in charge, confidence, a Faustian thirst for knowledge.

2. The High Priestess

The feminine counterpart of the Magician; she represents the mystical path to spirituality as opposed to the intellectual.

Her approach is passive, inwardly-directed, and in no way inferior or less effective to that of the Magician.

What is the character open to and expectant of?

Outward signs: Loss of consciousness, waiting, turning the other cheek, taking part in a ritual, allowing oneself to be guided blindly.

Possible pitfalls: Escapism, doubt, indecisiveness.

Feeling in life: Letting go, trust in the universe, inspiration, feeling loved, peace, going with the flow.

3. The Empress

The power of nature, as opposed to the Emperor, who represents the man-made or artificial.

She can be a source of abundance, creativity, nourishment, and life but at the same time, she can bring about the destructive forces of natural disasters.

How does your character embrace life?

Are they in tune with nature?

Outward signs: A feast, a mother, an artist, going shopping.

Possible pitfalls: Uncontrolled growth, changeableness, inconsistency.

Feeling in life: Creative flow, feeling alive, understanding the cycles of life, belief in abundance.

4. The Emperor

As the Father figure, he is the source of authority and responsibility.

While he may at times seem overbearing or critical, he provides the disciplining influence which is the essence of all learning and spirituality.

How does your character approach their responsibilities?

How do they struggle with discipline or authority?

Outward signs: An authority figure, being told to try harder, being given a routine or schedule, being drafted, a (verbal or physical) beating.

Possible pitfalls: Obstinacy, perfectionism, strictness, hard heartedness.

Feeling in life: To be aware of responsibilities, being cruel to be kind, a realistic outlook, seriousness, being given constructive criticism.

5. The Hierophant

The teacher of religious mysteries and the first suggestion of the underworld of adventure.

The hero must travel through both the (conscious) visible world, and the (unconscious) hidden world to find what is essential.

What character might work as a Hierophant to urge your character to discover the world that they’re ignoring?

What is visible in the character’s world? What is hidden?

Outward signs: A truth-teller, a blunder, an invitation.

Possible pitfalls: Hyposcrisy, world-weariness, “guru-ism”.

Feeling in life: Faith in the divine, profound experiences.

6. The Lovers

Having realised that there is a world beyond that which they had conceived, the hero must now decide whether or not to leave home and hearth and search for it (in the visible or invisible world).

The hero makes this decision with a light, pure heart, and with the best intentions.

This card depicts a pair of lovers because even after the teachings of the Hierophant, love is the ultimate driving force that allows us to make a change.

How does the experience of love force the character to make a choice between their current life and the life they might have?

How do they describe the choice to themselves? Are they accurate?

What are they afraid of leaving behind? How does their desire outweigh this fear?

Outward signs: An object of desire, arguments with parents or guardians.

Possible pitfalls: Intemperance, excessive joy.

Feeling in life: Butterflies, fearless decisiveness.

7. The Chariot

The decision made in the Lovers card has spurred the hero on to leave his home and set off in search of adventure.

Represents the pull of opposites.

What are some signs or symbols that the character has been chosen as the hero of the story?

How does the character set off on the adventure? What spurs them on?

How does the character struggle to keep their two steeds in check?

Outward signs: A new form, or clothing symbolic of a new function; provision of a vehicle; setting out on a journey.

Possible pitfalls: Arrogance, impulsiveness, intemperance.

Feeling in life: Optimism; desire for motion; being poised; increasing awareness; maturity; the first, intoxicating phase of the road trip, before reality begins to leak back in.

8. Justice

Marks the point of separation with the ordinary world.

This is when the hero reaches the first crossing.

The figure of Justice represents the old laws the hero is leaving behind and the new laws (of the new world) that are drawing them into their power.

The character must be ready and willing to take on responsibility, but unlike the choice of the Lovers card, Justice, with her prominent right foot, represents a more considered, rational approach.

What are the rules of the old/ordinary world that the character is leaving behind?

What are the rules of the new/adventure world? How do they differ? How do these differences cause problems for the character?

What responsibilities must the character take on? How do they feel about it?

Outward signs: Lifting the sword of power, training montage, a schedule/roster/plan of action.

Possible pitfalls: Being a know-it-all, prejudice, slyness, overconfidence.

Feeling in life: Fairness to others, making intelligent decisions, just rewards.

9. The Hermit

With the single digit cards ends the Fool’s sojourn in the realms of light.

From now on they are in the dark underworld of adventure.

This is the beginning of the inward journey, and for this reason requires some solitary reflection.

They’ve travelled a long way from The Fool card, where the mountains on the summit of which the Hermit now stands, were far in the distance.

Can also appear as another person, often a Helper, who provides the character with a protective talisman for their crossing.

This is also where the character learns their true name. It may be part of the revelation of the heavenly parents, who are often kept secret from the hero. 

How and where does the character seek peace and quiet?

How are they provided with a talisman for the journey ahead?

How does the character discover their true name? What does it mean to them?

What does this period of solitary reflection reveal to the character?

Outward signs: A hideaway/den/nook, a protective figure, a symbolic gift.

Possible pitfalls: Strangeness, feeling like an outsider, being too concerned with the other world, disenchantment.

Feeling in life: Clarity, inner peace, standing up for yourself, finding yourself.

10. The Wheel of Fortune

The card that clarifies the character’s goal.

What is the character seeking?

What are the weaknesses they must improve before they can reach a resolution?

What figure symbolises this weakness in the character? How does their interaction highlight this weakness?

Outward signs: Missing treasure, a nemesis/enemy/shapeshifter.

Possible pitfalls: Fatalism, misunderstanding your life’s purpose.

Feeling in life: Unpleasant learning experiences, resistance.

11. Strength

Brings the character face to face with their first true test of inner strength.

It follows on from the Wheel of Fortune by applying pressure to the character’s weak points.

The character must “tame the beast within”, accept their shadow side, and welcome their anima or animus.

What happens to try the character’s weakness and test their strength?

What is the shadow side that they need to accept? Why is it difficult for them to do so?

Outward signs: A spirit animal, a wild animal needing to be tamed, another character who is in some respects the hero’s opposite.

Possible pitfalls: Pride, a hardened heart, mercilessness.

Feeling in life: Living life to the full, a passionate attachment to life, showing your claws when necessary.

12. The Hanged Man

This card represents an existential crisis.

This is when the character questions the purpose they took on in the Wheel of Fortune, and in fact, the whole journey up to this point.

While unity lies at the motionless centre of the wheel, and the struggle of daily life on the outside, the character stuck in this stage is the hamster running along the inner surface of the wheel. 

Their whole experience of life is turned upside down, and until their perspective shifts to match their experience, they will be kept suspended.

What causes the character to question their purpose or their way of life?

What mistakes does the character keep repeating?

Outward signs: Something or someone hung, or held upside down, a revolution.

Possible pitfalls: Being caught in a vicious cycle, getting “hung up”.

Feeling in life: Repeating experiences like a broken record, mid-life crisis, inability to get out of your own way, having your patience tested.

13. Death

Death is a card that engenders fear, and the sooner the character learns to accept that fear instead of spending all of their energies trying to avoid the inevitable, the better (at least for them, perhaps not for story tension).

Death requires something to be left behind.

While this will feel like a hard sacrifice for the character, they will never make it while they’re carrying around “dead weight.”

What is the sacrifice the character must make?

Why is it impossible for the story to continue until this sacrifice is made?

How does the character try to avoid this sacrifice?

What are the consequences of the transformation brought by Death?

Outward signs: Bones, corpses, a wasteland, katabasis.

Possible pitfalls: Dying of fear, collapse.

Feeling in life: Ending, the search for peace and renewal, leave taking.

14. Temperance

Between the violence of Death and the Devil, stands the serene figure of Temperance. 

The challenge of Temperance is to find a middle ground between being dead to physical existence (Death) and being chained to it (Devil) by our vices or excessive passions.

This is the key to making it out of the underworld alive.

Who or what guides the character through the (real or imagined) underworld?

How does the character tread the middle path after the loss they suffered in Death?

Outward signs: A guide, a light in darkness, unnatural stillness.

Possible pitfalls: Following false influences, ordinariness.

Feeling in life: Being forcibly dragged along, conformity, level-headedness, health.

15. The Devil

Represents the dark side of the anima/animus, as depicted by the chained lovers.

Often this manifests in a way that entices the character to act in complete contradiction to their deepest values.

For example, killing to save lives, lying to appear honest, torturing people into believing in a merciful deity, etc.

What aspects of their shadow self has the character been suppressing?

What enslaves the character?

How does the character betray all that they have been striving for?

Outward signs: Taking up arms to keep the peace, using the people you love for base gains, a scandal, a seducer.

Possible pitfalls: Being enslaved by the shadow side, leaving the true path, intemperance, lust, power struggles.

Feeling in life: Slavery, addiction, being taken captive, being seduced, doing things you don’t want to do, betraying yourself.

16. The Tower

The destruction of the Tower is the sign that the old world has become too confining. 

The stage at which the character can show a side of themselves that no one would have suspected existed.

It is the sign that you can achieve the unthinkable.

What ideas are limiting the character’s view of the whole?

How can the character destroy these ideas in the most sudden, violent way possible?

How do others react to seeing the character’s hidden (and unsuspected) side?

Outward signs: An explosion, a breakthrough, the revelation of a new self, becoming visible.

Possible pitfalls: Defeat, collapse.

Feeling in life: Chaos, insecurity, surprise changes, escape.

17. The Star

Now we come to the 3 cards that represent a gradual lightening and emergence from the underworld: the Star, the Moon and the Sun.

The worst is now behind our hero, although their work isn’t done.

The Star is there to guide them to the next stage.

How does the character rejuvenate after their hard work in the Tower?

What abundant provisions do they enjoy?

How do they adjust to their new freedom of the world-view that was destroyed in the Tower?

Outward signs: A guiding light in the dark, a safe place to make camp, finding fresh provisions after a long journey.

Possible pitfalls: Forgetting the present while focusing on the future, being lost in daydreams, becoming complacent.

Feeling in life: Trust for the future, rejuvenation, youth.

18. The Moon

Represents a strange, changeable landscape that can easily confuse and trap the hero. 

Although the character has triumphed, they must still navigate the dangerous return journey back to the ordinary world.

The hero must extricate themselves from the temptations of the underworld, return to the world of the living and bring with them the elixir of life, if they are to succeed fully.

The Moon is the greatest threat to losing their true name, but to characters who are prepared and who are adept at traversing their inner landscape, it is also the greatest opportunity.

This is the test of whether a character is truly the master of two worlds, and can cross and recross the treacherous threshold.

How is the return journey different to the outward journey?

How do past landmarks take on new meaning and new danger?

What are the temptations that make the character want to stay instead of returning home?

Outward signs: A changing landscape, a narrow gateway, a difficult crossing.

Possible pitfalls: Being lost in the enchanted forest, losing sight of the destination, becoming enslaved by fear.

Feeling in life: Anger, frustration, mistrust, nightmares, fears, longing.

19. The Sun

The stage at which the character finally leaves the underworld of adventure and returns to the light, ordinary world. 

Looking back from this vantage point, the character realises that the enormous difficulties they just wrestled with actually boil down to a simple solution; that they would have triumphed much sooner had they not complicated the problem.

Now their task is to begin readjusting to the ordinary world, and reconciling the change in their inner world to the lack of change in the outer world.

How does the character re-emerge into the ordinary world?

How has the character changed, and how has the world stayed the same?

How does this cause conflict for the character and their allies?

Outward signs: Blinking against the light, waking up, watching the sun rise.

Possible pitfalls: Clichés.

Feeling in life: Feeling carefree, freedom, joie de vivre, lightness, fun, enjoyment.

20. Judgement

The Judgement card represents a final test of the character’s worthiness to be the bearer of the elixir of life.

If, by some chance, a false hero has managed to come this far, this is the stage at which they will be discovered and sent back to the underworld.

On the other hand, for the true hero, Judgement brings resurrection; a revitalising influence that is the final, freeing reward of their long journey.

What is the final test the character must undergo to prove their worthiness?

Why is the test easy for worthy characters to pass?

How can unworthy characters be discovered and punished?

Outward signs: Being reunited with loved ones, a return to life and vitality, verdure returning to a barren land, an arrest, a trial, a condemnation, an execution.

Possible pitfalls: To fail at cheating (for the unworthy hero).

Feeling in life: Feeling free and at peace.

21. The World

Is the resolution of the readjustment brought about in the crisis of the Hanged Man.

Brings unity to the opposites that have been battling for supremacy over the hero throughout their journey: dark & light, good & bad, action & inaction, male & female.

This isn’t because the world is suddenly free of strife, but because the character has accepted and dealt with both sides of the duality and thus earned freedom from them.

However temporary this freedom might be…

How does the World give the character the ability to disseminate their wisdom (or the “elixir of life”) far and wide?

What makes the unity of the World fragile? What might urge the character into another Fool’s Journey (and give you an opportunity for a sequel)?

Outward signs: A coronation, a homecoming, something in perfect balance.

Possible pitfalls: None.

Feeling in life: Joy, profound satisfaction, a feeling of finally being home.

NOTES

One final revelation about The Fool’s Journey, and indeed about any archetypal journey, is that their writers insist that certain stages of the story need to be taken in the prescribed order.

A character can’t skip building the ego during the “daytime” arc without facing the later consequences: material lack in the ordinary world and possibly ostracism.

Furthermore, an underdeveloped ego is not as great a challenge to abandon in the underworld, and whenever the sacrifice is small, so is the subsequent reward.

Sources: 1 2 3 ⚜ More Writing Notes: On Tarot ⚜ Notes & References

[crimson-and-clover-1717]

Ed’s Initial Intentions regarding Stede

Thank you so much for your attention to the poll. The consensus is it’s complicated - and I sort of agree - although I’m swayed towards Fascination alone.

This is my interpretation…

Stede causes Ed to access hidden or denied parts of himself before they’ve even met. And it causes a change in Ed’s behaviour. Ed’s come across many rich or aristocratic folks to rob whom he would see killed without issue; but not someone who’s also a pirate, doing their own original thing, and who seems ambivalent towards Blackbeard’s existence. It’s dopamine to Ed’s novelty-starved brain. It’s not as if Ed carries out a usual raid on the Revenge intending to kill Stede, only to find himself unexpectedly charmed. Ed’s bewitched even before he meets Stede, which means Ed’s entire approach and thought-processes are altered.

Killing Stede and the crew isn’t necessarily off the table should the need arise, but I don’t think it’s actively on in any capacity. There’s no plan, and there’s no ‘uszh’ for once either. Because none of this is uszh. Ed’s engagement with the Revenge is not his normal MO. History’s most brilliant tactician is free-styling. Possibly free-falling.

At the end of 102, Izzy states, ‘Captain says follow that ship.’ And Fang answers ‘Oh really? Why?’ To which Izzy replies, ‘How should I know? The man’s half-insane.’ This conversation shows this isn’t usual strategy. Even Fang asks why - he thought they’d seen the last of those ‘fancyboys’. And Ivan’s sad he didn’t get the chance to murder them, which seems the usual way of things. Plus they’d already had the chance to take or plunder the ship when it ran aground, so this stalking manoeuvre is out of the ordinary. It feels like wasted time and energy.

By the start of episode three, Blackbeard’s ship is a few hundred yards out from the Revenge, and Izzy’s trying to manipulate Ed into usual strategy again by suggesting opening fire, or boarding and throwing the Revenge crew to the sharks. Instead, Ed wants to wait until they make landfall and invite them aboard his ship. Ed’s doing something very different again because he’s unwittingly engaging with an unfamiliar part of himself. And interestingly ‘Go suck eggs in Hell’ appears not to insult, but to somewhat seduce him further. Before meeting Stede, he’s already out of his depth emotionally, and acting out of character, literally.

Despite what Ed would do normally, I just cannot see him landing on the Revenge with the active intent of plundering the ship and / or killing Stede and the crew. His words and actions suggest he’s already through the looking-glass.

So, to The Plan. We have three interesting moments which lead up to its revelation: the clothes swap, ‘careful of your face’ and ‘show me the ways of an aristocrat’.

For me, the three strands, which have no previous connection (other than Ed and Stede playing together), come together in Ed’s mind somewhere between Ed leaving Stede on the lookout, and Ed speaking with Izzy below: a matter of seconds. It reminds me of Keyser Söze in The Usual Suspects, pulling together disparate ideas into a cohesive story spontaneously. It’s the mind of a quick-thinker. And it’s in-keeping with Ed’s ability of reacting in the moment to the moment when necessary.

I think Ed also feels forced to perform Blackbeard for Izzy because Izzy’s threatening to leave pushes on that white father-figure emotional bruise. At this stage, Ed doesn’t have enough emotional loyalty to Stede to not voice such a plan; whilst his identity is still too caught in Izzy’s web to let him go - ‘you’re needed here’. For me, the plan to kill Stede is brought about in the moment via an act of psychological coercive control.

But Ed’s also kicking the can down the road. It’s a sort of Faustian bargain. Why not promise Izzy both their souls if it means Ed and Stede can hang out a little longer? Yet on another level Ed’s possibly hoping the debt won’t be called in, such is the complexity of the push and pull here. He’s putting it on the tab, the never-never. He’ll out-manoeuvre it if he decides that’s what he wants. Of course there’s doublethink going on because Ed’s in the middle of an identity crisis.

Ed daren’t admit his real reason for wanting to stay on the Revenge. He can’t comprehend himself even how deep this goes. His look as he turns is one of exhaustion and confusion. Stede Bonnet has him rattled. What started as a trickle of unease and ennui before they’d even met is now a whirlpool of unidentifiable feelings around both Stede, and Ed’s own perception of self.

Ed’s free-falling in liminal space.

[faustiandevil]

Artistic rendition of how my day went and is going.

[anheliotrope]

Rambling About C# Being Alright

I think C# is an alright language. This is one of the highest distinctions I can give to a language.

Warning: This post is verbose and rambly and probably only good at telling you why someone might like C# and not much else.

~~~

There's something I hate about every other language. Worst, there's things I hate about other languages that I know will never get better. Even worse, some of those things ALSO feel like unforced errors.

With C# there's a few things I dislike or that are missing. C#'s feature set does not obviously excel at anything, but it avoids making any huge misstep in things I care about. Nothing in C# makes me feel like the language designer has personally harmed me.

C# is a very tolerable language.

C# is multi-paradigm.

C# is the Full Middle Malcomist language.

C# will try to not hurt you.

A good way to describe C# is "what if Java sucked less". This, of course, already sounds unappealing to many, but that's alright. I'm not trying to gas it up too much here.

C# has sins, but let's try to put them into some context here and perhaps the reason why I'm posting will become more obvious:

C# didn't try to avoid generics and then implement them in a way that is very limiting (cough Go).

C# doesn't hamstring your ability to have statement lambdas because the language designer dislikes them and also because the language designer decided to have semantic whitespace making statement lambdas harder to deal with (cough Python).

C# doesn't require you to explicitly wrap value types into reference types so you can put value types into collections (cough Java).

C# doesn't ruin your ability to interact with memory efficiently because it forbids you from creating custom value types, ergo everything goes to the heap (cough cough Java, Minecraft).

C# doesn't have insane implicit type coercions that have become the subject of language design comedy (cough JavaScript).

C# doesn't keep privacy accessors as a suggestion and has the developers pinkie swear about it instead of actually enforcing it (cough cough Python).

Plainly put, a lot of the time I find C# to be alright by process of elimination. I'm not trying to shit on your favorite language. Everyone has different things they find tolerable. I have the Buddha nature so I wish for all things to find their tolerable language.

I do also think that C# is notable for being a mainstream language (aka not Haskell) that has a smaller amount of egregious mistakes, quirks and Faustian bargains.

The Typerrrrr

C# is statically typed, but the typing is largely effortless to navigate unlike something like Rust, and the GC gives a greater degree of safety than something like C++.

Of course, the typing being easy to work it also makes it less safe than Rust. But this is an appropriate trade-off for certain kinds of applications, especially considering that C# is memory safe by virtue of running on a VM. Don't come at me, I'm a Rust respecter!!

You know how some people talk about Python being amazing for prototyping? That's how I feel about C#. No matter how much time I would dedicate to Python, C# would still be a more productive language for me. The type system would genuinely make me faster for the vast majority of cases. Of course Python has gradual typing now, so any comparison gets more difficult when you consider that. But what I'm trying to say is that I never understood the idea that doing away entirely with static typing is good for fast iteration.

Also yes, C# can be used as a repl. Leave me alone with your repls. Also, while the debugger is active you can also evaluate arbitrary code within the current scope.

I think that going full dynamic typing is a mistake in almost every situation. The fact that C# doesn't do that already puts it above other languages for me. This stance on typing is controversial, but it's my opinion that is really shouldn't be. And the wind has constantly been blowing towards adding gradual typing to dynamic languages.

The modest typing capabilities C# coupled with OOP and inheritance lets you create pretty awful OOP slop. But that's whatever. At work we use inheritance in very few places where it results in neat code reuse, and then it's just mostly interfaces getting implemented.

C#'s typing and generic system is powerful enough to offer you a plethora of super-ergonomic collection transformation methods via the LINQ library. There's a lot of functional-style programming you can do with that. You know, map, filter, reduce, that stuff?

Even if you make a completely new collection type, if it implements IEnumerable<T> it will benefit from LINQ automatically. Every language these days has something like this, but it's so ridiculously easy to use in C#. Coupled with how C# lets you (1) easily define immutable data types, (2) explicitly control access to struct or class members, (3) do pattern matching, you can end up with code that flows really well.

A Friendly Kitchen Sink

Some people have described C#'s feature set as bloated. It is getting some syntactic diversity which makes it a bit harder to read someone else's code. But it doesn't make C# harder to learn, since it takes roughly the same amount of effort to get to a point where you can be effective in it.

Most of the more specific features can be effortlessly ignored. The ones that can't be effortlessly ignored tend to bring something genuinely useful to the language -- such as tuples and destructuring. Tuples have their own syntax, the syntax is pretty intuitive, but the first time you run into it, you will have to do a bit of learning.

C# has an immense amount of small features meant to make the language more ergonomic. They're too numerous to mention and they just keep getting added.

I'd like to draw attention to some features not because they're the most important but rather because it feels like they communicate the "personality" of C#. Not sure what level of detail was appropriate, so feel free to skim.

Stricter Null Handling. If you think not having to explicitly deal with null is the billion dollar mistake, then C# tries to fix a bit of the problem by allowing you to enable a strict context where you have to explicitly tell it that something can be null, otherwise it will assume that the possibility of a reference type being null is an error. It's a bit more complicated than that, but it definitely helps with safety around nullability.

Default Interface Implementation. A problem in C# which drives usage of inheritance is that with just interfaces there is no way to reuse code outside of passing function pointers. A lot of people don't get this and think that inheritance is just used because other people are stupid or something. If you have a couple of methods that would be implemented exactly the same for classes 1 through 99, but somewhat differently for classes 100 through 110, then without inheritance you're fucked. A much better way would be Rust's trait system, but for that to work you need really powerful generics, so it's too different of a path for C# to trod it. Instead what C# did was make it so that you can write an implementation for methods declared in an interface, as long as that implementation only uses members defined in the interface (this makes sense, why would it have access to anything else?). So now you can have a default implementation for the 1 through 99 case and save some of your sanity. Of course, it's not a panacea, if the implementation of the method requires access to the internal state of the 1 through 99 case, default interface implementation won't save you. But it can still make it easier via some techniques I won't get into. The important part is that default interface implementation allows code reuse and reduces reasons to use inheritance.

Performance Optimization. C# has a plethora of features regarding that. Most of which will never be encountered by the average programmer. Examples: (1) stackalloc - forcibly allocate reference types to the stack if you know they won't outlive the current scope. (2) Specialized APIs for avoiding memory allocations in happy paths. (3) Lazy initialization APIs. (4) APIs for dealing with memory more directly that allow high performance when interoping with C/C++ while still keeping a degree of safety.

Fine Control Over Async Runtime. C# lets you write your own... async builder and scheduler? It's a bit esoteric and hard to describe. But basically all the functionality of async/await that does magic under the hood? You can override that magic to do some very specific things that you'll rarely need. Unity3D takes advantage of this in order to allow async/await to work on WASM even though it is a single-threaded environment. It implements a cooperative scheduler so the program doesn't immediately freeze the moment you do await in a single-threaded environment. Most people don't know this capability exists and it doesn't affect them.

Tremendous Amount Of Synchronization Primitives and API. This ones does actually make multithreaded code harder to deal with, but basically C# erred a lot in favor of having many different ways to do multithreading because they wanted to suit different usecases. Most people just deal with idiomatic async/await code, but a very small minority of C# coders deal with locks, atomics, semaphores, mutex, monitors, interlocked, spin waiting etc. They knew they couldn't make this shit safe, so they tried to at least let you have ready-made options for your specific use case, even if it causes some balkanization.

Shortly Begging For Tagged Unions

What I miss from C# is more powerful generic bounds/constraints and tagged unions (or sum types or discriminated unions or type unions or any of the other 5 names this concept has).

The generic constraints you can use in C# are anemic and combined with the lack of tagged unions this is rather painful at times.

I remember seeing Microsoft devs saying they don't see enough of a usecase for tagged unions. I've at times wanted to strangle certain people. These two facts are related to one another.

My stance is that if you think your language doesn't need or benefit from tagged unions, either your language is very weird, or, more likely you're out of your goddamn mind. You are making me do really stupid things every time I need to represent a structure that can EITHER have a value of type A or a value of type B.

But I think C# will eventually get tagged unions. There's a proposal for it here. I would be overjoyed if it got implemented. It seems like it's been getting traction.

Also there was an entire section on unchecked exceptions that I removed because it wasn't interesting enough. Yes, C# could probably have checked exceptions and it didn't and it's a mistake. But ultimately it doesn't seem to have caused any make-or-break in a comparison with Java, which has them. They'd all be better off with returning an Error<T>. Short story is that the consequences of unchecked exceptions have been highly tolerable in practice.

Ecosystem State & FOSSness

C# is better than ever and the tooling ecosystem is better than ever. This is true of almost every language, but I think C# receives a rather high amount of improvements per version. Additionally the FOSS story is at its peak.

Roslyn, the bedrock of the toolchain, the compiler and analysis provider, is under MIT license. The fact that it does analysis as well is important, because this means you can use the wealth of Roslyn analyzers to do linting.

If your FOSS tooling lets you compile but you don't get any checking as you type, then your development experience is wildly substandard.

A lot of stupid crap with cross-platform compilation that used to be confusing or difficult is now rather easy to deal with. It's basically as easy as (1) use NET Core, (2) tell dotnet to build for Linux. These steps take no extra effort and the first step is the default way to write C# these days.

Dotnet is part of the SDK and contains functionality to create NET Core projects and to use other tools to build said projects. Dotnet is published under MIT, because the whole SDK and runtime are published under MIT.

Yes, the debugger situation is still bad -- there's no FOSS option for it, but this is more because nobody cares enough to go and solve it. Jetbrains proved anyone can do it if they have enough development time, since they wrote a debugger from scratch for their proprietary C# IDE Rider.

Where C# falls flat on its face is the "userspace" ecosystem. Plainly put, because C# is a Microsoft product, people with FOSS inclinations have steered clear of it to such a degree that the packages you have available are not even 10% of what packages a Python user has available, for example. People with FOSS inclinations are generally the people who write packages for your language!!

I guess if you really really hate leftpad, you might think this is a small bonus though.

Where-in I talk about Cross-Platform

The biggest thing the ecosystem has been lacking for me is a package, preferably FOSS, for developing cross-platform applications. Even if it's just cross-platform desktop applications.

Like yes, you can build C# to many platforms, no sweat. The same way you can build Rust to many platforms, some sweat. But if you can't show a good GUI on Linux, then it's not practically-speaking cross-platform for that purpose.

Microsoft has repeatedly done GUI stuff that, predictably, only works on Windows. And yes, Linux desktop is like 4%, but that 4% contains >50% of the people who create packages for your language's ecosystem, almost the exact point I made earlier. If a developer runs Linux and they can't have their app run on Linux, they are not going to touch your language with a ten foot pole for that purpose. I think this largely explains why C#'s ecosystem feels stunted.

The thing is, I'm not actually sure how bad or good the situation is, since most people just don't even try using C# for this usecase. There's a general... ecosystem malaise where few care to use the language for this, chiefly because of the tone that Microsoft set a decade ago. It's sad.

HOWEVER.

Avalonia, A New Hope?

Today we have Avalonia. Avalonia is an open-source framework that lets you build cross-platform applications in C#. It's MIT licensed. It will work on Windows, macOS, Linux, iOS, Android and also somehow in the browser. It seems to this by actually drawing pixels via SkiaSharp (or optionally Direct2D on Windows).

They make money by offering migration services from WPF app to Avalonia. Plus general support.

I can't say how good Avalonia is yet. I've researched a bit and it's not obviously bad, which is distinct from being good. But if it's actually good, this would be a holy grail for the ecosystem:

You could use a statically typed language that is productive for this type of software development to create cross-platform applications that have higher performance than the Electron slop. That's valuable!

This possibility warrants a much higher level of enthusiasm than I've seen, especially within the ecosystem itself. This is an ecosystem that was, for a while, entirely landlocked, only able to make Windows desktop applications.

I cannot overstate how important it is for a language's ecosystem to have a package like this and have it be good. Rust is still missing a good option. Gnome is unpleasant to use and buggy. Falling back to using Electron while writing Rust just seems like a bad joke. A lot of the Rust crates that are neither Electron nor Gnome tend to be really really undercooked.

And now I've actually talked myself into checking out Avalonia... I mean after writing all of that I feel like a charlatan for not having investigated it already.