#foundation meta

[brotherdusk]

from david s. goyer's r/television foundation AMA: his personal headcanon on what happened after the events of 1.10

christ!!!

[meowdejavu]

Can't believe the Foundation s2 finale had 50 twists and fake-outs but not the specific one I was hoping for!!!!!!

Like I honestly thought for sure that the first Cleon's backstory for Demerzel would turn out to be hugely false and biased from his pov, and we'd find out that she actually planted the idea of the genetic dynasty in his head from a young age and let him think it was all him.... And then she also let him believe he was modifying her programming to protect himself, but she'd totally have something up her sleeve there too, like some kind of built-in protection against certain programming mods or whatever? (The episode is literally called CREATION MYTHS??????)

To be fair, I'm not familiar with the source material, but gosh it felt like a missed opportunity to just be like "yes indeed, the 18K-year-old robot is technically an unwilling participant in all this, how unfortunate for her" when they could have twisted it to make Demerzel the orchestrator who played Cleon 1 like a damn fiddle so that she could rule the galaxy from the shadows!!!! Because of course she came up with a perfect plan when she had five thousand years to do nothing but think!!!!! Hello????

I did like the finale and really want to get a third season but WOW.....I'm mourning the arc that could have been.

[coquelicoq]

it's about...longevity? stability? it's about natsume believing he'll be somewhere long enough to plant flowers and see them bloom. it's about him taking touko seriously when she asks him to tell her what flowers he wants to plant. it's about making something with his own hands, building a future with the fujiwaras. it's about him repairing a rundown home for someone else, restoring it because it's beloved to them, because it's the home of someone they love. it's about him seeing touko's joy and thinking about the youkai saying we'd like to look upon her happy face forever. it's about the box garden making him think of the fujiwaras' garden and his parents' garden, about the flowers being both the memory of flowers that bloomed there before, and the flowers that he and the youkai planted earlier that day. it's about him waking up in both worlds with sensei. it's about touko finding the petal in his hair. it's about him feeling how he falls short and the youkai saying, but you have such gentle hands...

[aroaceleovaldez]

The himbo, malewife, goofball -fication of percy jackson is such a crime by both the fans and riordan. It has made Mr not like percabeth as a couple because in all posts and in later books annabeth is such a girlboss, while Percy's dumb and can't fight his way out of a paperbag without her. All the posts are about how annabeth will be an architect and percy would love to be a trophy husband.

Even the humor in the books went from Percy's sharp wit and snark to 'my pancakes can't drown because I'm a son of poseidon.'

And now this recommendation letter bullshit.

Honestly now I'd wish percy just separated from annabeth (but they remain best friends.) He stays home with his family, becomes a camp counselor, helps young demigods, holds God's accountable and eventually becomes a social activist. (I also dislike him doing something marine biology related. It's clear he hates academics but he always wants to help people. Him helping demigods and mortals is such a wholesome profession for him.)

I fully agree with the first half of this, though I slightly disagree with part of the latter.

The later-series and fanon mischaracterization of Percy is at least a solid 50% ableism minimum, full stop. He's being warped into a very stereotyped ADHD character and the exact reason why he's being characterized as "dumb" is because of ableism. Percy is a very intelligent character! That's exactly why he's so in sync with Annabeth and they're such a strong duo! It's just generally Annabeth is more book/academically smart.

I disagree with where you say he hates academics - because that's one of the common misconceptions about his character. Percy doesn't hate learning or academic subjects! He's not even bad at them! We know explicitly that when he is in an accommodating environment he is interested in learning and gets significantly better grades! Percy only dislikes school because it is generally an environment that systematically he struggles with. It's literally just he has a learning disability (two, actually)! That's it! When his learning disability is accommodated for he does well! It's almost like that's what accommodations are all about! We know this from the first series! It's discussed pretty in-depth! Percy isn't a dumb character and he doesn't hate learning, he's just been let down by school systems so much that he's inherently distrustful of them. If they actually accommodate him though then he does just fine!

And that's exactly what CHB was all about and why New Rome University was supposed to be such a big thing for him! CHB is a learning environment geared for demigods. NRU is a demigod college. Both inherently imply an environment meant to cater to and accommodate students with ADHD and dyslexia! They are both systematically structured to be able to accommodate him! Heck, CHB and CJ even both address in the wider themes of the series a metaphor about how ADHD and dyslexia are commonly seen as childhood disabilities, and how it can be more difficult to find accommodations into adulthood because of that attitude but those disabilities don't just go away - that's why CHB is a summer camp but they talk about how demigods outside of CHB don't often fare well. The metaphor there is those who are not getting help or accommodations are struggling. Because that's how that works! This is a fully intentional metaphor from the first series! CHB is never framed as being perfect for demigods, because one of the entire central conflicts of the series is Percy and Luke going back and forth about this flawed system meant to help and support them but still letting people fall through the cracks. The "claim your kids by 13" thing is a metaphor about how acknowledging a child's disabilities (and possibly getting a diagnosis) earlier/as early as possible means they will have more time to learn and build up resources and support for themselves to be able to use later in life. One of CHB's major flaws is that it can accommodate demigods to a certain point, but it can only do so much before those demigods have to leave (the metaphor being accommodating school systems when those disabled students do not have any other forms of accommodations in their lives.)

And that's why Camp Jupiter was framed as being so revolutionary for Percy because it had an environment acknowledging that this is not just a childhood disability, adults with ADHD/dyslexia exist too and still need and deserve accommodations, AND is a place where those accommodations are available. That's why Camp Jupiter and NRU are treated as such special and important things to Percy, because it's essentially Percy being shown this type of thing can and does exist and it is available to him. It is an option he never thought was possible. Percy never thought he'd be able to go to college because he would not be able to go through school without accommodations, but NRU proves otherwise.

The part that's absolutely stupid is Rick then proceeded to retcon NRU so that apparently it's not a full college and Percy still has to take classes at normal mortal college which DEFEATS THE ENTIRE PURPOSE OF NRU EXISTING. Rick has fully retconned that demigods struggle past the ages of 16-18 when they're on their own (see above elaborated metaphors) and in doing so we have fully killed all symbolism in literally all of that. It's so stupid. And by having the plot of the CoTG trilogy entirely be that Percy is not actually allowed access to NRU in the first place because he is a son of Poseidon and has to do extra to even be accepted is stupid!

All that to say, I agree the marine biology feels like a huge cop-out and a disservice to his character by reducing him to just a son of Poseidon. The literal only reason why it's the default option people take for him is because oh, fish thing, fish guy. But I feel like everyone ignores the really obvious answer for what Percy would want to do which is - writing. Both his parents are writers/authors and he clearly admires that about them. Percy likes telling stories! He canonically is already a published author in-universe! That's what the books ARE in-universe! The first series fully exists in their universe and Percy is the author! This is explicit canonical information! Percy canonically has help physically writing it down (accommodations) but he is still the credited author! Percy is a writer! Already! Canonically! Why are we making him a marine biologist he already has a profession that ties into his character significantly more. Like you said, Percy likes helping people. That's what the books in-universe are supposed to be for! It's point blank at the beginning of the series! Book one! The thing everybody quotes all the time! The books exist because it is Percy trying to give advice to other demigods who don't know what's going on yet! It's Percy's writing down his experiences to help new demigods understand and contextualize their experiences so they can understand themselves better and figure out what's going on - WHICH IN ITSELF IS ALSO A METAPHOR ABOUT ADHD/DYSLEXIA! Because the core of the series has and always will be built around ADHD/dyslexia! Percy as a protagonist EXPLICITLY was created so that ADHD/dyslexic kids could see themselves as a hero!

Sorry that all was a very tangential rant but my point being: Absolutely. Percy in newer stuff in the franchise and in fanon is horrifically mischaracterized in ways that are functionally either fully ableist (shoutout TSATS for just outright claiming Percy is intentionally lazy and skips school out of disinterest, which is like the number one ableist attitude towards kids with learning disabilities) or a complete erasure of Percy's disabilities. Also I think he should be a writing major not a marine biologist.

[rawliverandcigarettes]

Thinking about Mass Effect, as you do, and how I'm kind of sad that the way it's been engraved in pop culture has more to do with the way internet reacted to it at the time than what the actual game is about. Yes sure, it's about romance (and not that much all things considered) and it's pulpy (but not solely because of hot lady aliens), but it's also intricate worldbuilding that touches on a lot of sharp ideas, and a complicated tug-of-war between a genuine and vulnerable belief in reconciliation and community VS post 9-11 US military propaganda and steadfast belief in heroic exceptionalism, and the melancholic yet energizing mood, and the daring narrative systems, and so so much more than the 'We'll Bang OKs" and the "There's No Shepard Without Vakarian" and the whole ME3 ending situation

It's all there, but I'm sad the impact of the series is often reduced to (what I think is) the least interesting parts of its sum

[borgialucrezia]

what i find so interesting is that after juan's death, it wasn't just cesare's physical features that began to echo his brother's appearance more strikingly than they ever had during juan's lifetime, but certain aspects of juan's personality also began to manifest in cesare as well! after rodrigo shared his long-planned dream of creating a papal bloodline to be passed down to cesare, cesare's perspective shifted, and he became increasingly preoccupied with the perceptions of others, leading him to adopt a more classist mindset. he even felt ashamed of his own mother when she offered him counsel and the opportunity to join him in battle, rejecting her due to her former occupation as a 'whore.' this is just one of the chilling examples of how juan's aftermath continued to impact cesare long after his death throughout the show.

[crowtoed]

One of the things I'm liking about Scavenger's Reign and that it does pretty well is the 'in media res' start. A lot of shows (LOOKING AT YOU, FOUNDATION) try to make the audience care for the characters without taking time to establish them and throw them into the Big Situation. Scavenger's Reign starts slow and lets the audience experience the planet (and its weirdness) and how the characters interact with it: Ursula is inquisitive, Sam is pragmatic, Azi is wary, Kamen is fearful, Levi is accepting. This is established through Little Situations/ side quests before joining the main. They aren't being thrown into the Big Adventure without showing us little bits of who they are and how they've survived this long.

[neversetyoufree]

I've remarked on this blog a few times before that I'm fond of the theory that The Shapeless One is Paracelsus, but I've always hesitated to elaborate, as I felt like there wasn't enough hard evidence that supported this theory being true. However, something recently clicked for me regarding one big parallel between them, and now I can't stop thinking about what that connection would mean for the story thematically.

In mémoire 61, after Machina pushes him to explain what his "plot" is, Teacher declares that he wants to achieve world peace. I've had no idea what to make of this line for a while now, just assuming that we'd need more context to understand what the actual hell he's talking about. But with the Paracelsus comparison, I feel like I'm starting to grasp what's going on there.

[This post needs a VnC-standard warning for mentions of suicide, sexual assault, and child abuse].

There are a few pieces of evidence that support the idea of Teacher being Paracelsus. VnC's Paracelsus is introduced as a great alchemist, just as he was in the real world, and the Count of Saint Germain was an alchemist as well. Nobody knows Teacher's origins, but he's one of the oldest vampires and close with the queen. There's also a little drawing of six-pointed stars that appears behind Paracelsus in the first storybook illustration of him, and those same stars are seen hanging from Teacher's walking stick in the scene where he first meets Noé.

That panel of Teacher and Noé appears at the very end of chapter 6, and the Paracelsus panel appears at the start of chapter 7, meaning these images are quite conspicuously close together.

So what does this mean for Teacher's idea of "world peace"?

In the storybook version of Paracelsus's life, he's described as wanting to alter the world formula not for scientific curiosity, but because he wants to save the world.

Paracelsus, per the childish version that Teacher presents to Noé, caused the Babel Incident because he was trying to "rid the world of its ills" and "guide people to happiness." The line about the human world's "rampant ills" is read over a drawing of dancing skeletons—a Danse Macabre. This is a Medieval way of drawing the personification of death, usually for the purpose of expressing the way that death comes comes for every person inevitably (the same theme later expressed by Vanitas art).

When Paracelsus speaks of the world's ills, this is the reality he seeks to cure. The world is afflicted with suffering and death, and he wants to rewrite the world's formula so that humanity can live happily without that pain.

A world rewritten to be without suffering—isn't that world peace? "World peace" is often used to evoke an end to armed conflict specifically, rather than suffering at large, but the concepts must overlap if they're pursued seriously. How can world peace last if there are people starving in famines or dying of disease? Suffering breeds violence. And how can someone seeking to alleviate "the world's ills" not want to achieve world peace?

If this is true, if Teacher's hope for "world peace" is him carrying on Paracelsus's legacy (or carrying on his own work, if they're the same man), then what does that mean for Paracelsus's supposed altruistic intentions?

We know little about Paracelsus now, only Teacher's recounting of the Babel Incident by way of a book he's reading to a child, but I think there are two ways to interpret what we do know.

Trying to rid the world of suffering is, on its face, the most noble possible intention. To lead the world to happiness is to attempt to help every other person in the world. And I can think of a lot of ways that Paracelsus's goals make absolute sense to me. If you discover that the fabric of reality can be rewritten, and you know that there are people in the world dying of famines, wouldn't you want to reshape the world so that they no longer have to go hungry?

It's possible, depending on what we find out about him in the future, that Paracelsus really will be a noble figure whose one great sin was hubris, and all he wanted from his research was to help the world in ways that make both moral and logical sense.

However, given some of VnC's other themes, I think there's another lens through which we should consider Paracelsus's actions. We don't know exactly what he was trying to rewrite with that disastrous experiment, but that Danse Macabre does give us one possible clue.

One of the themes that VnC has been slowly developing throughout its run is the idea that, though trying to save a person's life is noble, it is not noble to deny all death as a whole. This is a story about the concept of Vanitas, the idea that death is inevitable and that all else is rendered meaningless in its face. Noé feels like he failed Louis because he was unable to kill him when he asked, and it seems like the manga's being set up to end with Noé killing Vanitas to escape a fate Vanitas considers worse than death. One big part of what makes Mikhail so unsettling is his denial, his laughing about his mother's draining and the fact that he cannot accept the reality Luna has died, and Vanitas is horrified to hear that Misha is planning to resurrect their parent. That same issue goes on to be the one thing that finally drives a wedge between Noé and his teacher, as Noé can apparently forgive the man for purchasing him on the black market and killing Louis, but he's horrified to hear that Teacher told Mikhail that resurrecting Luna was possible.

All of these scenes have other elements to them, other things that drive the characters and inform why these specific ideas of undeath are so deeply horrifying to them, but the buildup of this running theme is an undercurrent through all of it. Vanitas means that someday all people must die, so what does it mean when somebody tries to deny that?

Even further, there's the broader horror of both Noé and Mikhail failing to process the bad things that happen to them. Misha commits blithe horrors in part because he does not understand that his sexual abuse was wrong, so he seems to see no problem with sexually assaulting others now in turn—as he does when he pressures Noé to drink his blood. Noé happily recounts being kidnapped and sold on the black market, remarks on Chloé and Jean-Jacques's goodness minutes after Chloé assaults him in his sleep, and brushes off the incident of Jean-Jacques drugging him to the extent that even Jean-Jacques himself is unnerved by it. All of that is deeply concerning behavior.

Misha is written to be obviously uncanny in his denial, and that uncanniness holds up a mirror to the subtler horror of Noé's own disconnects from reality. The more recent chapters have also begun drawing direct attention to the ways that Noé's denial of the bad in the world becomes problematic. The aforementioned scene of Vani, Dante, and JJ being disturbed by Noé's "it doesn't bother me" line does this, as does the long discussion Noé and Vanitas have about why Noé's ignorance of anti-Dham racism upsets Dante so much.

There is an ongoing tension in VnC between the inherent goodness of peace and life and the horror of what comes when those concepts are taken too far. Noé and Vanitas are this in a nutshell: an endlessly clashing duo made up of a too-extreme pessimist and a too-extreme optimist. The story arcs thus far have taken turns challenging each of their worldviews, slowly pushing Vanitas to open up and let himself hope for peaceful solutions, let himself accept love and emotional closeness, while also slowly pushing Noé to confront the fact that sometimes not everything has a happy-making peaceful solution after all. Sometimes "saving" a child means she has to die, and sometimes an enemy will have an entirely sympathetic reason to hate vampires, but Noé still has to fight them anyway to save the people he wants to save, regardless of whether that enemy is "right" or not.

Noé lives in denial of his own past traumas and his own present-day potential for harm. He denies the potential that "good" people he meets might harm him, and he struggles to accept instances where he has harmed others in turn. Dominique and Vanitas go on for pages after the amusement park about how reckless and overly trusting he can be, and he turns around, unable to cope, when confronted with the truth of what he did to Misha with his claws. However, Noé also has the benefit of his proximity to Vanitas knocking just a bit of sense into him, and it might not be a sure thing that he's going to stay in denial-land forever.

One of VnC's specific points of tension is the question of if/how Noé will grow to accept the hard things that currently bounce off his oblivious denial like water off of a raincoat. The end of mémoire 1, the statement that someday he's going to kill Vanitas, suggests that perhaps he might learn to understand how death, despite its pain, is important in its own right. It suggests that maybe he'll come around to no longer denying death and insisting that salvation is always its avoidance.

However, if he can't quite make that leap, the story provides us with dark mirrors to show us what a monster Noé could become by doubling down on his idealistic, optimistic denial. Misha's current state is Noé to an extreme, an innocent child committing horrors as he utterly fails to process the truth of his own horrific early childhood. Misha's driving motivation is a hatred of pain and suffering, and he's willing to do anything to resurrect the family that saved him from that pain in the past.

Then there's also Lord Ruthven, a man who was once an optimist in Noé's own mold, but has since broken bad in a spectacular way. Noé and Ruthven recite the exact same line about liking both humans and vampires, an obvious parallel, but now Ruthven is working with Naenia. Now he's living in the aftermath of his idealistic peace plan imploding and almost costing him his life. Ruthven despairs the last time he visits Gévaudan, lamenting the wrongness of his naive past hopes for understanding, and now he's working toward some unknown end involving Naenia, Charlatan, and the Queen. Now he's committing horrors of his own, biting at least three people by force, overriding their wills, and associating with the being that steals innocent people's true names.

There's also the question of what the hell Ruthven is doing with the queen. It seems he was somehow involved with Faustina devolving to her current state, and Loki references "smashing up her corpse," so it's possible Naenia's existence may be a sign that Ruthven wants or wanted her dead and/or cursed. However, the shots of him with the Faustina-like body in the tank at the end of mémoire 18 suggest there's a chance that he could instead be involved with some form of resurrection scheme (or a scheme to preserve/save her if she's not yet fully dead).

Ruthven exists in part to demonstrate the ways that an idealist like Noé can go bad, and it's possible that he, like Misha, is attempting some sort of awful resurrection, once again denying the reality of death.

Then, finally, there's one more character with whom Noé has these sorts of obvious parallels. The man who, perhaps, is also meant to represent what Noé could become if the dangerous sides of his optimism aren't reigned in: his teacher.

Noé is fascinated by Vanitas, drawn to him out of care and connection, but also because he wants to observe and understand him to sate his curiosity. In a darker mirror of the same trend, we see Noé's teacher allow Louis, Noé, Domi, and Misha to come to harm at least in part for the simple enjoyment of seeing how they react when placed in dark new situations. Noé and his teacher are also the only crimson vampires we know of who find the Blue Moon beautiful and alluring, rather than a source of fear (assuming that Teacher is a normal crimson vampire).

Noé was raised by this man; his worldview has been shaped by him in countless ways big and small. Noé was already living in cheerful rejection of trauma before The Shapeless One found him, but he could not have remained so radically detached from the painful parts of the world around him if his teacher had not wanted and allowed him to do so. He censored Lord Ruthven out of Noé's education, and he apparently did the same with anything that discussed (or expressed) severe bigotry toward Dhampirs. How else did Teacher shape him, and to what goal?

We know that the Shapeless One taught Noé how to fight. Given that "world peace" line, I wonder if perhaps he may also have taught him his morals on wanting to avoid conflict.

Teacher is a contradiction. He talks about "world peace," but he blithely leads Louis to his doom and supposedly doesn't hesitate to half-kill anyone who calls him by the wrong name. Marquis Machina calls him an incomprehensible natural disaster for this reason. Yet, despite all his rampant cruelty, I'm beginning to think that he might be just as much of a dangerous optimist as his student.

Teacher is defined by the fact that, in every scene, he always seems to look like he's having fun. There's hardly been a single panel where he's not drawn smiling. Sometimes that fun is vicious, a cruel smile made as a threat to Vanitas when he fails to address him by his name, but just as often, his aura seems horrifically innocent. He's just a man with a sweet smile and rather dull eyes having a very good time with life.

In the past I've largely looked at this smile as an extension of Teacher's sadism. He toys with Louis and Noé for the fun of it, and I took his smile as an expression of his cruel enjoyment of the pain he creates in his wake. However, now that we've seen him interact with Machina, now that we've observed him speaking casually with a peer for an extended period, there seems to be a disturbingly sincere quality to him as well.

Based on how he's portrayed in mémoire 61, when Teacher says he does everything he does for the sake of "world peace," I honestly think I believe him. I don't believe that he's not a villain—I can't guarantee that his vision of "world peace" would even align with a normal person's definition of "peace" or "happiness," but I believe that he's speaking some version of honestly here.

There's an honest to goodness optimism in that ever-present smile. There's a hope and a genuine quality to what he announces to Machina, in contrast to his smiles of sweetly cruel schadenfreude.

So perhaps, if all that is true, if Teacher is another dark mirror to Noé and he really does want to bring about world peace, then the point of him is that "world peace" has the potential to be a horror. What is the pursuit of world peace if not the ultimate pipe dream of every idealist in the mold of Noé and Ruthven? And what is VnC if not a long catalog of the horrors that idealists can bring about if they aren't careful?

And that, finally, brings me back to Paracelsus and the Danse Macabre.

Depending on what Paracelsus wanted to achieve through his experiments, it's possible he may have been yet another character trying to escape the harsh reality of death. The line about the world's "rampant ills" is placed over the Danse Macabre, after all—a symbol of death's universal inevitability. Is that the painful ill that Paracelsus wanted to address by rewriting the world formula? Inescapable death itself?

If so, Paracelsus becomes the ultimate embodiment of what happens when one denies death's certainty and the necessity of that certainty. He's the ultimate denial of "Vanitas" and what it represents on a scale far larger than Noé, Misha, or even Ruthven could grasp. And the manga casts his failed experiment as a Tower of Babel, throwing the world into chaos and causing countless deaths in his failure's wake.

Meanwhile, Teacher seems to have some ideas about how to cheat death in the present day, as he's promised Misha that there's a way to bring "The Vampire of the Blue Moon" back to life. This could be a lie, of course, or he could be planning to bring back "the vampire of the blue moon" in a way that does not actually bring back Luna as an individual. However, even trying to bring back the Blue Moon in some other way, perhaps through the human Vanitas, still represents him trying to restore something he found beautiful that was lost because of death. It still ties him thematically to the perversion of death as an ending, the same as Mikhail and Ruthven.

So far every character we've seen that wants to undo death is cast as an antagonist. Ruthven, Mikhail, and The Shapeless One are all united by a cruelty and a perverseness in various forms, and their goal is part of this. Death is a tragedy, but although trying to save the lives of people who want to live is noble, attempting to undo or eternally escape death is a far worse horror.

If Teacher is Paracelsus, or if they're closely connected in some other way, then that serves to further this point and show how the horror of escaping death extends to Paracelsus as it does the others. Teacher is strange and cruel. Paracelsus might be a nobly hubristic historical fool in a storybook, but if these two characters are connected, that instantly reveals the unsettling truth of how wrong Paracelsus's potential attempt to thwart death would have been. Nothing Teacher is working for can be wholly good.

And, just as Noé and Misha's denial is both present and harmful beyond the most severe subject of death, even if Paracelsus wasn't trying to craft a world without death by altering the world formula, we know he was trying to create a world without suffering. Again, this is a noble goal in theory, but so long as death remains, some suffering will remain as well. Crafting a world without pain and suffering can also go much too far, can slip into denial and cruelty. Mikhail's whole motivation as an antagonist is his search for a life without pain, and look where that's led him.

A rejection of all suffering can be an extremely dangerous thing, whether it's running from one's own mental pain or wanting to rewrite the world to negate all suffering as a whole. This dream will never not be a detachment from reality.

The Case Study of Vanitas is a series that seems to be searching for a balance of optimism and pessimism, a way to approach the harsh realities of life that lies between the toxic extremes embodied by Vanitas and Noé. To lapse too far into hopeless pessimism creates a Vanitas, a Chloé, an Astolfo. It creates people who are suicidal, genocidal, or both, and dangerous to themselves and others for it. However, to go through life in a state of eternal joy without processing one's pain, or to attempt to create a world wholly free of suffering—that is just as dangerous and foolish. What are Noé, Misha, and Ruthven if not dangers to themselves and others? What is Teacher if not the most dangerous man in this manga?

Noé and Misha are unsettling because they smile through the bad things that happen to them and act as though they aren't bad. They each have some exceptions to this rule—Louis's death for Noé and the pain suffered at the hands of Moreau for Misha—but they still come across as at times disconnected from the reality of pain.

Yet, neither of them is as disconnected from the reality of pain as a man that can behead the grandson he raised with a smile on his face. Noé as a child sees the fun in being kidnapped and put up for auction. Teacher, if his smile is to be believed, sees the fun in every single thing we've seen him do, and that's what's so unsettling about him. He genuinely seems to be having a good time, including and especially when he's blithely committing horrors for the fun of it.

Noé and Misha's strange behavior stems from trauma, and we don't know that's the case for Teacher. Perhaps not, as he seems much colder and crueler in his tendencies than either of them. But either way, the happy sincerity displayed by both of them is echoed in the face of the Count of Saint Germain as he tells Machina that he's searching for world peace. That is the face of someone idealistic, someone who believes he's working toward a real goal that both justifies and delights him.

Teacher wants world peace, and his warped nature means that we have no real idea what "world peace" means to him. Is a world at peace a world where he still gets to violently beat people who get his name wrong? A world where he still gets to have fun observing the free will and choices of the traumatized children he raises? Maybe he once believed in a world that was truly without suffering, and his overly-long life and mad optimism have eroded his tether to reality, turning him into the awful person we see now. Maybe the catastrophe of the Babel incident broke him and turned him from a hubristic idealist to warped echo of his former self. Maybe he somehow thinks all the suffering he causes is justified if it's in pursuit of his noble end goal. Maybe his version of "world peace" is a world where all people can live free from the fear of death, and the smaller pains caused along the way are irrelevant in the face of that impossible dream.

Or maybe he's just a cruel hypocrite.

In the end, we still know too little about both Paracelsus and Teacher to make any grand proclamations about the truth of their characters. However, I can't unsee this connection between them now that I've seen it. Teacher is one of Noé's dark mirrors, a character that represents the horrors possible when one goes too far down his current emotional path. Noé is optimistic to a fault, convincing himself to see only the best in many truly awful scenarios, and Teacher is the man with an eternal smile printed on his face. Noé loves and wants to save Vanitas, and Teacher speaks of the Blue Moon's ultimate beauty and says he has a way to bring them back to life now that they're dead. Noé is the eternal savior, always desperate to prevent people from dying, and Teacher claims that everything he does is done in the name of achieving world peace.

Similarly, Paracelsus is defined by throwing the world into chaos and horror due to his over-optimism. He tried to go too far, tried to rid humanity of its countless ills and create his own form of world peace, perhaps even tried to rewrite the reality of death. Did he hate pain and cold like Misha? Did he want to stop unjust wars like Ruthven? Did he want to become a savior in the image of Noah?

If Teacher's goal of "world peace" is to be believed, then whether or not Teacher and Paracelsus are actually the same person, they represent the same thematic extreme. Death is inevitable, says the concept of Vanitas. It's inevitable and Noé must learn to accept that fact before he does something awful in the name of pain and death's prevention. Teacher and Paracelsus have both done something(s) awful in the name of pain and death's prevention. Teacher and Paracelsus have followed Noé's path of optimism to such an extent that they, in one way or another, both claim(ed) to want to save the world, and this requires a mad extreme of Noé-like cognitive dissonance and hubris.

Paracelsus pursued some goal, some way of granting humanity happiness that was supposedly noble but still murky in its specifics, and he warped the fabric of reality and caused the countless disasters of the Babel Incident in the process. And that's assuming the storybook is true, and Babel really was accidental on his part. Meanwhile Teacher has warped the seemingly noble dream of world peace into something that he can claim is served by the way he's tormented Louis, Misha, and Noé. There's a chance that both men tried or are trying to undo the reality of death. They're bound by the same underlying current of scientific curiosity intermingled with their dreams of world peace.

Noé is not an alchemist, and he's not particularly skilled at rewriting the world formula. He's unlikely to have any chance to rewrite the fabric of reality itself for the better. He's unlikely to have any chance to achieve "world peace" by any definition.

Noé is, however, a dangerous optimist who has not yet learned that death is unavoidable. He hasn't yet learned that death can be preferred to its alternatives. And he was raised by a man who seems like he has not learned or does not care that disrupting Death in the grand sense will inevitably lead to horror. Or perhaps a man who enjoys horrors and wants to toy with absolute death as a part of that. And all this in a world warped and defined by the folly of a man who may also not have understood the horror of evading death.

So Teacher might be Paracelsus. I think this connection between them only strengthens the odds of that theory being true. But even if he isn't, they represent a similar thing for Noé and for the manga's themes at large. You cannot rid the world of the Danse Macabre, and attempting to end that dance will only bring greater ills and greater pain than death on its own could ever hope to bring.

A strange and dangerous man proclaiming with an honest smile that he wants to bring about world peace does not make him any less strange or dangerous. Depending on his definition of world peace and his idea of death's place in it, that idealistic goal may actually make him far more dangerous than if he were nothing more than a simple sadist.

[artbyblastweave]

My increasingly preferred interpretation of the SCP Foundation is the version invoked by SCP-173- the fluorescent-lit bureaucracy housing or monitoring a few hundred distinctly impossible objects, entities or locations; contained and corralled less out of some sweeping ideological mandate about the veil of secrecy and more for the practical reason that they have no goddamn idea what these things can do or how they'll react to any given stimuli. Largely (though not totally) divorced from extant folklore and conspiracy culture in favor of a unique pantheon of weirdos that don't fit an obvious schema. Terse, clinical documentation that nonetheless clearly implies a discovery process only a little to the left of a bunch of nervous nerds poking at something with a long stick to see what happens. Don't get me wrong, I love the modern foundation. I love Eigenweapons, I love Akiva Radiation and tactical theology, I love the sprawling supernatural subcultures and the nine different equally-extant eschatologies that are slugging it out. But after a certain number of articles predicated on entire secret fields of academia or postmodern articles about "what even is an anomaly, man," you become increasingly aware of the ways in which you're looking at least three really cool settings that don't necessarily play nice with each other thematically. There Is No Canon yadda yadda

[gurggggleburgle]

Now I love our sex plants as much as anyone else but going off PIDW meta lore given its a male oriented fantasy the whole nature of there being a plant that sex pollens every few feet is funny but not accurate. As someone who's read/watched way too much hentai aphrodisiacs tend to come as drug forms or are a poison from a monster. More likely are you to come across something that dissolves clothing, or traps you in a compromising position, or simply creates opportunities and excuses for fetishes. Sex pollen as a trope is more a fanfic and female driven project element.

So let me propose while a few variants of papapa flowers existed before they were more relegated to scary tentacle plants and the like. But because the genre has shifted from stallion novel to danmei suddenly there's a riging surge in a new species of fuck flower and Qian Cao Peak is floored. Sure there were plants that could be turned into fuck or death aphrodisiacs but not sex pollen outbreaks. How are you supposed to prep for that? What does allergy season become!! And how does Peak Lord Shen keep finding a new species every other week? What's the biology in the plant world here???!!!

[brotherdusk]

noticed earlier that greeve's shadowmaster uniform in 2.01 is way more basic than obrecht's was in the first season, with much less complexity in its texture, fabric, and cut - though greeve's does have some elegant-looking folds just beneath the collar (that are only really noticeable when he's shot lol. they catch the light very nicely for a moment)

obvious doylist explanation is that a production as notoriously cash-strapped as foundation is not going to commission a detailed costume for a character who gets less than a minute of screen time. but I do enjoy the watsonian logic of XVII demanding that all servant uniforms be made 75% less cunty and the cleons' outfits 200% more so. anything to prop up imperial pride

[the-anon-scp-confessions]

A Warning About Cuphino / Konclef (Important)

Hello. I will not do this often but due to the severity I feel it's important to get the word across and reach to a greater public. And simply due to Cup's actions: I personally urge those to simply block them and move on. Please do not engage with them and/or their content.

Major Content Warning for: ~ Mentions of necrophilia, rape, S/A, grooming, derogatory slur usage, transphobic comments, threats, threats of suicide (indirectly/directly) to minors, manipulation, sexual comments towards minors, and other depravities.

All information can be found HERE on my copy of the beware

I do not support nor encourage harassment in either replies, reblogs or whatnot. I am simply just spreading the word to a larger audience as requested by a user who feels I can spread the word.

Please stay safe. Please stay diligent. People like this do not deserve a platform. Block their (currently known) accounts: Do NOT engage. Do not encourage this behavior.

Art Tumblr: cupinho Personal: manndraki New Art Tumblr: konclefart BlueSky: clefdraki

(Disco elysium is also tagged as Cup likes to frequent that community as well).

-- Snippet.

[mollysunder]

Shimmer & The Glorious Evolution: A Love Story

We can see how a specialized high quality strain of Rio's shimmer can alter the biology of living organisms to make users produce their own shimmer, as is the case with Jinx. So what will happen now that Rio's specialized shimmer has been exposed to an artificial life form, i.e. the hexcore?

What Has the Hexcore Done Without Shimmer?

Prior to the hexcore's exposure to shimmer infused blood we've only seen it capable of releasing short bursts of massive energy when Viktor experiments with it.

When exposed to human blood the hexcore reacted by "consuming" a drop of it. The blood effected the entire magical dimension the hexcore connects to by turning it to a shade of purple similar to the plants found in Singed's cave.

Later we see that this newly blood infused hexcore's magic turned purple and is able to not only react to organic matter such as plants, but stimulate their growth in turn (not for long of course). The affected plants also take on the purple tinge similar to the hexcore's magic.

What Have We Seen the Shimmered Hexcore Do So Far?

Once Viktor exposed the hexcore to his shimmer infused blood it was capable of producing a longer lasting stable state with its test subject twice. Initially, what exactly happened to Viktor's leg was up to interpretation, but later on animators in Bridging the Rift confirmed that Viktor's new leg and hand are made of metal.

This means that the hexcore took Viktor's flesh and shimmer infused blood (more than the first time) and exchanged it for an arcane/shimmer configured metalic replacement. His skin is gone and we're looking at what his muscle has been converted to.

The transmutation of Viktor's hand and leg into metal could have only been facilitated through the use of shimmer. It was likely the remaining shimmer in Viktor's system that prevented him from being absorbed into the hexcore. Without a sufficient amount of shimmer, a regular human hand does not equal a shimmerized arcane metalic hand. The flesh, bone, and blood of an entire adult woman and a pitance of shimmer is worth the hand it provides.

What Will Happen Next Season?

The further the hexcore directly interfaces with organic matter the more similar it becomes in appearance and ability to shimmer. Where it improves health and strength at increasing biological costs. Once Viktor realizes that he's missing the "Inspiration" rune, the rune matrix will finally be complete and reach a "stable" state.

A "stable" state could mean the hexcore could reliably interact with and alter organic matter like Rio's shimmer is capable of. Based on the notes Sky left behind, her research focused on plant biology. In theory, a "perfect" hexcore could not only stimulate plant life to grow impressively, they could be durable enough to survive in extreme environments like Zaun.

While there is evidence that shimmer and its byproducts can enhance plant growth, especially in Zaun, there is a catch. Any plant affected by a hexcore corrupted by Rio's specialized shimmer would be altered in a way that makes them capable of being producing shimmer independently.

Just from Viktor's experiment with a hexcore exposed to a single drop of blood, the plants began to glow purple like the plants Rio would eat and break down into shimmer. Except, like Jinx the hexcore would pass down its own strain to the plant subjects that's compatible with the hexcore's "exchange" requirements.

But why would Viktor want to create plants capable of producing MORE shimmer for Zaun. Simple! Without shimmer you can't get... The Glorious Evolution. It's already been mentioned that Viktor's limbs have become metal, and to make his transformation complete he'll need more shimmer. For others to become like him, he needs more shimmer.

but...

Who Would Be Willing to Follow the Herald's Path?

Shimmer addicts like Huck and those who live in the sump with dying flesh and residual concentrations of shimmer in their bodies could be "healed" from their state of deterioration through the hexcore.

In Bridging the Rift we actually saw an unfinished clip of Viktor reaching his metalic hand to reach out and grab the face of a shimmer addict. Upon further inspection of the unidentified character's scars, we can guess this is Huck.

There's also the underlying culture of flesh sacrifice in Zaun, which is actually in the same vein as the Church of the Gloriously Evolved. In League, specifically through Camille's lore, the Church of the Gloriously Evolved actually exists outside of and likely before the Machine Herald came to the scene. The Church's roots even stretch into both Zaun & Piltover.

They believe that you must sacrifice something close and dear (like diseased flesh) with the faith that something better will take its place. Splinters of this organization likely made Silco an object of worship admiring his power and assuming the shimmer he brought was the miracle they sacrificed so much for already. Without Silco and his shimmer, Viktor and his hexcore would become the Church's new object of adoration as they bring shimmer AND immediate transmutation.

Finally, there's Sevika. In the tarot seen, Sevika drew a winning hand with a pair of card, Death and The Magician, that resemble Jinx and Viktor respectively. The scene may foreshadow that Jinx and Viktor will be the trump cards to win her Zaun's independence. But How will that work with Viktor?

You could argue that Sevika could bring Viktor in to repair her arm, but there's an entire industry backed up by a chembaron, Smeech, to fulfill that need. Viktor's going to need to bring something new to the table to be brought into the fold, and that could be shimmer infused plants and the "healing" properties of the hexcore. And I'm sure Sevika's pragmatic enough to know that for Zaun to survive Piltover's retaliation she'll need to bolster her resources in manpower and shimmer... lots of it.

Whether Sevika will be able to handle the cult of personality around the Machine Herald, especially if Jinx ends up siding him is a whole other discussion.

[banefort]

Not to sound like a broken record talking about nomadic v settled lifestyles in HOTD, but an interesting dynamic that has come of the Daemon-Harrenhal sideplot is between him, the castle, and Alys and Ser Simon Strong, is what they represent as manifestations of the Neolithic agrarian revolution.

Daemon’s time at Harrenhal is spent oscillating between the two factions. Simon represents the foundations of a settled society. He dictates Daemon’s waking hours and daily schedule (against his will), keeps him tied to his political duties, and goes so far as to impel Daemon to guarantee the longevity of Harrenhal by commencing its reconstruction - affirming a settled and regulated lifestyle.

On the flip side Alys represents nomadic life, occupying the halls of the castle much like a ‘ghost’, only affecting circumstance through cerebral happenstances, whilst also showing a marked affection for the natural world and ancient natural structures (Wierwoods), and repeatedly identifies with the natural world via totemism (calling herself a barn owl). She is the history of Westeros and the First Men made manifest, and personifies a nomadic lifestyle which has been lost to to the regions south of the Wall.

By having Daemon constantly tossed between Ser Simon and Alys - settled and nomadic, polytheism versus paganism, agriculture versus shepherding, he occupies a liminal space and is caught between the refractions of history, and through his tumultuous residence, is implicitly drawn to question the true strength of monarchy, settled lifestyles, and all forms of contemporary power structures; for Alys, and her associated phantasmagorical neolithic ways, are clearly established to have had a far more substantial and cerebral impact on Daemon’s psyche than Ser Simon, who, while Daemon does entertain, he visibly holds no regard for, as opposed to Alys, who he is both wary and keen for. This is substantiated by his being shown to feel conflict and guilt over his perpetuation of Targaryen ethnocentric incest, his failure to fulfill his duties to his faction (be it the Blacks or his children/wife), amongst others, following his arrival at Harrenhal, suggesting that through her presence as an all-encompassing totem of nomadic conducts, his deep-rooted pride in Targaryen legacy, “the establishment” and all things modern, rapidly unwind. The paths of his - and all other citizens’, ancestors calls to him from an intangible, psychosomatic place. His contemporary comforts are all but stripped bare in some primal, unbidden rush to follow in their footsteps.

[cowardnthief]

on tv, two men who are best friends always have 100x more chemistry and romantic potential than any actual romantic relationship on the show (and i mean this to include straight and gay couples) because:

1) the creators have to actually put effort into developing their relationship, explaining why they like each other as people, and getting the audience invested and, importantly, believing, without the shorthand of making out which is, imo, a crutch

2) men tend to be more developed than women on tv, so they become more believable characters, and in turn more compelling. two men are likely to both be equally involved in the story, in the world. it feels less like an afterthought - less like oh, she's the only girl here, so i guess she'll hook up with the protagonist...

3) similar thing, and maybe i'm going on a little feminist rant here, but i think relationships with two men are able to get away with so much more because they are on "equal footing." i'm not intending this to be commentary about real-life relationships at all, but on tv there are certain things that audiences expect and accept from same-sex relationships, platonic or otherwise, but not opposite-sex. for example, violence (a tumblr-beloved toxic yaoi trope) is extremely common in male friendships on tv but would be unheard of in a male-female friendship due to what it would imply.

4) instead of spending time on the "romantic subplot" away from the plot, two men spend time together INSIDE the plot. INSIDE the world. their relationship becomes a facet of the universe rather than an annex to it. (this does happen with well-written straight couples of course, but i find it to be less common, especially in the kind of trash camp tv tumblr gobbles up.)

anyway, i think about this a lot - why despite being a rampant feminist and 90% lesbian, i find myself drawn to male friendships over female ones on television, over romantic relationships. why i find weird, twisted friendships where all they do is beat each other up and stare at each other, something dark and unspoken flickering just behind their eyes, more compelling than relationships, involving any gender, where they actually do the nasty.

i think some of this applies to female friendships too, but i see it less often, again because women tend to be less developed, have a harder time dodging boring tropes, and are also just less present on television (and even when they are, they don't interact with each other in any significant way).

[fronexus]

Hear me out cake: mentally ill edition