#he's also another symbol of my country because of his influence and importance

[grainjew]

Nikaposting Pt 2: Symbology & Syncretism

This is the second of a series of posts about Nika & associated religious practice in the One Piece world. As I write and post the rest of the series, I’ll add links to this header.

Pt 1: Crypto-Religion | Pt 3: Joyboy was Shandian | Pt 4: Sun God Tropes

Enormous credit to @oriigami for being my discussion partner through all of this and having a substantial influence on the final product. Check out our ao3 series Joyful for a narrative rather than analytical take on the Nika tradition, and definitely go read her OP blog @kaizokuou-ni-naru for meta and translation fun facts.

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So About That Sun Symbol (and all those sun gods)

Context note: This post assumes you’ve read pt 1. If you haven’t, the TLDR is that the Nika cult is best categorized as a crypto-religion and may not ever have existed outside of a cryptic and oral form.

There’s a lot of sun gods in One Piece. And there’s a lot of appearances of that sun symbol we discussed briefly in pt 1, with the disconnected rays. This post will cover that symbol, the survival of non-Kuma Nika cult branches, and the proliferation of sun gods across the One Piece world.

The sun symbol can be found everywhere, in what seems at first to be a wildly disparate collection of places. There are a number of borderline cases, so I’ll be defining the “Nika sun symbol” as being any symbol with a central circle, disconnected rays, and four- or eight-fold radial symmetry. This leaves us the below list (images of the majority of these instances can be found in this very helpful post):

The Kuma-Bonney/Buccaneer version found in his church and on the amulet he left for her (8 circular rays) ; this is our basic template for the symbol

The Alabasta national symbol (8 droplet-shaped rays; the droplets seem to be drawn at various different orientations depending on the panel)

The Kozuki crest (8 circular rays in the center of a bird in the center of another circle also there’s some sprouts or something)

The Shandian crest (8 circular rays inside a larger circle, also the central circle contains the kanji for kami/god)

The Sun Pirates’ mark (4 more traditional flaring rays; the rays seem to be drawn inconsistently, especially in the anime)

There’s also Ace’s dagger, which has the basic template version, but one can assume he bought that thing in Alabasta or something like that.

From this we can conclude that the sun with disconnected rays is not exclusively a Nika symbol- in fact I would be surprised if it was, because of how prominently it was displayed in Kuma’s church (see the discussion in pt 1). However, Alabasta, Shandora, and Wano are all poneglyph countries, and were all involved in some way or another in [incomprehensible void century muttering]. I would be extremely unsurprised if the sun with disconnected rays wasn’t a more widely-spread popular symbol among [void century muttering] countries back then, which was adopted by Nika worshippers as their secret symbol around that time and simultaneously retained in more benign form by certain nations as an element of their national symbology.

(Sidenote: If you were unaware, Oda snagged this symbol from a castle in his hometown and clearly just seems to enjoy drawing it. However that doesn’t matter to us in meta analysis land. We continue.)

The Nika cult absolutely survived outside Kuma’s family: at the very least, among slaves on Mariejois. There’s a very high chance Fisher Tiger heard Nika stories while enslaved- the compositional similarity of the Sun Pirates’ mark to the base Nika symbol, Jinbe’s pissed off refusal to answer any of Who’s-Who’s questions, Fisher Tiger’s own status as a warrior of liberation, and of course, the Sun Pirates’ name and the importance of the sun to the residents of Fishman Island all point in this direction.

The proliferation of the Nika sun symbol across the world also points, to me, to at least pockets of the Nika cult potentially surviving in cryptic form across the world, like Kuma’s family did, with various levels of conscious awareness about what their rituals and symbols actually mean and what secret seditious knowledge they’re actually carrying.

However! All that said! Not all sun gods are Nikas- At least, not completely.

Upon their arrival at Egghead Island, Dorry and Broggy identified Luffy as the Sun God. However, I contend that Nika was not originally Elbaf’s sun god.

In expository Nika dialogue, Nika is specifically cited as a god of slaves (& as an ethnic or cultural god of the buccaneer people), and the giants as far as we know are (1), not a traditionally enslaved people nor particularly easy to enslave, (2), are based on Vikings & have their own pantheon which includes a god of war, & (3), while I can absolutely see how a tradition of a prolonged fast > feast festival would have evolved around a Nika figure, it does still feel a little strange. That’s supposed to be a Luffy-alike!

Besides this, the Shandian pantheon also includes a sun god, and I think it’s reasonable to assume that the sun god in question existed prior to any awakened user of the Nika fruit running around causing issues (although, more on my thoughts about Joyboy and Shandora in pt 3). Human sacrifice traditions also feel about as odd for a Luffy figure as fasting does, and while obviously Luffy, Joyboy, and Nika aren’t the same person, with the way One Piece’s narrative conventions work they’re probably quite similar.

Solar deities are the lynchpins of many if not most traditions in the real world. Sun’s a very notable noticable thing that follows a set course across the sky and brings light and life! And especially in One Piece, where the sun is also a critical thematic element and motif, I would be surprised if the majority of One Piece cultures hadn’t developed their own sun gods at some point or other.

So, all that said, why were Dorry and Broggy calling Luffy Sun God? Syncretism.

Not every god has a mythical zoan or the things would be wildly more common- only gods and figures with, as @oriigami put it while we were talking about this, a particularly potent wish attached to them. Even fewer gods have awakened mythical zoan users around. So when an awakened user of a sun god’s mythical zoan is running around (and particularly, a sun god with an incredibly potent wish attached, because Nika is a god of liberation as well as the sun, and it’s a god that people wish they could be and emulate as a matter of course), it’s easy to fold them into your mythology as your sun god. Tradition is very malleable! He’s the sun, even if he’s not exactly how you traditionally pictured it.

Traditions are very good at working with what they get, and at the moment what they get is a smiling, laughing pirate captain and liberator of slaves. What could be better?

[bopinion]

2023 / 41

Aperçu of the Week:

"They say in the Middle East: a pessimist is simply an optimist with experience."

(Ehud Barak, former General and Prime Minister of the State of Israel)

Bad News of the Week:

It was always such a thing when a new country was "discovered." Because that always applied only to the usually white seafarer from Europe, because - surprise! - there were, after all, in 99% of the cases already inhabitants on the spot. And in many of these places, unfortunately, the First Nations are still second-class citizens. For example in Australia. But that was about to change. At least that was the plan of Prime Minister Anthony Albanese.

Unfortunately, he was not the only one to be bitterly disappointed. His idea was to give Australia's indigenous people more political influence with a constitutional amendment. They were to be heard only on matters that directly affect them ("voice to parliament"). Only heard - because everything would still be decided in the almost purely white parliament. So, if you want to see it that way, rather a symbolic gesture of respect. And yet a clear majority voted against the project in the corresponding referendum.

"For Prime Minister Albanese it is a heavy defeat," write the newspapers. What then is it for the Aborigines? Indigenous Australians are considered the oldest surviving culture in the world and have populated the continent for more than 60,000 years. They were there first. And yet only come last. Sad.

Good News of the Week:

Germany has a long checkered history with Poland. With dark and light chapters. One would like to speak of a community of fate. First the fall of the Iron Curtain, then accession to the European Union, all will be well. But then strange developments began in our neighbor to the east. Which can be associated with one name: Kaczynski.

The two brothers Lech and Jaroslaw with their PiS party (Prawo i Sprawiedliwosc / Law and Justice) have had a decisive influence on Poland's last 20 years. With their programmatic emphasis on nationalism, EU skepticism, social conservatism, right-wing populism, etc., they were a reliable partner of Hungary's omnipotent Viktor Orban and a declared opponent of Brussels and Berlin. This is also how they campaigned: they did not want to be told anything more from the European Union and especially (by name!) from Germany. A ridiculous distortion of reality. Or a bad joke.

Facing them in the election this Sunday were several opposition parties. And increasingly critical voters, who in some places took to the streets in their hundreds of thousands to take a stand for the independence of the judiciary, for example. Their figurehead, Donald Tusk, can in many ways be seen as the antipode of the Kaczynskis. Among other things, he is an avowed pro-European. Of course, after all, he served for five years as president of the European Council and another three as chairman of the European People's Party.

Tusk is now the real winner. Even if he only came in second place with his Platforma Obywatelska (Civic Platform) party. This is because, unlike the PiS, which is still the strongest party but suffered significant losses, he has the realistic prospect of being able to form a solid parliamentary majority with programmatically compatible coalition partners. "This is an epochal event, comparable to Joe Biden's victory over Donald Trump," writes the news magazine Der Spiegel. Good prospects for Poland. For its neighbor Germany. And for all of Europe.

Personal happy moment of the week:

My son is going to do more sports. And I don't mean esports. But basketball. In the coming week he will do his first workouts. With physical movement. And sweat. I also like the fact that he has already ridden his bike to school 90% of the time this school year, rather than taking the bus. Even if, I suspect, the main reason is that he doesn't have to get up until fifteen minutes later. Anyway, physical exercise is important for a 15-year-old. So I try to pay attention to that. Let's go!

PS: Now he has already been to basketball training for two hours for the first time. And seems to like it. And I like it too.

I couldn't care less...

...that families can now get a low-interest loan from the government to buy a house. For most of us (and especially in the Munich area) it is utopian to be able to afford home ownership either way.

As I write this...

...I am waiting for the new album of The Rolling Stones. For 18 years the probably longest active rock'n'rollers of all times haven't released any new songs. But next Friday the time has come: "Hackney Diamonds" will be released. I'm curious.

Post Scriptum

In the times of the Gaza war, you have to weigh your words carefully. Unlike the Ukraine war, there is no clear assignment of perpetrator and victim roles of two states here. Rather, the line must be drawn here between rulers who act irresponsibly and peoples who endure the consequences of their actions. Have to endure, there is no choice.

On the one hand, there are the terrorists of Hamas (not the Palestinians!), who, ideologically blinded, are causing inconceivable carnage among innocent civilians. On the other hand, there is an increasingly right-wing radical regime in the Knesset that denies the Palestinian people their right to exist and their territorial integrity (keyword: settlement policy in the West Bank). In between are two peoples who are experiencing unbelievable suffering.

Rarely do the EU and China agree, but their joint appeal for a two-state solution will once again go unheard. In this conflict, I cannot take sides with either side. I simply wish that the killing would stop. And that the rulers on both sides can agree on a sustainable peace in the interest of their peoples. But my hope will probably prove to be quite naive once again...

[mystery-wings]

What Is Next For Alexan?

So those who come across my blog, are familiar with a particular Sanders OC, Alexan "Love" Sanders.

Well, since December (12)/23/2023, I have been creating another version of him. Which is of Boku no Hero Academia/My Hero Academia.

I will not tell all in this post, but I will tell.

Age: 28-34 — I will do flashbacks and we can have a situation where Alexan is de-aged by someone's Quirk. Also, I am considering, expanding Alexan's age range more.

Pronouns: He/him-They/them-It/Itself

Birthday: March 15

Quirk: Heavenly Angel

Hero Name: The Angelic Hero – Watcher

Origin of Quirk: Scientists from four different countries decided to come together. They were jealous of Japan and desired to have someone similar to All Might. Those of Japan recognized time was ticking for the Symbol of Peace and the hero’s reign would not last forever, so a decision was made, one that they never wanted to see the light of day. They were influenced by beings of ancient times, well-known as angels — using knowledge from Israel, in modern and ancient Hebrew, and in an ancient language called Aramaic. From there, they became further into their decision — choosing the Seraphim, Cherubim, Thrones, Dominions, Virtues, Powers, Principalities, Archangels, and Angels, using all the angels from each triad. 

Explanation of Quirk: From his abilities to his appearance, they are same or similar yet different to angels themselves — Seraphim, Cherubim, Thrones, Dominions, Virtues, Powers, Principalities, Archangels, and Angels. 

Training: Training is incredibly important. Not just for improving and expanding the abilities of the Quirk, but to maintain control in a variety of ways and for his body—and mind—to even handle the Quirk. Because of this, he didn’t develop certain abilities until he was a certain age, and physically stronger. Though being a quick learner does help, there are limitations.

The hero school he attended, was U.A. High, and as an exchange student.

He is selectively mute, which means some social situations cause so much fear or anxiety that he finds speaking difficult or impossible. For him, it can happen because he feels overwhelmed or paralyzed by anxiety—which it can appear as though he is refusing to talk—but it is an “autopilot” response rather than a deliberate choice — He can become tense or stiff posture, or freeze or feel unable to move, a “deer in the headlights” have a blank expression, might avoid eye contact, avoid social interactions or not participate in them, and not ask for things wanted or needed.

When Alexan is mute, he uses other forms of communication: widely understood sounds (such as “uh-uh” for “no” and “uh-huh” for yes) or other noises, nonverbal communication to avoid talking (such as writing responses or pointing to things in a book, and sign language), and use gestures or other movements (such as facial expressions, pointing, miming, or nodding or shaking his head). The communication is minimal or reduced — Which come in the form of slowed responses, using single-word responses or very short sentences, mumbling, stuttering or whispering, and changing one’s voice (speaking in a robot-like voice or changing one’s natural pitch and tone).

He has a teaching license.

As a Pro-Hero, he works in the spotlight and underground — meaning he is not always in the spotlight. He also knows how to create his own hero uniforms and support gear—which are useful abilities to have for when he attempts to not use his Quirk for as long as possible.

More often than not, Alexan has medical bandages wrapped around his body—from being experimented on by the scientists and other things relating to the experiments themselves. Though he was taught how to hide them, and learned more ways to, without their help. However, because of this, he never tells anyone (outside of the scientists) about any injuries and wounds—having the scientists help, or helping himself in secret.

He has self worth issues—and more—it’s difficult not to. And feels as though he exists, but isn’t living, and nothing else. So he has mixed thoughts about his existence, though he personally believes shouldn’t even be here—but he has never told anyone.

Outside of being a Pro-Hero, Alexan loves to sing and play instruments. He prefers to create videos—only song covers—of songs, which tend to be lyric videos more than videos showing himself.

I am now roleplay with Alexan — Though, I must warn everyone, I never stopped updating on Alexan. But I will let you know. And if you are interested in writing outside of roleplay, or prefer that instead, I do and will collaborate with fanfiction writers on Tumblr and A03 — You can message me on Tumblr, TikTok, and Quotev. Just go to the linktree link on here or TikTok and you will be on your way. From there, I will the document with all of the information on Alexan — As well one filled with references. I can also send the TikTok collection I created for this version of the OC, as well as the YouTube playlist.

[wonda-cat]

Misconceptions About Tommyinnit’s Character That Genuinely INFURIATE Me

Since the recent events following the second L’Manburg Festival and subsequent war, I’ve seen many, many hot takes surrounding the nature of Tommyinnit’s character on the SMP. Some of which annoyed me to the point where I felt compelled to sit down and actually write this. I’m going to only be highlighting the most common complaints or questions I’ve seen, one by one, in hopes of providing a better understanding of Tommy’s character for anyone interested. (I also briefly discuss Techno and Tubbo’s characters as well.)

If you’ve said similar things to what I’m going to be discussing below, please know that it’s perfectly understandable how you’d come to these conclusions. Some of these aspects of Tommy’s character are not always obvious; especially if being watched from another streamer’s POV. This may become quite lengthy, so bear with me for now.

“Tommy’s motives are all over the place. He can’t decide whether he wants the discs back or not.”

Tommy is actually one of the most motivationally consistent characters on the entire Dream SMP. Even Techno, someone completely confident in their ideals, does more motivational flipping than Tommy. From the very start of the story, Tommy has always cared for three things; L’Manburg, Tubbo, and his music discs. However, him caring for something is not itself a motivation. 

Surprisingly enough, his motivation isn’t even just, ‘Get my discs back,’ like many assume it is. Tommy’s one true motivation, since the end of the Independence War, has always been, ‘Keep things the way they are now.’ 

Tommy’s one fatal flaw is that he is resistant to change and refuses to let go of the past. This is seen through all of his actions and words; in all conflicts involving him. This flaw is the drive to all of Tommy’s mistakes. Burning down George’s house, an action which resulted in him getting exiled, was done out of a desire to pull pranks the way he used to before the first war. His friendship with Ranboo started because Tommy said he reminded him of Tubbo, back before he was President. 

Tommy still talks highly of Wilbur because he chooses to remember him as the wise, kind mentor who cared for him. This motive is the reason he defends L’Manburg so fiercely; it’s his memory of a better past. This is why he holds grudges more often than any other character; especially refusing to forgive Techno after he killed Tubbo during the Manburg Massacre.

It’s why Tommy falls under extreme distress whenever Tubbo or Quackity tell him that something will never be the same again. This motivation is entirely formed from an underlying desire for peace and comfort, something Tommy has been denied since being forced into a life wrought with war and death. To accept change, to Tommy, is painful and terrifying. But he will only ever truly be happy when he finally learns to let go.

“Why do the discs matter so much to Tommy? They’re not actually worth anything.”

Tommy’s discs are much more than just any ordinary pair of music discs. They were never important for their material worth, but for what Tommy was willing to sacrifice in order to keep them. Tommy is entirely what gives the discs their value. 

Tommy also commonly operates under the Sunk-Cost Fallacy, wherein he’s invested too much of himself into something to just abandon it, even if it’s causing him problems. This mentality is a huge piece of what keeps him tied to both L’Manburg and to his discs. He’s sacrificed too much at this point to simply let them go. If he admits the discs are worthless, then he’s admitting that he wasted all this time and effort, just to keep them.

The discs also act as a constant source of hope for Tommy because they are directly tied with his motivations as a character. They’re something he’s had since the very beginning. They’re something he used to listen to with Tubbo on their shared bench. 

To Tommy, they symbolize a life before war, filled with comfort and peace. They are a love letter to his country and his late mentor Wilbur. They are a physical representation of Tubbo’s companionship. They are the only thing, besides L’Manburg and his best friend, that gives him the hope that he can one day return things to the way they used to be. 

This ideal, paired with Tommy’s refusal to let go, has left him ruthlessly pursuing the things he’s lost. Not his music discs, but his peace and comfort, his friendship, his country, his mentor Wilbur, and his life before war.

In his desperation to hold onto his prized possession, it has only hurt and pushed away the people that love him. If Tommy continues to ignore this reality, while still refusing to resolve his major flaw entwined with it, he will lose all that the discs had once stood for. He will lose his country, then his friend Tubbo, and then he will lose himself.

“Tommy never grows or learns from his mistakes. This makes him a badly written character.”

Characters do not have to constantly learn from their actions to be well-written. Tommy is one of the best examples of this. The fact that his growth is infrequent is the entire point of his character; it’s completely stemmed from his fatal flaw. 

By addressing himself, he would be accepting change, something that terrifies him; something he stubbornly resists until he is absolutely forced to confront it. Contrary to popular belief, Tommy knows when he makes mistakes, but he pretends to be ignorant as to avoid facing reality. He digs his head in the sand despite knowing better, puppeteering the person he used to be during happier times, now gone.

In spite of his infrequent growth, the idea that Tommy still hasn’t learned anything isn’t quite correct either. Tommy, as of the last three plot streams, has shown incredible character development. By giving up his discs again, he had finally demonstrated that Tubbo is more important to him than his possessions. Speaking as a makeshift leader, he put aside his issues with others to rally them together against a common threat, something which Tommy had never been able to do before. He owned up to all of his mistakes openly, apologizing to everyone he’s ever hurt in one place. 

He apologized to Tubbo after they were reunited and came to terms with the fact that Tubbo was forced to exile him without choice, finally forgiving him. He was kind to Sapnap and learned how to be his friend after months of bitter rivalry. And these are only a few examples. This isn’t to say Tommy has overcome/fixed everything because he clearly hasn’t. There are still major things Tommy needs to work through that remain unaddressed, the biggest being his complicated relationship with Technoblade.

“Tommy only cares about himself. He does everything in his power to be the hero, always putting himself in the center of attention, especially during Doomsday.”

Tommy, since the start of the L’Manburg War for Independence, has never set out to be a hero. Not once. He may fall into the role of the protagonist, but his identity as a hero was pushed onto him by others. Giving up the discs was his only option during the Independence War. 

So when Wilbur called him a hero for it, Tommy said he didn’t feel like he was. During the November 16th War, Tommy again said he didn’t feel like a hero because he had lost what he thought was everything at the time. During exile, Tommy certainly knew he was no hero. And upon reuniting with Tubbo, he admitted to feeling like the farthest thing from it. That he’d hurt everyone and all he wanted to do now was fix it. 

The day before Doomsday, Tommy only took a leadership position because no one else was willing to, filling the role for Tubbo, who was crumbling under pressure. He had no choice but to try to bring everyone together, or fight alone. Most viewers never saw this during Doomsday, but before the battle, almost everyone who had vowed to fight alongside L’Manburg had abandoned them the very next day. They were convinced it was going to be destroyed either way, no matter what they did, so they chose not to see it through to the end; ultimately leaving Tommy and those who remained to fight a losing battle, alone. 

After about a third of the way through the battle, it became clear to everyone that they could do nothing to win. One by one, everyone stopped fighting and stood by to watch their country go up in smoke. Tommy was the only person on the battlefield who refused to stand down and give up. And so he took over the role as leader again, trying his best to keep them alive, to keep Tubbo hopeful; to keep fighting, no matter what. 

However, what most people don’t realize, is that this isn’t Tommy trying to be a hero or force himself into the spotlight. This is Tommy trying to convince himself to keep going. Because whenever things start to look hopeless, Tommy simply chooses to ignore them. He puts on a happy face and soldiers through it because that’s all he knows how to do. Tommy, at his core, is someone who wants peace through stagnation. He doesn’t want to fight, although causing the occasional friendly conflict is how he finds fun. He doesn’t set out to purposely hurt others. 

Tommy may come across as self-centered, but this is because he is an extremely extroverted character. He finds energy and joy in the attention of others, both good and bad. It’s why he’s always seeking the approval of others and, oftentimes, will destructively insert himself into another person’s life in order to find it. 

Out of every character in the story, Tommy is the most drawn to praise and positive reinforcement. He is constantly seeking out mentors and friends because Tommy needs someone else to help him feel confident in his own identity and abilities. It’s why Wilbur was such a positive influence on him. His boisterous confidence has always been a front because if anyone were to actually hurt him, he knows it will make his self-esteem crumble instantly. 

This is part of why Dream’s manipulation was so effective against him. By isolating him, he’s left without energy and looking to another person’s guidance. Tommy outwardly may seem independent and rude, but just under the skin, he’s unconfident and lost when he’s by himself. Tommy will only grow from this flaw when he finds his own identity and inner confidence; when he finally learns to be okay with being alone.

“Tommy goes to the festival solely to get his disc back and then tells Tubbo to give it away immediately after. That doesn’t make any sense.”

Before the screaming match between the two friends during the second L’Manburg Festival, Tommy had been in exile, manipulated by Dream for long enough to lose his will to carry on. It is because of him that Tommy’s reality becomes distorted, long after fleeing from his abuser. This mangling of ideals leads Tommy to subconsciously believe that L’Manburg and Tubbo are unsalvageable. 

Therefore, the only thing he has hopes of retrieving are his discs, which are easier to manage than the latter two things. And so Tommy does reprehensible things at the behest of Techno in a vain hope of getting them back, going so far as to kidnap and torture for them. This ultimately culminates in a confrontation between the ex-friends, quickly turning violent. It is in this violence that we see Tommy has sunk to his absolute lowest point in his journey. 

Swinging his axe, he nearly kills his friend as he delivers a string of words that cause the room to silence instantly. He says the discs were always worth more than his friend. Within the quiet of the room, Tommy is forced to reflect on everything he’s done. How he kidnapped and tortured Connor. How he accidentally drowned Fundy. How he traumatized Ranboo. 

And now he’s hurt Tubbo, the one person he has always sought to protect; someone he vowed to never hurt. This realization causes Tommy to break. He’s so ashamed of himself that he can’t look at anyone. Tommy knows now that he is worse than anyone he’s ever hated. 

With pain in his voice, he tries and fails to apologize to Tubbo in the moment. The only way he knows to redeem himself now is to prove to Tubbo, after everything, that he can still put the discs aside. And so he does.

“The fact that Tommy is still trying to get his discs back after L’Manburg was destroyed is unreasonable and ridiculous.”

Tommy deals with grief in an interesting way, doing something very similar to Techno. His grief almost instantly becomes anger and a drive to prove himself. It morphs into a need for vengeance in response to injustice, always. 

After the destruction of L’Manburg, Tommy saying he wants the discs back is a double-sided motivator. The obvious side being: Tommy still needs them to feel comfort. The subtle side beneath it: Tommy is using them as an excuse to find Dream and kill him. To make him pay for helping destroy their home, hurting his friends, and abusing him in exile. 

Upon the loss of his home, I’d also argue the discs have only grown more important to Tommy in the aftermath. Typically, in grief, people hold onto things that survive devastation far more than if the tragic event never occurred. If your eldest child dies, one may hold their surviving children tighter. If your house burns down, one may deeply treasure a box of items that survived the flames. Tommy’s desperation after losing so much is entirely understandable.

On top of this, the discs are still the core to Tommy’s fatal flaw. They are what keeps him from achieving total happiness, so him getting over this intrinsic part of himself so easily would make for an unsatisfying character arc. He still has to work for his happiness in order to change for the better. 

To add, I’ve seen a lot of people complaining that Tommy is still prioritizing the discs over Tubbo, especially in that moment. And while I mostly agree, there are some interactions that stand out to me as being different between the pair that may imply otherwise. Tommy says a few times that despite L’Manburg being destroyed, he still has something left to lose; each time, turning to look at Tubbo. 

This subtly implies that losing Tubbo would be as devastating as losing his home. Tubbo also never voices disagreement over Tommy’s continued pursuit of the item. However, Tubbo frequently does what he thinks will make others happy, so this doesn’t implicitly mean support for Tommy either. Besides these two things, this is still Tommy’s fatal flaw shining through, continuing to hurt others around him. 

I only hope Tubbo can learn to stand up for himself and voice his real thoughts to Tommy now, after everything. It would provide at least some desperately-needed closure for Tubbo’s character.

“How could Tommy betray Techno like that? Techno told him upfront what he was going to do.”

While it’s true that Techno was obvious about his plans, Tommy was also just as upfront with Techno about what he thought of it. In fact, maybe even more so, considering Techno attempted to hide them from Tommy for a good portion of their partnership. Whenever Techno brought up the idea of destroying L’Manburg or hurting Tubbo, Tommy would always remind Techno that he didn’t want to hurt anyone. And that if Techno ever did, Tommy would be there to stand in his way. He never once stopped saying this. 

Tommy’s two major positive character traits have always been his undying loyalty and his strength to never give up, even in the face of death. Two classically heroic qualities, both of which, ironically, reinforce his fatal flaw. His refusal to change makes him stubborn; stubbornness being the only quality that makes unwavering loyalty and extreme persistence feasible. 

Because of these two traits, it was impossible from the start for Dream to completely break Tommy’s spirit and for Techno to get him to agree to anything too extreme. Despite this, Techno already had no hope of keeping Tommy on his side after the events of the day before the Festival. During it, Tommy had asked multiple times for Techno to give his word not to hurt anyone. That they’d only threaten to spawn a wither, get Techno’s remaining weapons in exchange, then leave. That’s it.

Techno avoided directly promising Tommy but still agreed not to regardless. So when Techno chose to spawn the wither anyway, despite Tommy urging them to leave multiple times, whatever trust Tommy had with him went completely out the window. Thus, when the threat was finally real, that Techno would make due on his promise to burn his home country to the ground and slaughter his friends, Tommy intervened. It would be unreasonable to expect Tommy not to stand against him in that moment, especially after his mental breakdown which ensued as a result of him nearly killing his best friend. 

Adding salt to the wound on Tommy’s end, Techno decided to also align himself with Dream, someone Techno knew Tommy was afraid of. This might have been a way to purposely hurt Tommy. More likely, it was because Dream and him shared a common goal in the moment and Techno desperately needed allies.

However, the implication of Techno siding with Tommy’s abuser most certainly hurt him, regardless of its original intentions. This is possibly why Tommy kept insisting through Doomsday that Techno betrayed him, avoiding actually telling anyone the reason as to why. If he couldn’t find the words to describe what Dream did to him, even to Tubbo, he certainly wouldn’t be able to tell Techno either.

“Techno gave Tommy everything, only to be repaid with betrayal.”

This statement regarding Tommy is the one I see most often. (It is also the one I get the most heated about.)

Dream’s character is well known for his manipulation tactics against other characters; pitting them against each other, crushing them under his heel, bending their will to conform to his own. It’s what makes him an interesting villain. It’s something fun to discuss. 

But is it still fun to discuss manipulation tactics if they’re so subtle, almost no one notices them? This is the paradigm Technoblade’s character falls into. While people know Techno for his laid-back personality, dry humor, and complex motivations, many fail to recognize him as a manipulator. The reason why this is so hard to spot is because it is mostly unintentional on behalf of the character. Dream performs his craft with intention, Techno does it without realizing. 

As well as this being unwitting, it is sandwiched between Techno’s actual attempts to connect with Tommy and care for him. Thus, making the manipulation feel less damaging. The only problem is, this still hurts Tommy just as much, regardless of the intentions behind it. Especially after just escaping Dream, Tommy’s reality and sense of identity are horribly distorted. In this vulnerable state, he desperately needs healing and someone to help ground him. This is what makes him even more susceptible to Techno’s influence. 

And because it is much subtler, it is harder to notice, and much harder to break free from. Despite Tommy claiming to hate Techno for what he did on November 16th, he still chose to flee to his house because it was the only place he could think of going, as well as being the safest area possible. After the failed execution, Techno mentioned potentially hurting Tubbo through a vengeance plot. Tommy voiced extreme distress over this, to which Techno threatened to kick him out of his house. 

Tommy then says he’s fine being homeless because he doesn’t want anything to do with someone who would hurt his friend. This is when Techno decides to weaponize Tommy’s own trauma against him. To be fair to Techno again, Tommy never told him the extent of the abuse he suffered in exile. But Techno isn’t stupid. He knows Tommy is extremely afraid of Dream, and for good reason. 

So he tells Tommy that if he were kicked out, he’d be defenseless. That if he were out there all alone, Dream would find him very easily. That Dream would drag him right back to Logstedshire in an instant. He notices the way Tommy reacts to this, how quickly he changes his mind about being kicked out. He continues to use this trauma repeatedly in order to keep Tommy under his roof, no matter how disagreeable he gets about Techno’s plans. He knows he can’t retrieve his weapons alone because he has no leverage. 

Therefore, using Tommy like a wild card was a major side strategy. Techno knows it will hurt Tubbo by doing this and may make the President more willing to compromise. In addition to this, many of the strategies Techno utilizes are Narcissistic manipulation tactics, categorized by their intent to keep the victim in a position below the abuser in terms of worth. This includes Techno using the silent treatment as a punishment, something which hurts Tommy since he craves affection from others. 

He also attempts to isolate Tommy by telling him he doesn’t need anyone else; that everyone abandoned him during exile (something which Dream has also said.) He tells Tommy that he’s only alive because Techno is there to defend him and supply for him, as well as constantly reminding Tommy to not let any compliments he receives get to his head. These are both meant to make Tommy depend more on Techno and doubt his own abilities. Techno also occasionally engages in subtle gaslighting, attempting to sow doubt in Tommy’s mind about his relationships with Tubbo, Quackity, Ranboo, and Fundy. 

It’s also vital to keep in mind what exactly separates Dream and Techno in this regard. The most important thing being that Techno actually does care about Tommy. He trusts him and wants to earnestly help him. He knows Tommy has been traumatized and abused in some way, but he doesn’t know how to help because he’s not that great with people. It also doesn’t help that Tommy is unable to tell anyone what happened. 

In the end, Techno really does want to be a shield for Tommy. Despite debating handing Tommy over to Dream, it’s more likely Techno was using this as bait for Dream to waste his favor on something useless. After all, he could always save Tommy, should he ask for him to. Techno’s warnings about Tubbo and L’Manburg also come from a place of love, as Techno was personally hurt by them and wants to protect Tommy by telling him to leave it behind. However, just because something is done out of love, doesn’t mean it’s automatically helpful or good for someone. 

There’s no better example of this than in Techno’s most damaging and frequently used tactic: ‘Buy Their Love,’ a technique commonly used on children by narcissistic parents. At first glance, nothing seems wrong. Techno gives Tommy most things he asks for; providing him with food, gifts, protection, and a place to sleep. The manipulation within this arises when the act of kindness is counted as a debt against the person who receives it. That by receiving so many good things, they would be ungrateful to go against their abuser. Doesn’t matter if they emotionally or physically hurt you, they gave you gifts, so you should shut your mouth and allow the abuse to continue. 

Whenever Tommy speaks out against Techno’s violent actions or his plans to hurt his friends, Techno would frequently bring up all his ‘good deeds.’ He consistently reminds Tommy that he could’ve just thrown him back to Dream, but he was too kind. That he went out of his way to give him gear, food, and a roof over his head. That he was kind so Tommy should be quiet and let Techno plot to hurt the people he loves. Or else he’s selfish and ungrateful. Or else Techno will take all of his gifts back and leave him with nothing.

Knowing this, it is horrifying seeing people justifying this behavior by mocking Tommy’s character and calling him ungrateful using this very same fallacy. (Especially for those who grew up being controlled by this very tactic.) 

It is through knowing Techno’s use of the ‘Buy Their Love,’ method that makes Tommy’s, ‘I am worthy,’ response, not one of betrayal, but one of triumph. This moment is a major positive character change for Tommy for many reasons. When Tommy decides to stand against Techno, this causes him to fall back on his most reliable tactic. He insults Tommy and then asks for the Axe of Peace back. Instead of caving, Tommy refuses. 

By keeping the Axe of Peace, Techno’s final gift to him, he is not only rejecting the destruction of all he loves, but he is breaking free from Techno’s manipulation. He says, ‘I am worthy,’ because now he knows his own self-worth. He doesn’t need Techno or Dream to decide it for him. This moment is Tommy finally breaking free from not just Techno, but Dream as well. He is finally free.

“Tommy was only using Techno and never thought of him as a friend.”

Tommy and Techno’s relationship is complicated, which is why pretending only one side was in the wrong isn’t entirely accurate. Their friendship, in summary, is tragic when fully examined; being doomed from the start. Techno and Tommy are brought into conflict often because they are simultaneously so similar and so different. Techno and Tommy both deal with grief in the same way. They both long for a life of peace and comfort. They each long for companionship, hold their ideals in kind, and are both naturally resilient in the face of adversity. 

Yet, their personalities and courses of action are polar opposites. What makes this friendship one of tragedy is the fact that not just Techno, not just Tommy, but both of them, actually thought the other was their friend. They had each wanted to be the other’s friend since the day they’d met. Tommy never stopped wanting to impress Techno and get on his good side, even if his methods annoyed the target of his affections. Him calling Techno ‘The Blade’ was never meant to dehumanize him; it was a title of adoration. 

Along the same spectrum, Techno is a character who generally longs for friendship, but pretends not to after a lifetime of hurt. He’s been burned too many times, and so he chooses to stay alone. Techno is generally very reclusive and awkward around others, so when he likes someone or cares for them, it’s noticeable from a mile away. Their friendship has a very brotherly dynamic, and the fact that Techno allowed him to stay in his house, implies Tommy is a step above pretty much everyone else but Phil. Putting up with Tommy’s shenanigans is itself a sign of affection. 

However, when their goals come into conflict and the two start to drift apart, they deal with this in massively different ways. With Tommy devastated and enraged, and with Techno withdrawn and hurt, once more burned by someone he slowly learned to trust. They were once both friends, neither one was pretending. Yet, both of them thought their companionship was unreciprocated. 

On top of this, both Techno and Tommy were using each other. Techno used Tommy to get his weapons back by manipulating and lying to him. Tommy used Techno to protect him from Dream and get his discs back. They each hurt the other and refused to listen, both shouting valid complaints at the other that they refused to hear. 

Their relationship is also deeply affected by the themes of vengeance in the current arc, which is something I haven’t seen many people talk about. Most of the current conflicts this past month have resulted from characters being unable to forgive, resorting to revenge as a way to cope with loss. L’Manburg was the first to initiate this, through the influence of Quackity. The Butcher Army was formed to punish Techno for a war crime he committed. And while this is perfectly reasonable, what isn’t is the way the incident was orchestrated. It was an unchecked abuse of power to execute someone without a fair trial, as well as punishing Phil, who was not involved whatsoever. 

This was also particularly unfair to Techno, as many projected their anger at Wilbur onto him. Even Tommy did this, finding himself unable to blame his late mentor, so Techno was the next best option for him. However, it was Techno’s response to this that was interesting. He chose a path of vengeance, the same way L’Manburg did, after vowing to live his life as a pacifist. By doing this and following through, he hurt everyone, not just the people he claimed needed to pay for their actions. 

Instead of just picking the weed in the garden, he set the entire flower bed on fire. Through L’Manburg’s destruction, he gets what he wants. He destroys their government, but he also scars the earth and shatters the sky. He leaves uninvolved people homeless, deeply hurting Ranboo, Eret, and especially Ghostbur. Philza turns to vengeance as well, taking his anger at the death of his son out on people who do not deserve it. 

Tubbo, a day before the second Festival, was given another chance to seek revenge when Techno had spawned a wither on their land. Instead, all Tubbo could say was, ‘We do nothing … It’s pointless, vengeance. It’s poisonous.’ By doing this, he has managed to be a bigger person than even Techno was, with the strength and maturity to turn the other cheek. And now with Tommy’s plan to kill Dream, the conflict continues to escalate; only ending where forgiveness begins. 

It’s sad to think, if Techno didn’t choose a path of vengeance and Tommy was strong enough to tell Techno how he really felt, the two might have remained friends. Who knows? Maybe they still can.

“Tommy was the one in the wrong. Techno was right to destroy L’Manburg.”

Techno is a lovely character. He’s well-written, engaging, funny. He has many values and quirks that are generally relatable and interesting. His motives are deeply understandable and sympathetic. And yet, he is perfectly capable of being evil, in just the same way that Tommy can be deeply flawed despite being the protagonist. 

I’m sure most people already know that Technoblade is a villain. Or more accurately, a tragic antagonist. Techno (the streamer) knows he is and he’s having fun playing that part. Just because a character is morally in the wrong doesn’t mean their values and ideology don’t have merit. The best character I could compare Techno to is Thanos. 

They have completely valid concerns and points, but it is the way in which they go about achieving their goals that makes them into evil people. And despite this, many will still agree with them, even after they do something reprehensible. Contrary to popular belief, Technoblade’s tendency towards violence isn’t a good thing, no matter how you look at it. Even Techno himself knows this, that’s why he decided to reform and become a pacifist with Phil. He was not a good influence on Tommy, on top of also manipulating him. 

Techno caving to hatred and vengeance makes him no different to the resolve of the Butcher Army that pursued him. It is precisely the fact that he went on to destroy the home of not just Tommy, but also Ranboo and Ghostbur, that puts him in the wrong. He is allowed to despise all government and remove himself from it, but the moment he decided to insert himself into someone else’s country and take their home from them in order to destroy it, he abandoned an integral principle to his own values. 

This principle being: ‘Choice.’ The act of letting others be free to decide what they want for themselves. It is a huge component to the concept of anarchy, the freedom to choose. And yet Techno robbed this from, not just the ruling powers that hurt him, but individuals who were not even involved in the first place. He justifies this by saying it’s for their own good, that he’s helping; while acting in a self-serving manner. 

In his anger, he became the punisher, stooping lower than L’Manburg has ever gone. There is also the issue of Dream weaponizing Techno to destroy the one thing that has been a thorn in his side since the very start, manipulating Techno’s grief to achieve his goals. Tommy’s biggest sin in the Doomsday War was standing up to Techno and getting in the way of him hurting his friends and destroying his home. 

This isn’t to say Tommy is perfect, because he still hurt everyone he ever loved. But the only way he knew to redeem himself was to fight for what he knew was right. And so he chose to fight alongside his best friend, Tubbo. However, just because Techno is in the wrong doesn’t mean others are wrong for wanting to side with him, or by finding joy in his ruthlessness. The biggest appeal of Techno is the fact that he opposes people like Tommy. 

He knows how to put people in their place and it’s satisfying to watch. Some people love rooting for villains and it’s entertaining to see a being with so much power crush everyone else down so effortlessly. Especially because it’s so easy to sympathize with Technoblade. Sympathetic villains are the best kind; where they have understandable motivations, relatable flaws, people they love, and something they can lose. Dream is a villain you love to hate. Technoblade is a villain you hate to love. Simple as. 

Despite the destruction of L’Manburg being either devastating or fantastic depending on who you are, there is one major good it has done. It has pushed Tommy more towards the completion of his character arc. By losing one of the three things he loves, it will be impossible for him to pretend any longer. He will be forced to confront reality very soon. It all depends on whether Tubbo will have to die first for him to finally see it.

[spanishskulduggery]

Hi! I'm very curious about something regarding the Spanish language. I'm currently studying A2 Spanish but I had this question and my teacher did not seem too willing to discuss it. Here it goes:

I know that Spanish has, something my Spanish teacher says, linguistic gender. I was wondering how do the people who don't align themselves with the gender binary (masculine and feminine) speak/write in it? I have read this article about Spanish speaking people from US adding "x" Or "@" and people from Argentina using "e" to make the words gender neutral.

Thank you so much for responding, whenever you get to it. Also love your blog. ❤

Short answer, in general speaking terms people are tending towards the -e now because the other two are very hard to actually speak, and because Spanish-speakers feel the -e is more authentic

What you're most likely to see in Spanish is masculine plural as the default, or in written things you might see todos y todas or like un/una alumno/a "a student", or like se busca empleado/a "employees wanted" / "looking for an employee"

If it's something official or academic you typically include both [todas y todas] or you go masculine plural [todos] unless it's specifically feminine plural

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Related, linguistic gender applies to all things, not just people. Why is la mesa "table" feminine, but el libro "book" masculine? Just linguistic gender. I can tell you that most loanwords (that aren't people) in Spanish are masculine, and that there are certain words that come from Greek are masculine, and that -ista words are unisex most of the time... And I can tell you there are some words like testigo or modelo that are unisex and don't change for gender. Aside from that, speaking about nouns and grammatical gender... those particular things are harder to parse for regular people, but if you go into the field of linguistics you can explore that more deeply. Some of it is source language (i.e. "it came from Latin this way") or things like that. And in general when talking about nouns it's unimportant and not considered sexist, that's just how it is.

There is such a thing where it gets a little too far the other way and people will say "history? what about herstory" which is a nice thought but the etymology has nothing to do with gender there

When it comes to people - and when it comes to gendered attitudes - that's where it gets more confusing and more complicated.

I believe there was an experiment where people had French and Spanish speakers [I believe it was Spanish] try to identify how a "fork" would sound. French people gave it a more feminine voice because "fork" is feminine in French, while Spanish speakers gave it a more masculine voice because it's masculine in Spanish.

Whether we like it or not, certain gendered things do influence our thoughts and feelings and reactions. A similar thing in English exists where the old joke was something like "There was a car accident; a boy is rushed to the ER and the surgeon but the father was killed. When they got to the ER the doctor said 'I can't operate on him, he's my son!'" and it's like "well who could the doctor be?" ...and the doctor is his mother. We associate "doctor" as masculine and "nurse" as feminine.

There's a gender bias in our language thought patterns, even though the language changes. And that does exist in Spanish too, to different extents.

There are certain cultural and gendered stereotypes or connotations attached to certain words, many tend to be more despective or pejorative when it's women.

For example - and I know this has changed in many places or it isn't as prevalent - el jinete "horseman/rider", while the female form is la amazona "horsewoman/rider". Because la jinete or la jineta was sometimes "promiscuous woman".

There were also debates about things like la presidente vs. la presidenta or what the female version of juez should be, whether it should be la juez or la jueza

Most languages with gendered language have varying degrees of this, and all languages I'm aware of have gendered stereotypes related to professions or cultural attitudes in some way, and not just for women, and not all in the same way with some of them being very culturally based

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The longer answer involves a bit of history, and I'll be honest, some of it is contested or considered a little controversial in Spanish-speaking countries particularly in the conservative parts (which honestly should come as no surprise)

The first symbol that I know of that came about was the X

First piece of contested history: As far as I know, it was the trans/queer and drag communities in Latin America who started the trend of X. When there were signs or bulletins that had the gendered endings - specifically masculine plural as the default plural - people would write a big X through the O. This was a way of being inclusive and also a very smash the patriarchy move.

Some people attribute this to women's rights activists which may also be true, but a good portion of the things I read from people say it was the trans/queer/drag communities in Latin America doing this.

I've also read it originated in Brazil with Portuguese; still Latin America, but not a Spanish-speaking country.

Where it's most contested is that some people will say that this trend started in the Hispanic communities of the United States. And - not without reason - people are upset that this is perceived as a very gringo movement.

That's why Latinx is considered a very American-Hispanic experience

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The arroba (@) is relatively new. I remember seeing it in the 2000s. I don't know if it existed earlier for gender inclusivity.

People used it because it looks like a combination of O and A, so it was meant to be cut down on saying things like todos y todas or niños y niñas in informal written speech

I remember quite a few (informal) emails starting like hola tod@s or muy buenas a tod@s or things like that

I think of it more as convenience especially in the information age where you never knew who you were talking to and it's easier than including both words, especially when masculine plural might be clumsy or insensitive

Still, it's practically impossible to use the @ in spoken Spanish, so it's better for writing casually. You also likely won't be allowed to use the @ in anything academic, but in chatrooms, blogs, or forums it's an option

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I love the E ending. And the gender neutral form in singular is elle... so it's él "he", ella "she", and elle "they (singular)"

The -e ending is I think became more common within the past 10 years though it might have existed longer than that. These sorts of changes tend to come from the queer or trans communities and tend to be more insular before becoming more of an outside thing that then the general population finds out about

It came about because there are some adjectives in Spanish that end in -e that are unisex. It's not an A, it's not an O, but it's something grammatically neutral for Spanish

It's not as awkward as X, and E exists very firmly in Spanish so it's not perceived as some outside (typically gringo) influence

The good news is, it's pretty widespread on the internet. Not so much in person (yet), but especially in Spain and Argentina at least from what I've seen, particularly in the queer communities and online culture.

The only issues with it are that for non-native speakers, you have to get used to any spelling changes. Like amigo and amiga, but to use the E ending you have to add a U... so it's amigue.

That's because there are certain words where you have to do spelling changes to preserve the sound; gue has a hard G sound like -go does [like guerra]... but ge has the equivalent of an English H sound [gelatina for example]. Another one is cómico/a "funny" which would go to cómique. Again, because co has a hard C/K sound, while ce is a soft sound more like an S or in some contexts TH/Z sound; like centro is a soft sound, while cola is a hard sound

Unless you make it to the preterite forms where you come across like pagué, alcancé, practiqué with those types of endings... or subjunctive forms, pague, alcance, practique ... Basically you'd have to be exposed to those spelling rules or you'd be really confused if you were a total beginner.

It all makes sense when you speak it, but spelling might be harder before you learn those rules

The other drawback is that the E endings are sometimes not applicable. Like in damas y caballeros "ladies and gentlemen" there's not really a gender neutral variation on that, it's all binary there. And while la caballero "female knight" does exist, you'd never see a male variation on dama; the closest I've ever seen is calling a guy a damisela en apuros "damsel in distress" in some contexts where the man needs rescuing, and it's feminine una/la damisela, and it's very tongue-in-cheek

There are also some contexts like jefe vs jefa where I guess you would say jefe for "boss" if you were going the neutral route, but it's a bit weird because it's also the masculine option.

I can't speak for how people might feel about those if they're non-binary or agender because every so often you kind of get forced into the binary whether you like it or not

I totally support the E, I just recognize there are some limitations there and it's quirks of the Spanish language itself

Important Note: Just to reiterate, E endings are the ones most Spanish-speakers prefer because it's easiest to speak and doesn't have the American connotation that X does in some circles

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Where it gets very "Facebook comment section" is that you'll see many Latin Americans traditionalists and conservatives claim that "this is just the gringos colonizing our language" and "grammatical gender doesn't matter in Spanish". They'll say that the "gender movement" is an American feminist movement and that it's a gringo thing and doesn't reflect actual Latin Americans or Spanish-speakers

Which on the one hand, yes, English does have a lot of undue influence on other languages because of colonization, and American influence and meddling in Latin American politics is a big important issue

But as far as I'm aware of the X (and especially the E) were created by Latin Americans

The other issue I personally have is that any time this conversation comes up, someone will say something like somos latinOs and claim that masculine plural is gender neutral

To that I say, first of all, "masculine plural" is inherently gendered. Additionally, there is a gender neutral in Spanish but it's lo or ello and it's only used with "it" so it sounds very unfriendly to use on an actual person... and in plural it looks like masculine plural and everything applies like masculine plural

Second, the reason masculine plural is default is because of machismo. It's more important that we don't possibly misgender a man, so it has to be masculine plural. It's changed in some places, but growing up when I was learning Spanish, if it was 99 women and 1 man you still had to put masculine plural

I'm not opposed to there being a default, and I understand why it's easier to use masculine plural, but some people get very upset at the idea of inclusive language

...

In general, my biggest issues with these comments come when people act like non-binary/queer/trans people don't exist in Spanish-speaking countries, like English invented them somehow. So it's nice to see linguistic self-determination and seeing native speakers using the E endings.

[yamayuandadu]

The Contendings of  History and Seth

Seth as a serpent-slayer (MET) It's safe to say that the myth of Osiris is one of the only non-Greek myths to enjoy a comparable degree of recognition in modern popculture. There are few direct adaptations, sure, but the core narrative is well known, and as a result works themed after ancient Egypt use Seth as a villain almost without fail if only the premise allows the use of fantastical elements. However, in this article I will instead examine the other side of Seth, and especially his role as a protagonist of myths in his own right, including the historical circumstances of this development. While I mostly want to introduce you to a little known but fascinating world of heroic(?) portrayals of Seth, naturally I will also cover Seth's later loss of relevance and complete vilification to explain why it survived as the dominant tradition.

Early history of Seth

Seth protecting Ra from Apep (wikimedia commons) From the dawn of recorded history Seth's status in Egyptian religion was ambivalent, and it continues to be a topic of heated debate among researchers what degree of popularity he enjoyed in particular very early on. Some aspects of Seth character, like his evident interest in both men and women and whether it reflects broader Egyptian cultural norms (or if it’s merely yet another way in which Seth was an outsider among gods and men, as the author of the first monograph dealing with Seth proposed in the 1960s) are likewise a hotly debated topic. Seth was associated with many animals, such as the hippopotamus and the crocodile, but his main symbol is the sha or “Seth animal” which is regarded as either a mystery or a fictional creation, and in Egyptian texts inhabits zones inhospitable to humans. Seth was called “the god of confusion” by Herman Te Velde (the first writer to dedicate a monograph to him) and while this opinion has been since called into question, it is undeniable that it’s hard to form a coherent image of him. In addition to various versions of the well known myth mentioned above there are other instances of combat between Seth and Horus (most likely initially a distinct myth combined with the narrative about Osiris’ death and resurrection at a later date) and of Seth as a menace to the established order. Some of the Pyramid Texts present even the human followers of Seth as enemies to be conquered (which is held by some researchers a mythical memory of strife between local kings before the unification of Egypt). . However, there are also texts where Seth is a rightful member of the Ennead; where he and Horus act in harmony as protectors of the ruler; where he assists pharaohs in their resurrection in the afterlife; and even to Seth as one of the gods responsible for returning Osiris to life. A recurring motif in texts dealing with the afterlife in particular is a description of Seth offering a ladder to the dead who can reach some destination themselves. Mentuhotep II of the XI dynasty seemingly had Seth and Hathor depicted behind his throne in art; Hatshepsut described Seth positively as well. Personal names invoking Seth are known, too; and as established by Willam Berg in his studies of a different ambivalent deity, “children are not called after spooks.” Seth's ambiguous character made him ideal to represent The Other in Egyptian culture –  the foreigners, especially these arriving from the Levant, their culture, and generally “un-Egyptian” traits. In that capacity, he functioned as an “ambassador” or “minister of foreign affairs,” to put it in modern terms. Or perhaps a foreigner in his own country, so to speak. As a result, he came to be associated with a group of deities which, while part of the official pantheon, had their origin outside Egypt.

The Ramessides and foreign gods

Generally speaking, there were two primary sources for foreign deities incorporated into Egyptian religion: Levantine trade centers like Gebal (Byblos in Lebanon) or Ugarit (Ras Shamra in Syria); and Egypt's vassal/enemy/ally/very occasional ruler Nubia (roughly corresponding to present day Sudan). Libyan influence was smaller, and to my knowledge there is no evidence of any major impact of Egypt's other trading partners (Punt, located near Horn of Africa, and Minoan Crete; the latter absorbed many Egyptian influences instead, though) or enemies (like the Hittites) on religion. The peculiar history of Seth is related to the the first of these areas. Early researchers saw the “Syrian” deities as worshiped at best by slaves or mercenaries – they didn't fit neatly into the image of Egypt presented by some royal inscriptions: an unmovable, unchanging and homogeneous country, a vision as appealing to absolute rulers in the bronze age as it was to many 19th and 20th century researchers. However, the truth was much more complex, and in fact some of the best preserved accounts of foreign cults in Egypt indicate that the process was in no small part related to the pharaohs themselves. For example Ramses II in particular was an enthusiast of Anat, as evidenced by statues he left behind:

Ramses II and Anat (wikimedia commons) He also named his daughter Bint-Anat (“daughter of Anat”) and his favorite pets and possessions bore Anat-derived names too. Not only only Ramses II himself, but the entire XIXth  dynasty – the “Ramessides” (a term also applied to the XXth dynasty) - was particularly keen on these imported deities. Curiously, one of its founders was named Seti - “man of Seth,” and Seth was seemingly the tutelary deity of his family. The well known case of Ramses II's red hair might be connected to this – this uncommon trait was associated with Seth. As a result of the Ramessides' rise to power Seth became one of the state gods in Egypt, alongside heavyweights like Amun, Ptah or Ra. However, it's also safe to say that he was popular in everyday cult among commoners, as evidenced by finds from camps for workers partaking in various construction projects.

Part of Egypt of the Ramessides at its maximal extent (in green; wikimedia commons) During the discussed period, Egypt was as the peak of its power, both military and cultural; the “other” recognized Egypt's power. Weaker states in the proximity of Egypt paid tribute, while the more distant fellow “superpowers”of the era (the Hittites and the Mitanni, rivals of Egypt in Syria and the Levant, and the more distant Kassite Babylon) bargained with Egypt for dynastic marriages, luxury goods or craftsmen. While some foreign rulers didn't necessarily get that the pharaohs might not want to play by their rules and expressed frustration with that in their letters sometimes (see a particularly funny example below), overall the relations were positive, and resulted in a lot of interchange between cultures.

(source) The incorporation of foreign deities into Egyptian pantheon was a phenomenon distinct both from the well known practice of interpretatio graeca and from the monumental Mesopotamian god lists, and foreign gods were adopted rather selectively. Some researchers propose that the incorporated deities were often chosen because their sphere of influence wasn't covered by any native god. For example, Astarte (more accurately Ashtart or Athtart, considering the Ugaritic orthography; however the Greek spelling is used in literature to refer to the Egyptian version and I'll stick to that) was associated with horses and chariot warfare. As the animal wasn't known in Egypt in the formative period of the state, it wasn't among the symbols of any local deity; at the same time chariots were a prominent component of the Egyptian military at the height of its power, and as such required a deity to be put in charge of it. Six deities of broadly “Syrian” origin are usually listed among Egyptian gods in modern scholarly literature: Anat, Astarte, Resheph, Houron, Baal (the Ugaritic weather controlling one) and Qadesh. Of these, four were pretty similar to their original versions. Qadesh is a complex case as it's uncertain if such a deity existed outside Egypt – it's possible she developed as a combination of a divine title (“the holy one”) and the general Egyptian perception of foreign religion. Some scholars in the past asserted she is simply Athirat/Asherah but this interpretation relied on the false premise of Athirat forming a trinity with Anat and Ashtart and the three of them being the only prominent goddesses in cities like Ugarit. There are also curiosities like Chaitau, a god with Egyptian name (“he who appears burning”) but attested only in sources from Levantine cities (though ones written in hieroglyphics) and in magical formulas of similar origin. Baal is the most puzzling case: simply put, it's clear Baal was introduced to Egypt. It's clear Baal was depicted in Egyptian art. It's even clear that Egyptians knew that Anat and Astarte were deities from Baal's circle back at home, and that Baal was tied to a narrative about combat with the sea. And yet, it's not easy to say where the Egyptian reception of Baal ends and where Seth starts. Baal's name was even written with the Seth animal symbol as determinative. When exactly did this identification first occur is unknown: while it would be sensible to assume the Hyksos, a Canaanite group which settled in Egypt and briefly ruled the Nile delta, are responsible, there is some evidence which might indicate this already happened before.

Baal and Seth

Baal was a natural match for Seth: Seth represented the foreigners, Baal was the most popular god of the foreign group most keen on settling in Egypt; Baal has a somewhat unruly character in myths; both rule over storms and have a pronounced warrior character. Additionally, both of them were depicted as enemies of monstrous serpents. Baal was identified with Seth in Egypt, but in turn Seth became more Baal-like too. So-called “Stela of year 400” depicts an entity labeled as Seth more similar in appearance to Baal due to the human face and Levantine, rather than Egyptian, garb:

(source) It is well known that the main myth of Baal, in Ugarit the first part of the “Baal cycle,”describes his combat with the sea, personified by the god Yam, seemingly described both as humanoid and serpentine. In Egypt, this narrative was associated with the composite Seth-Baal, and a fragmentary version is recorded in the so-called Astarte papyrus. Curiously, it was actually discovered long before the Baal cycle itself – however, it only became a subject of in depth studies in the wake of the discovery of Ugarit. There are also many similarities to the Hurrian myth “Song of the Sea,” known only from fragments, and to the Song of Hedammu from Hittite archives. While in the Ugaritic version Baal fought the personified Sea against the wishes of the head god El, in the Egyptian version the confrontation happens because the Ennead fears Yam, who threatens to flood the earth and demands tribute, much like the Hurrian Sea. Before Seth properly enters the scene, we learn about how Ptah and Renenutet, a harvest goddess, appeal to his associate Astarte (as already noted before viewed as Ptah's daughter in Egypt), hoping she'll act as a tribute bearer. Astarte is described as a fearsome warrior; however, she is not meant to fight Yam herself, but merely temporarily placate him. She seemingly strips down and brings offerings – this is, once again, closer to the Hurrian than Ugaritic version, where Shaushka, an “Ishtar type” goddess like Astarte, seduces the sea monster Hedammu in a similar way. It is not clear if Yam is interested, though - in fact he appears to question why Astarte isn’t dressed (possibly mocking what must’ve been a humiliating situation for a warrior deity, I’d assume). Eventually, Seth arrives and presumably fights Yam, likely with Astarte's help - the rest of the papyrus is too poorly preserved to decipher, but as indicated by the foreign equivalents Seth and Astarte win. This is confirmed by the Hearst Medical Papyrus, imploring Seth to expel illness from the treated person just like he vanquished the personified Sea. The Ugaritic version of the myth doesn’t include a tribute scene among surviving fragments, though it’s worth pointing out that the Ugaritic Ashtart/Astarte cheers on Baal during his battle against Yam and berates him for not acting quick enough, which is easy to interpret as hostility caused by a similar episode. Many researches assume that it existed among the lost fragments of the Baal Cycle tablets, though this is for now purely speculative. A variant of the myth of Seth and Horus - The Contendings of Horus and Seth - presents a further  curious case of Seth-Baal syncretism, this time incorporated into well established Egyptian myth rather than an imported foreign one. Seth and Horus compete for the right to rule after Osiris' death. Ra thinks Seth is the better option to nominate as a successor because Seth killed Apophis on his behalf, but a few other of the elder gods disagree and try to delay the process by insisting to ask various deities to provide their expert opinions. These generally favor Horus much to Ra's annoyance, but he can't go against them so he insults Horus (calling him "feeble and weak-limbed" and criticizing his hygiene) but doesn't stop his rise to power. The semi-humorous portrayal of Ra is rather unusual; in addition to showing annoyance with other gods, at one point he vanishes, and only agrees to return because Hathor lured him out. It seems Horus' mother Isis insults Seth in response to Ra's comments. Seth, offended, refuses to partake in the divine assembly unless Isis leaves; Ra orders that and the gods gather again without her. However, Isis disguises herself and asks Seth who should inherit first, a child or a brother who can provide for himself (and is a foreigner), to which Seth replies that the former; this was a trick, obviously, and Isis holds it as  proof that Seth forfeited his right to rule, which Ra accepts. After multiple chaotic tribulations (including the [in]famous lettuce episode as well as Horus decapitating his mother because he decides she doesn't do enough) Horus is re-declared king but Ra, implored by Ptah (otherwise absent from the myth) gives Seth two wives (eg. Anat and Astarte; this solution was suggested already earlier by the gods providing the opinion; some authors question if they are meant to be Seth’s wives or merely allies, much like the relationship between Baal, Anat and Ashtart in Ugarit is considered debatable) and the storm clouds as his new domain. He is to strike fear into hearts of men, but will also get to be treated as if he were Ra's own son. Considering the emphasis on storm and the mention of Anat and Astarte, it's pretty clear to me that Egyptians essentially invented their own Baal backstory meant to integrate the foreign tradition with their own by recasting Baal and Seth as the same entity.  The text is however unusual because of its humorous tone – the gods insult each other, act ineptly and all around hardly provide an inspiring example. Perhaps the focus on Seth made this possible. As a final note before I'll move on to times much less prosperous for Seth it's worth to mention that not only Baal but also other foreign gods were at times equated with Seth. The Libyan god Ash was conflated with him in the  western oases, while treaties with the Hittites assign the name of Seth to various members of their pantheon, including the Baal-like Tarhunna (equivalent of Hurrian Teshub) but also the sun goddess of Arinna.

Demonization of Seth

While in the late bronze age Seth greatly benefited from his role as a god of foreigners, in later periods this has proven to be his undoing. Egypt couldn't maintain its power forever, and eventually fell to the Assyrians, who showed little respect for local culture and looted Thebes. While the Assyrian domination was only temporary, it severely damaged the country, and a spiritual scapegoat was needed to reconcile the carnage with the idea that Egypt was a land chosen and protected by the gods. The change seemingly occurred under the rule of Psamtik – in a new version of the myth of Seth and Horus, Seth not only lost decisively, but also was punished afterwards, and religious texts spoke of a “rebellion”of Seth. Seth was never associated with Ashur, the head god of the Assyrians, before, but in Egyptian imagination he was blamed for bringing the invaders under “his” command to ravage and subjugate the country. A mythical text has Isis implore Ra to punish Seth for robbing temples, much like the Assyrian armies did. Even later accounts tell various tales about Seth being punished, either gruesomely (a few texts recount massacred of towns belonging to Seth) or humorously (for example in one text Thoth makes him impotent with a spell) and exiled from among gods. There's evidence that the worship of Seth, previously commonplace, came to be abhorred and depictions of Seth were destroyed or altered. A famous example is a Seth statue converted to look like Knhnum or Amun instead:

Seth no more (wikimedia commons) A late relief from Edfu, from the Ptolemaic times, seems to indicate that even Seth's role as a guardian of the solar barge was lost: Seth, depicted as a hippopotamus, was defeated by Horus from the solar barge of Re. However, while Apep is usually depicted as huge and menacing, hippo Seth is tiny and pathetic.

Seth as a tiny hippo representing the forces of chaos (wikimedia commons) Curiously, despite the official policies, which continued under Ptolemaic rule, it seems that until the 2nd century CE, Seth continued to be popular in the Dahkleh oasis, possibly even serving as the main deity there. Sadly due to lack of research I am unable to provide any more detailed information about that.

Closing remarks

Even further demonization of Seth is evident in the fact that the Greeks and Romans referred to Seth as Typhon, leaving no room for ambiguity of interpretation. As the Greek accounts of the late version of Seth were all that was known for centuries due to ability to read hieroglyphic writing vanishing with the advent of new religions, it remains dominant in media today. Perhaps it would be beneficial to leave some room for the serpent-slaying hero Seth hanging out with foreign deities in modern works, though? Surely his peculiar outsider status is even more appealing to modern readers than it was to the public of the Ramesside period.

Bibliography

N. Ayali-Darshan, The Other Version of the Story of the Storm-god’s Combat with the Sea in the Light of Egyptian, Ugaritic, and Hurro-Hittite Texts

G. Beckman, Foreigners in the Ancient Near East 

M. Dijkstra, Ishtar seduces the Sea-serpent. A New Join in the Epic of Hedammu (KUB 36, 56+95) and its meaning for the battle between Baal and Yam in Ugaritic Tradition

T. J. Lewis, ʿAthtartu’s Incantations and the Use of Divine Names as Weapons 

D. Schorsch and M. T. Wypyski,  Seth, "Figure of Mystery"         

D. T. Sugimoto (ed.), Transformation of a Goddess. Ishtar – Astarte – Aphrodite - especially the chapters ‘Athtart in Late Bronze Age Syrian Texts by M. S. Smith and Astarte in New Kingdom Egypt: Reconsideration of Her Role and Function by K. Tazawa

H. Te Velde, Seth, God of Confusion: A Study of His Role in Egyptian Mythology and Religion

P. J. Turner, Seth - a misrepresented god in the Ancient Egyptian pantheon? (PhD thesis)

C. Zivie-Coche, Foreign Deities in Egypt

[horrorslashergirl]

Slasher OC: Decebal Avram Chirilă

Full Name: Decebal Avram Chirilă

Nickname(s): Dacia, Dece, The Impaler, Vladislav, Tiger, Lynx, Dracula, Casanova

Age: 38

Gender: Male

Nationality: Romanian

Place of Birth: Bucharest, Romania

Current Location: Travels from country to country

Occupation: Former Romanian Soldier; Now Hitman

Languages: Romanian, English, German, French, Italian, Hungarian, Russian, Turkish

Appearance:

Height: 6'8

Weight: 240lbs

Body Type: Middle Bulky and Atheltic

Skin Color: Warm Beige

Hair Color: Dark Brown

Hair Style: Short on the sides and longer on top, wavy

Eye Color: Pale Grey, almost white, giving the impression he is blind

Face Claim: Stephen James

Clothing: He opts for comfortable clothing mostly because of his job as a hitman and because he is always on the run. He mostly goes with black T-shirts or shirts, a khaki army coat with many pockets, along with camo army pants again with many pockets and black combat boots. He has a long black scarf with the colors of the Romanian flag trimmed along that belonged to his father.

Other features: He has many scars on his broad back and down his arms; his back's scars are covered by tattoos of an eagle and a grim reaper with two swords in an X shape. His has full sleeve tattoos down his arms, picturing all kind of nature scenarios from his country, mountains and wild animals and AK-47's on each forearm. His neck, chest and legs are also covered by tattoos along with his hands. This guy is all inked up. He also has a silver earing on his right ear. He also wears an eyepatch that is covering his scarred eye that he got from a fight with his brother Alexander, the scar mimiking the ones Alexander has, coming from his eyebrow down his eye and over his cheek.

Weapons: Twin Swords, Twin Guns, and throwing knives.

Power/Skills:

Murderous expertise

Brute strength

Skilled usage of weaponry

Skill in hand-to-hand combat

Knifesmanship

Swordsmanship

Multilingual

Cunning Nature

Charisma

Driving expertise

Ruthlessness

Fearlessness

Manipulation

Marksmanship

Master tactician and strategist

Stealth mastery

Symbols: Here is the link to Decebal's symbols

History/Bio:

Decebal was named after a Romanian king by his parents, father Apostol Chirilă, and his mother, Maria Stratulat of Moldovic heritage. They were a poor family that lived in Bucharest during the communist times, a hard period for them. Decebal's father, Apostol was one of the rebels that were against this form of a system of social organization in which all property is owned by the community and each person contributes and receives according to their ability and needs.

Because of this Apostol and Maria, along with their three years old son, Decebal, were dragged into the communistic jails where they were tortured in all kinds of ways from whipping to starvation to being chained into coldness.

Decebal tried to protect his parents even though he was a small child and the army warden that took care of the horrific jails was surprised by the child's braveness and he took him away from his parents, not before forcing him to watch how his parents were killed brutally.

During the rest of his childhood and teenage years, Decebal spent most of his life in the dark underground jail, training with the soldiers, doing hard work. Despite that, the warden thought Decebal about all kinds of languages, cultures, and history. 

'Just because you're a stray dog that doesn't mean you cannot learn to bark and bite.'

In his late teenage years as he grew into an adult man, he got more to the light outside, following the warden wherever he went and did was his so-called 'father' figure did; smoke, drink and got laid with all the ladies.

The warden's words during a drunken late-night:

'You know boy, you will do something big, much bigger than you can imagine. I saw how all these sluts looked at you... You make them fall into your arms like they are desperate whores.'

'Use everything you got; charms, brains, muscles. In this world, there are the ones that walk every inch of the ground as they own it and the ones that follow, all chained. Tell me, boy... Which one you are?'

One of the greatest abilities that Decebal earned during years in the darkness was that he got so used to it that now as an adult, he sees perfectly into the darkness, just like cats do. 

Some people called Decebal 'Lynx'; the moniker originates from the fact that Lynx has exceptional night vision, remarkable hearing, and incredible instincts. The spiritual lesson Lynx carries to you is a reminder to partake of quiet observance, remembering there’s more to the world than what’s accessible through the physical eyes and ears alone.

After communism fell down in Romania, Decebal still maintained the attitude he grew up around; being sadistic, cold, and cruel. People weren't too fond of his attitude; his habits including fighting and torturing people that opposed him, getting laid with other men's wives, strolling down the streets like he owned everything.

He disappeared from Romania when there was a reward on his head to be finally executed. The Romanian army was hot on his trail, turning against him, but he simply vanished.

He strolls from country to country, not having a definitive home and working as a rogue hitman to earn money and to survive.

After a brutal fight between him and his twin little brother, Alexander; the two brothers which resulted in both of them almost dead, they get on an agreement of peace between them, with the help of their third part, their little sister Nadia.

Family: His little brother Alexander Chirilă and his little sister Nadia Nikolina Chirilă

His favorite killing style:

He prefers a kill that will put on a good show, he will shot his victims in both their knees, then he will dismember them with his sharp twin swords.

Personality:

Decebal has two paths of personality; the civilian one and the hitman one, that sometimes cross path depending on the situation at hand. In hi day to day life, he is a charming, handsome man, confident and sure of himself, but also having a modesty edge, just to draw people in closer, because he loves the attention, having a God-like complex.

Despite his childhood, he is a very educated man that speaks many languages, sometimes taking people by surprise, he can even put on fake accents. He also has vast knowledge about other countries history, mostly because that's what his 'father-figure' talked a lot about.

He is a flirt, he simply adores to make women swon by his charming looks and mysterious persona wherever he goes, people always wondering from where he comes. He knows how to sweet-talk people, being extremly manipulative. His looks; big and strong, in his eyes a flaming white glow.

You will rarely see Decebal without his charming smile or dark smirk that makes the ladies sigh and faint. He always puts on a winning attitude, knowing for creating many divorces along his travelings. 

Here goes his saying: 'If the female raised her tail, who I am to deny.'

He has a romantic side, after all he does speaks the romance languages, but it's highly influenced his his Casanova attitude.

He is blunt; this man will tell if you're damn gorgeous or if you're down-right ugly or stupid. He has no problem putting his opinions straight on the table.

His favorite drink: Țuică- is a traditional Romanian spirit that contains ~ 24–65% alcohol by volume (usually 40–55%), prepared only from plums.

His favorite food: Sarma is a dish of vine, cabbage, monk's rhubarb, kale or chard leaves rolled around a filling of grains, like bulgur or rice, minced meat, or both. It is found in the cuisines of the former Ottoman Empire from the Middle East to Southeastern Europe.

His scent: Decebal's scent could be described as a 'game of seduction' with an "exciting rush" of citrus and cool spice top notes. Pungent bergamot "bites" with freshness, revived by cardamom and lavender. Caviar gives a provocative and erotic touch “like a trickle of sweat on a man’s chiseled body.” Masculine and rough notes of tobacco and orris root facilitate the heat of the composition. He has that scent that could be described as smoky confidence irresistible to women.

Other Characteristics:

He is a very good dancer, especially traditional ones and he also knows singing. Attending important parties with his 'father-figure' he learned from the women how to dance and sing. The women basically made him such a charismatic man.

He is a heavy drinker and holds his alcohol like it's water; his moldovic genes showing off. 

He is more of a night person that a day one, mostly because of his very good nocturnal sight.

He is pretty much an Outlaw.

His accent sounds like italian, latin, but with a little bit of russian or another slavic accent. (That's how a Austrian woman described his accent one night)

He is a master at Poker. Another way he earns a lot of money is through poker and plus, he is a master cheater. FUN FACT HERE: He won a man's wife through poker for one night.

He is a sword swallower, bonus he has no gag reflex.

He also loves to smoke from his pipe.

============================================

There lived a certain man in Romania long ago

He was big and strong, in his eyes a flaming glow

Most people look at him with terror and with fear

But to Bucharest chicks he was such a lovely dear

He could preach the Bible like a preacher

Full of ecstasy and fire

But he also was the kind of teacher

Women would desire

DE DE DECEBAL

Lover of the ROMANIAN queen

There was a cat that really was gone

DE DE DECEBAL

Romania's greatest love machine

It was a shame how he carried on

He ruled the Romanian land and never mind the Tsar

But the kazachok he danced really wunderbar

In all affairs of state he was the man to please

But he was real great when he had a girl to squeeze

For the queen he was no wheeler dealer

Though she'd heard the things he'd done

She believed he was a holy healer

Who would heal her son

DE DE DECEBAL

Lover of the Romanian queen

There was a cat that really was gone

DE DE DECEBAL

Romania's greatest love machine

It was a shame how he carried on

(This is an interpretation of the song ‘Rasputin’ by Boney M, mostly because the song inspired me into creating him)

For power became known to more and more people

The demands to do something about this outrageous

Man became louder and louder

"This man's just got to go!" declared his enemies

But the ladies begged "Don't you try to do it, please"

No doubt this Decebal had lots of hidden charms

Though he was a brute they just fell into his arms

Then one night some men of higher standing

Set a trap, they're not to blame

"Come to visit us" they kept demanding

And he really came

DE DE DECEBAL

Lover of the Romanian queen

They put some poison into his țuică

DE DE DECEBAL

Romania's greatest love machine

He drank it all and said "I feel fine"

DE DE DECEBAL

Lover of the Romanian queen

They didn't quit, they wanted his head

DE DE DECEBAL

Romania's greatest love machine

[Spoken:] Oh, those Romanians...

=======================================================

But when his drinking and lusting and his hunger

[octupus-on-the-moon]

Ok, I'm going to say this one time and never again.

We had Loki now for like 11 Years and he never got an love interest at all. Sooner or later it would happen and I don't quite understand why everyone is now so freaked out about it. Of course it would have been cool to just have a friendship and or something platonic, but I also think that people sat down to write the script develop the story and develop the character, it took a lot of time a lot of patients. And i really think it was not a mindless decision that Sylvie and Loki would have a romantic relationship.

Hiddleston was executive producer and I think he by far knows Loki better then anyone around here, you can see it in every interview, he truly cares about his role.

Of course I don't know everything, but I would say that giving Loki a love interest was agreed with Hiddleston. Now coming to my point, of course, giving everyone representation is important and everyone has a right to protest and talk about it openly, I don't have nothing against that.

But at the end of the day if someone who has put so much effort in something, so much time and thought then I think we should accept that too, even if it's just the classical woman man relationship in a romantic way.

And I think Sylvies and Lokis relationship is by far FOR LOKI as a character, so much more meaningful than another kind of love interest he could have had.

Since we have known Loki he was uncomfortable with himself as a person, as a brother, as a son. Then he found out that he is a frost giant and called himself a monster. Loki maybe a confident asshole, but that's just fasade to cover up the fact that he hates himself and that he thinks that he is not worth anything.

Now that's what I think is so ingenious about his relationship with Sylvie. They are one and the same person, maybe a little different, but basically the same and they learned to love each other.

In other words Loki symbolically is loving himself, for the way he is, for his ambitious, his magic, his person.

And at the end of the day, that's also a pretty powerful massage in a world were almost no one is happy, because nobody loves themselves. One is always, to thick or to thin, to tall or to small, to smart or to dumb, to rich or to poor, to pretentious or to shy, to out going or to in going, to gay or to straight, to religious or not religious at all, to dark skinned or to light skinned.

Nothing is right nothing is wrong, there is a little gap of perfect people everyone wants to be and worships and that's it.

And even that people aren't happy because they don't love themselves either.

I repeat again representation is important, of course it is, media influences a lot, if not everything. But Marvel has always been against any other kind of representation, hating what is already released is stupid, hating actors for their not lgtbq+ characters is stupid, not giving constructive criticism is stupid.

But at least you could recognize one thing. Marvel gave black people representation, Hello? We have a dark skinned Captain America now.

Marvel gave woman representation. We have a badass Captain Marvel who almost destroyed Thanos alone. And we got the Dora Milaje badass black woman warriors, who are in charge of protecting a whole country.

And I can truly see in the future that Marvel will give others representation soon enough. Now practically everything is open with the multiverse.

We need to have patients, we need to be constructive with our criticism and we need to understand, that it's a process. People working in this movies are much older than the actual target audience, they are learning too, about how the world has changed since they were our age.

You can hate me as much as you want for this, but that is just my honest opinion.

[alistonjdrake]

June’s World Building Cheat Sheet Part Eight: I Didn’t Vote For You

*At least I think it’s part eight and it’s actually been five months since my last relevant post!

I’m kind of ashamed this didn’t occur to me when I was writing my first group of world building posts. It’s something I think about constantly in the genre I write and something I’ve definitely noticed other people struggle with because to some it’s not something that seems immediately apparent or like it needs to be fleshed out. 

What am I talking about?

When I first started sharing my fantasy stories online one of the most popular plots for other people in, near, and around my social circle was the story of the rebellion. Whether it’s the rebel princess or the dashing fugitive someone in these stories was always rebelling. I can understand why. Revolution is a pretty compelling story. However it was never clear what they were rebelling for, what they were rebelling against (besides a vague “monarchy” or something similar), and most importantly what they were going to do/reform if they won. 

That’s right people, buckle in we’re taking a deep dive into politics.

What is a Political Ideology?

In part five of this series I did go over creating political divides a little but that was mostly focused on a much larger scope (like nation vs nation). And while nation vs nation can still apply here we’re gonna be looking more at creating parties and ideology. So first, let’s borrow from wikipedia and answer this header question. 

In social studies, a political ideology is a certain set of ethical ideals, principles, doctrines, myths or symbols of a social movement, institution, class or large group that explains how society should work and offers some political and cultural blueprint for a certain social order.

Okay I know that may sound like a tall order so let’s break that down.

So what are politics? Politics are the activities associated with the governance of a country. So think of some of the things mentioned in my previous political post like ensuring clean water or sanitation needs (if that becomes a government responsibility in your setting). Now I know in that post I mentioned disagreements and what people would argue over and when forming a political party that is exactly how you should think about it. Take one of those governing activities and think of ways people would either debate or completely disagree over how or why it should be done. 

I tend to work backwards when it comes to this. To put it simply, and in terms of my own writing, Valera came before the Rusnaks. 

In my setting the “Rusnaks” are a defined ideology and party that exists throughout the continents, named after the man credited for either creating it or popularizing it for the masses. But the character Valera who first shows up in the stories is what I used to create the ideology before I gave it a backstory and more defined characteristics. It was easy to do it this way for me because Valera, at his core, was meant to be the complete opposite of the “norm” presented in the rest of the setting. As most of the characters are nobility, he was not. Most of the characters came from a very privileged background, he did not. Most of the characters were either allied with or had appreciation to faith and the church, he did not. 

When creating a rebel (or a rebellion to back them) it’s not enough to say they simply don’t like the monarchy. Why? What are their specific grievances with the current system in place? Much ideology sometimes comes in the space of a need that isn’t being fulfilled. What does this group plan to accomplish and if they are successful, how do they hope to change the system they dislike?  

On the other side, the opposing system should also be fleshed out, especially in settings when the government is said to be supremely powerful and oppressive and yet readers are never really told what the people in power want. Political parties have an agenda. They have a goal in mind. It’s good to say there’s an disagreement present but it’s not really a fleshed out argument if neither side seems to know what they’ll do if they win. 

Take it in pieces. Nothing that isn’t relevant should very grace the page but if your story has anything to do with politics like mine, there are probably certain issues the characters are aware of and may want to address. Use those issues that are already affecting the plot to expand on the ideologies that may be present/influencing the world they live in. 

A member of the royal family in my book is always aware and wary of growing support of Rusnak parties since one of their goals is to get rid of monarchy. A local lord might pay more attention to his charitable works and support of the public if he knows a local group is growing loud over class injustice. 

Agree to Disagree 

So I’ve started to touch on these points a little but I’m just gonna hammer them in some more. This, for the most part, is what I look at when grouping together political stances in my settings to create an ideology or party. Now, in the case that this party exists as a reaction to a system that’s in place my first question is usually:

What is their problem with this?

In fairness, this is not always the most basic question to answer but yeah, what is it? They live in a dystopian world or they’re fantasy peasants who don’t like their liege. Okay, but what specifically? What are their grievances? Is it a lack of representation for a certain group in the governing party (i.e voting rights or elected positions)? Is it the distribution of wealth (or lack thereof)? Are they mad because their local government hasn’t fixed the main road in a while? Is it not the government as a whole but just who is currently in charge of it?

What is their proposed solution?

You have a problem, now how do they want to fix it? Usually my problem with so many rebellion stories is the solution is “they want to get rid of the monarchy” and okay, then what? What do they want to replace it with? because multiple groups can stem from that vague statement and have completely different ideas of what they should do in the aftermath. 

What influenced them?

It had to stem from somewhere. As a collective did they wake up one day and suddenly realize they had different ideas than other people? Did they read a book they agreed with? Did another movement suddenly spark the growth and spread of people to sprout different ideologies (let us go back to the Enlightenment)? Did the advancement of society allow for the birth of a new class or different types of people joining an old one (and thus their needs changed)?

Hopefully by now you have a basic outline. At every point, it’s fun (and probably helpful for the setting) to think about why someone would oppose this when creating a group. Personally I think it’s very easy to make one group abundantly right and the other very wrong (usually in the case of dystopian governments) but it’s important to remember as readers we’re supposed to believe these groups gained popularity. That something about it as charming enough to get people on board and they supported it. What about it drew people in that no one has rebelled before or that other fractions have been largely unpopular or unsuccessful. 

To tie a bow on it, if you think about politics in your setting as problem solving it should become easier to come up with different ideas as to how to solve that problem. Those solutions can serve as the basis for the different ideologies or political parties present either among your characters or just in the background to give that world that lovely, June-approved, lived in feel. 

[theprettyinthemundane]

Greek Culture and Why It’s Essential to Better Understanding the Greek Gods (Examining Pan as an Example)

                 Everyone knows the Greek gods are Greek, but what does that mean to us? I think that understanding the culture around the Greek gods is extremely helpful for understanding them better and I’d like to use the Greek god Pan as an example to illustrate just how important I think this is. Greek culture (both ancient and modern) is just as interesting and worth studying too, which is another reason I wanted to talk about it.

                A quick note: The ancient word was incredibly diverse and covered a long period of time. Even between cities practices, myths, and views could be very different, so it is important to point out that there is no “one way” to see most things, even though there are some general things people do agree on. Even the genealogy of gods sometimes varied depending on location and gods themselves could be understood differently across Greece both in location and time (1, 2, 3, 4). Myths were often stories made to be entertaining, not to accurately and completely reflect how gods were seen in a religious sense, so the view of a god that a myth and religious text portrayed were often different. For some deities, understanding Greek culture better may make the difference between a loose group of unrelated domains vs a constellation of domains that paint a bigger, more cohesive picture of how they were viewed, like how something may be greater than the sum of its parts. This is how I think of Pan and his domains. Of course, it is also important to note that Pan is extremely complex, and this post is not meant to be comprehensive, just informative. With that said, let’s talk about the goat god Pan and Greek culture.

            Why Pan? Well, unlike many gods whose origins lay in mythical places, Pan’s origin is Arcadia, a region in the south of Greece (this region has changed since ancient times, but it remains as its own region) (1, 2, 5, 6, 7, 8, 9) . Why does this matter? Because Pan was viewed as an Arcadian (god); even in Thebes and in Athens worshipers connected Pan to this region (1, 2, 4, 9, 10, 11). In other words, how the Greeks viewed Arcadia as a region and culture influenced how they viewed and understood Pan.

            Then first, we should ask, what is Arcadia?

(credit: https://en.wikipedia.org/wiki/Arcadia)

(source: 12)

              Arcadia (Αρκαδία) is a mountainous region in the Peloponnese whose capital is Tripoli (Τρίπολη ) (12).  In ancient times it was seen as a place of harsh wilderness (forests, plains, glens) where most people were shepherds (1, 5). It was “out of the way”, “hard to reach”, even viewed as “spooky” (5) and “uncivilized” (1, 13). This is related to many, if not all of Pan’s domains. In fact, Pan was known as the “ruler of Arcadia” (1, 5, 13) and it was even said that,    

“The region was sometimes called Panland - in Greek, Pania. Pan was as rough as the country, half goat, half god…” (5)  

           Arcadia is the earliest center of Pan’s worship and it was done in formal sanctuaries (1,2, 14). After the Battle of Marathon in 490 BCE, Pan’s worship spread more widely to the rest of the Greek world (1, 6, 9). After this many people (in Thebes and Athens for example) worshiped Pan in grottos or caves (1, 2, 4, 10, 11). This difference actually reflects how people in those places connected Pan and Arcadia; for them, a cave or grotto  was a wild place, like Arcadia, and since they had few other “wild” spaces this space kept Pan and his connection to the natural world within their worship. A scholar on Pan noted that “his lodging (in a cave at the Acropolis) marks him as connected to origins”(1) and others have pointed out this as well (10, 11) . This makes it clear that this cultural connection was important for how they worshiped and thought of Pan.

The first example: Pan’s relation to music? That was related to Pan being Arcadian;

“The simple, moving music of the shepherds (from Arcadia) gained a wide appreciation over all the Greek world. In time, this pastoral … music began to inspire highly educated poets …” (13)

“The one quality that softened the brutishness of Arcadian life was music, whether performed by the goatherds or played by Pan”(13).

Music is a fundamental part of Pan and he has been called: “a lover of merry noise” (Homeric Hymn to Pan) “a most accomplished dancer, a god of noise and movement, beautiful dancer”, and a “lord of the dances of the gods” (1). Just as music was a big part of other Greeks viewed Arcadia, it was a big part of how people saw Pan; Pan was even said to have created the panpipes and music was an essential part of his cult (1, 14, 15). In fact, the idea that Pan could manifest as music and in natural sounds was popular at times (9, 11). This isn’t to say music was unique to Pan (it wasn’t) or that music was not used to worship other deities (it was) but that music was an essential part of how ancients understood Pan, so we should be aware of that and the potential significance it has.  

           Music was an essential part of Greek and Arcadian education, even according to Plato and Socrates (1, 16). While I do not study the classics, I do think that Pan’s connection to music is symbolic of something more than just “pretty sounds” although I do not feel confident enough in my understanding to make any specific connections to his other domains or aspects. Music was essential to the ancient Greeks and was thought to be important for character / personal development, it was thought to deeply affect the soul and I think this is also reflected in Epidaurus’ hymn to Pan;

“The Epidaurus Hymn reminds us that Pan's music and dance restore a threatened cohesion. Dance, laughter, and noise become, in the festival, signs of a recovered closeness (1).” (cohension was threatened by a recent war)

          Just as music was thought to affect people deeply, Pan also was associated with panic and mania (related to possession), which similarly has a strong affect on people spiritually and emotionally (1). If I were to make any connections between his musical domain and another domain, I would say that Pan’s domain of music seems connected to his domain of nature since his style of dance was called “animalistic”, he was called a “leaper” and for the fact that he was believed to be able to manifest himself in natural sounds, like was mentioned before (1, 9, 11).

A second example: Pan’s nature as a goat/shepherd and a god of fertility is reflective of Arcadia’s reliance on shepherding to sustain life: Pan has been called “divine-he-goat-shepherd”, “indispensable patron of fertility...” and “keeper and protector of the flocks” (1). Pan was a very positive figure because he was thought to help sustain life itself; as one scholar points out, Arcadia is “first and foremost a land fit for herding.” (1).  One noticeably unique thing about Pan compared to the other Greek gods is how he is part goat. Interestingly, Pan was first depicted as a he-goat standing upright, not as a satyr and it seems that Pan was only depicted as a satyr (at least widely) after his cult left Arcadia (1, 17). If one was not aware of how central goats were to Greek (especially Arcadian) society then this may seem random or superficial, but it clearly is not.

             Pan was a fertility god, but this domain is concerned with more than just lust and sex (even though these were important aspects of Pan) but also abundance both sexual and platonic; for example, the birth of twin goats (as opposed to a single goat) was attributed to Pan (1). Another example of this connection between sex and (platonic/ nonsexual) abundance is the description of the meaning of a dream where Pan and the dreamer have sex written by Atermidorus in his Interpretation of Dreams in the 2nd century CE:

“If he (Pan) gives someone something or has sexual intercourse with someone, it fortells great profit, especially if he does not weigh that person down” (18)

This theme of abundance and goats/fertility is related to Pan’s domain of rustic music as well: In a hymn found in the Palentine Anthology, a resource that showed the traditions of herdsmen and shepherds, one poem asks for Pan to play his pipes so that the she-goats might give them lots of milk;

“The poet here attributes to the god's music a power elsewhere expressed in the image of a sexual union with animals. The "divine message" (or "sacred voice": hieron phatin) of the syrinx brings about an abundance of milk. (1)”

            Pan’s domain of shepherding/goats is also related to his role as a god of hunting. Unlike Artemis, Pan’s domain of hunting was only concerned with the type of hunting shepherds would do, that is, hunting small game and hunting to protect the flock (1). Goats were also associated with hunting because mountain goats were hunted for sport (1). In fact, “Arcadians thought Pan responsible for the abundance, and correspondingly for the scarcity, of meat, whether obtained by hunting or by herding” (1). Without understanding this distinction someone might mistakenly think Pan and Artemis were interchangeable in hunting.

        Because we see such a concrete connection here drawn by an ancient Greek, Atermidorus, I think it is more than reasonable to say that the fertility domain was also connected to abundance more generally. Another example is in the story of how Artemis visited Pan in Arcadia and he gifted her hounds which he had bred himself (15, 19). Despite the mention of how the dogs had recently given birth, in this story Pan is “devoid of eroticism”, which further supports this connection between fertility and nonsexual abundance (19.). The hounds represent the fertility aspect of Pan (they recently gave birth) and platonic/non-sexual abundance (Pan gifted them to Artemis and as the author notes, the story is “devoid of eroticism”). Hunting (done by shepherds, associated with Pan) also served to protect the flock, protecting this abundance (1).

Conclusion: Without the context of Arcadia as Pan’s origin, it is hard to have as deep an understanding of him, which I think shows us why culture is also important to learn about.  Without this context people may misunderstand Pan’s domains of fertility/shepherding, hunting music, and nature as disconnected or random, however by understanding Pan’s cultural context (Arcadia / Greece) a clearer and more meaningful image can be seen. These elements are closely related and interrelated, which I think is important because seeing these domains as “somewhat connected” is significantly different than seeing them as “interconnected”.

Here’s a table to summarize what I think we can better understand about Pan with this knowledge:

A disclaimer: This isn’t meant to be all encompassing as Pan is an extremely complex god. I have only focused on the way Pan was viewed by some ancient Greeks, more was written about Pan later. Pan also was not simply a “positive”, or “friendly” god, he was also perceived as terrifying and that aspect of Pan shouldn’t be forgotten or underappreciated. This post was designed to show how important culture is and so I have focused on aspects of Pan that help us see this clearly. That said, I do feel I have touched on most of Pan’s major domains (fertility/shepherding/goats, hunting, music/dance, nature, and panic). I have tried to give a better sense of Pan using context, not take anything out of context, so if you think I have made a mistake or misunderstood anything then please let me know. I am not a classics student, so there is a chance I misinterpreted something along the way. This post serves two purposes: to demonstrate how Greek culture is important for understanding the Greek gods and to shed some more detailed light onto Pan (which requires the first bit). I also do not think everyone interested in Greek gods or mythology needs to write long posts like these, I just want to emphasize that thinking holistically is important. We should just be aware of how everything is interconnected and be open to learning more about different things that can help improve our understanding.

Citations:

1 : Borgeaud, P., & Atlass, K. (1988). The cult of Pan in ancient Greece (p. 58). Chicago: University of Chicago Press. ISBN 13: 9780226065953

2: Ogden, D. (Ed.). (2010). A companion to Greek religion. John Wiley & Sons.

3: Zolotnikova, O. A. (2017). Becoming Classical Artemis: A Glimpse at the Evolution of the Goddess as Traced in Ancient Arcadia. Journal of Arts and Humanities, 6(5), 08-20. Doi: 10.18533/journal.v6i4.1157

4: David Gilman Romano, & Mary E. Voyatzis. (2014). Mt. Lykaion Excavation and Survey Project, Part 1: The Upper Sanctuary. Hesperia: The Journal of the American School of Classical Studies at Athens, 83(4), 569-652. doi:10.2972/hesperia.83.4.0569 doi: 10.2972/hesperia.83.4.0569

5: WILLS, G. (1998). The Real Arcadia. The American Scholar, 67(3), 15-27. Retrieved May 31, 2020, from www.jstor.org/stable/41212784

6:  GARTZIOU-TATTI, A. (2013). GODS, HEROES, AND THE BATTLE OF MARATHON. Bulletin of the Institute of Classical Studies. Supplement, (124), 91-110. Retrieved May 31, 2020, from www.jstor.org/stable/44216258

7: Yioutsos, N. P. (2014). Pan Rituals of Ancient Greece: a multi-Sensory Body Experience. In Archaeoacoustıcs: The Archaeology of Sound, Publication of the 2014 Conference in Malta (Vol. 57).

8: Parker, R. (2011). Analyzing Greek Gods. In On Greek Religion (pp. 64-102). Ithaca; London: Cornell University Press. doi:10.7591/j.ctt7zgrm.7

9: Haldane, J. (1968). Pindar and Pan: Frs. 95-100 Snell. Phoenix, 22(1), 18-31. doi:10.2307/1087034

10: Yioutsos, N., Kamaris, G., Kaleris, K., Papadakos, C., & Mourjopoulos, J. (2018). Archaeoacoustic Research on Caves dedicated to Pan and the Nymphs in Attica, Greece.

11: Yioutsos NP. (2019) Pan Rituals of Ancient Greece Revisited. In: Büster L., Warmenbol E., Mlekuž D. (eds) Between Worlds. Springer, Cham. Doi: 10.1007/978-3-319-99022-4_7

12: Arcadia. The Editors of Encyclopaedia Britannica - https://www.britannica.com/place/Arcadia-region-Greece

13: Ruff, A. (2015). The Classical Origins of Arcadia. In Arcadian Visions: Pastoral Influences on Poetry, Painting and the Design of Landscape (pp. 1-14). Oxbow Books. Retrieved May 31, 2020, from www.jstor.org/stable/j.ctt19704rw.5 , eISBN: 978-1-909686-69-4

14: Yioutsos, N. P. (2014). Pan Rituals of Ancient Greece: a Multi-Sensory Body Experience. In Archaeoacoustıcs: The Archaeology of Sound, Publication of the 2014 Conference in Malta (Vol. 57).

15: Rinkevich, T. E. (1973). Comic structure in Theocritus 1-7 (Doctoral dissertation, The Ohio State University).

16: Stamou, L. (2002). Plato and Aristotle on music and music education: Lessons from ancient Greece. International Journal of Music Education, (1), 3-16.

17: Campbell, G. L. (Ed.). (2014). The Oxford handbook of animals in classical thought and life. Oxford Handbooks. DOI: 10.1093/oxfordhb/9780199589425.001.0001 , ISBN: 9780199589425

18: Stewart, C. (2002). Erotic Dreams and Nightmares from Antiquity to the Present. The Journal of the Royal Anthropological Institute, 8(2), 279-309. Retrieved May 31, 2020, from www.jstor.org/stable/3134476

19: Faulkner, A. (2013). Et in Arcadia Diana: An Encounter with Pan in Callimachus’ Hymn to Artemis. Classical Philology, 108(3), 223-234. doi:10.1086/672004

Homeric Hymn to Pan: http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0138%3Ahymn%3D19

[orihara-infobroker]

Omnyodo and Onmyoji

Japan has a unique and diverse mythology that draws from different sources and it's quite fascinating to look at. This is a stream-lined rundown on how Onmyodo came to be.

Shinto is inherently Japanese, an animistic/shamanistic religion based on the concept that there are spirits everywhere. They call their gods "The Eight Million Kami" because to them there is an unknowable number of potential kami in the world. Shinto is both widespread and also localized. Local shrines may be dedicated to kami known only to that region, while some kami are known and revered across the country. Kami are neither wholly good nor evil, possessing the characteristics of both and inherently connected to nature, to the living and dying world. They are often looked at as beings humans should aspire to be, existing in harmony with the world. They are hidden from the mortal world, existing in their own spirit world that is a mirror to ours, separate yet connected. Shinto is led by priests, those whose role is to be an intermediary between spirit and material.

Buddhism was brought to Japan from China. A religion that deals in reincarnation and dharmic balance, it urges humanity to strive for purity, a wholly pure and good existence by which one might eventually achieve enlightenment and become a bodhisattva. Buddhism has distinct places that are equivalent to heaven and hell, and how you live your life reflects how you will be reincarnated. You may be reincarnated on earth, as any living being, or you may ascend to heaven, or descend to hell. There are a great many sects of Buddhism and it can be quite complicated to navigate. I've only a cursory understanding of it as it isn't my religion and I am not drawn to ascetic lifestyles. Buddhism does not have priests. Buddhism is a path you dedicate your life to and so they have monks. 

There is a saying in Japan: "Married Shinto, buried Buddhist." This is the reflection of these religions. Shinto is about life, Buddhism is about death. 

Onmyodo is not a religion. It is an occult practice that mixes the elements of a variety of mystical practices. An onmyoji is an occultist, not a priest or a monk. And Onmyodo primarily roots itself in the practice of Taoism, another Chinese influence on Japan. 

Taoism is, similarly to Shinto, a way of living harmoniously in the world. It's quite old and quite complicated, having a very long time to grow and change. The important parts here are that Taoism uses cosmology to determine the best path for humans - fortune-telling, feng shui and horoscopes - and it holds up an elemental balance using five elements - earth, water, fire, wood, and metal.

These are important because the roots of Omyodo lie in the practices of fortune-telling, reading the stars, and using the elemental energies. But they also lean into Shinto's native animism, involving spirit magic in the mix. So not only do Onmyoji tell fortunes and read the stars, but they can also summon or banish spirits. 

A side note here: while it is possible for Priests to exorcise spirits, it is not usually within their realm of ability to summon them. They can call upon the kami of their shrine but they cannot bend one to their will.

Onmyoji, on the other hand, were known for their ability to call on the spirits, often forming contracts with them. These are most often referred to as shikigami. The most common tools that Onbmyoji use are the five-pointed star symbolizing the balance of the five elements, combined with the ofuda, Japanese talismans commonly seen in Shinto, though the ones used by Onmyoji often used constellations rather than invocations of the kami. They also used hand mudra - taken from Buddhist influences - called the Kuji-in/Kuji-kiri. There were nine syllables to the mudra the Onmyoji used:

Rin (臨) - The strength of mind and body

Kyō (兵) - Direction of energy

Tō (闘) - Harmony with the universe

Sha (者) - Healing yourself or others

Kai (皆)- Premonition of danger

Jin (陣) - Reading the thoughts of others

Retsu (列) - Mastery of Time and Space

Zai (在) - Control over the elements of Nature

Zen (前) - Lighting and speed

Onmyodo was very popular in the Heian era but really reached its height with Abe no Seimei who was said to be particularly skilled and charismatic. The Tsuchimikado clan, whom he is either attributed to being the head of, continued his legacy, keeping close ties with the Emperors for centuries until 1868 when Onmyodo was outlawed and the Tsuchimikado clan was disowned by the Court.

So this is a very truncated version. It’s a centuries-old practice that mixes together other centuries-old practices to create something unique but information on it is not as accurate or available as on the practices that it stole from because of it being outlawed. The Tsuchimikado clan had actually developed a rigid curriculum of sorts with which to teach the practice but much of that was effectively lost or fragmented. I find it quite fascinating, especially where it overlaps and where it goes in its own direction. There are quite a few animes that incorporate onmyodo elements or characters:

Tokyo Babylon

Tokyo Ravens

Yami no Matsuei

Nurarihyon no Mago

A Certain Magical Index

Shaman King

Shounen Onmyoji

Natsume’s Book of Friends

Twin  Star Exorcists

Ao no Exorcist

And really, most anime that get into yokai also tend to touch on onmyoji. The Onmyoji mobile game is getting an anime in 2020:

So yeah, fun and excitement. I’m going to eventually follow up this post with some related thoughts on how I headcanon this working in the Harry Potter-verse because I’ve been a bit preoccupied with the thought. And I also am going to do a small post talking about the kotodama at some point which is a completely separate weird Japanese magic thing. This one will probably be much later because it’s still kind of a secret in Shadow and Light :3

[orsuliya]

Since you do such detailed asks and give a well thought out answers, I want to know your opinion on the Ma brothers. Zilong, Zilu and Zitan. What do you think about them?

Ah, our three intrepid Ma princes... Wait a minute, why three? It's not like we're in a fairytale and while Zitan is certainly a fool, he's not nearly good-hearted enough to play the role of Ivan the Fool.

But seriously, it seems mightily suspicious of Daddy Emperor to sire three sons in quick succession and then, as far as we know, never ever procreate again. He's an Emperor and obviously fertile, so how come the imperial nursery remains so glaringly empty? Could it be that he has no concubines at all except for his beloved Xie Guifei?

Or... has the Empress been aborting babies left and right, and poisoning her way through swathes of women to boot? Not impossible, knowing her temperament, but it doesn't really make sense within the dynamic presented in the drama. Drama!Emperor hates, hates, hates the Wangs and especially his wife, so it's hard to believe he wouldn't have used this juicy tidbit to weaken their influence. In the book Wanru is allowed to run roughshod over Potato's concubines and feed them contraceptives willy-nilly, but that's because Potato doesn't really care. The Emperor, as we see him in the drama, would have found reason enough to care upon being given such an obvious opening to start a smear campaign against his favourite enemy. Stymying the imperial bloodline?! Why, I think it might be a crime and easily provable one at that!

This leaves the other option - perhaps there aren't any concubines in the palace or, if there are, they're not being, pardon my French, bred. It's not that multiple imperial concubines of lower rank aren't a thing in this universe - Potato gets at least two and possibly more after sitting on the throne for a relatively short time. It's a pity we don't know what's the policy on entering the palace. Is there a multi-stage selection process? There is certainly no indication of that! Xie Guifei might have been an attempt to balance out a Wang Empress, Seagull was Zitan's impromptu choice, Miss Screecher was meant to be chosen by Potato outside of any organized selection and the same could be true for Potato's other concubines. Our only outlier might be Zilu's Mom and even then it's rather doubtful she was ever processed properly as it would have required a lot of effort and luck to conceal an already existing pregnancy. No, Zilu's Mom was most probably a gift of 'peace' from one brother to another.

My guess as to what Daddy Emperor is thinking? If Zitan has been his preferred heir from the start and he very well might have been since it never had anything to do with Zitan's actual qualities, then it's possible that he simply didn't protest - or did so in a purely symbolic manner - when the Wangs started limiting his reproductive chances. Why breed competition? We already know he has no use for any sons lacking powerful backing of their maternal clans, see: his treatment of Zilu. And any son with such backing would be a direct threat to his favourite, not to mention a potential upset to the carefully maitained Wang-Ma-Xie balance.

...or it could be that Daddy Emperor really loved Xie Guifei and wanted no other. Seeing as he's strongly implied to spend his nights in her chambers twenty years after their only and last kid was born, this would make a staggering amount of sense. The same principle applies - he'd still not protest Wang tyranny over the inner courts, only he'd do it for Xie Guifei and not for Zitan. It does seem to fit with Daddy Emperor's general mindset. Let the others do open battle and exert all that effort, he'll just sit there, look sage and reap the benefits!

After this rather senseless and overly long prelude, let's finally get to answering your question. Mind you, those are not going to be organized, thoughtful opinions, just my subjective impressions on each and every Ma Prince.

His Imperial Spudness Ma Zilong

The not-so-little Potato that could not, but still tried! Let's start with the elephant in the room, namely his rapist tendencies or the lack thereof. See, I'm convinced that raping Awu wasn't actually in the cards, at least as far as Potato was concerned. Compromising her, sure, just lure her into an emptied palace and cry wolf. Outright raping her, no, if only because Potato is way, way too weak and soft to execute a plan this ruthless in its entirety. Besides, harming Awu to this extent would be risky as all hell and sure to provoke authentic wrath in both Daddy Emperor and Daddy Wang. The Empress is not stupid enough to give her husband the perfect excuse to do away with her son nor to alienate her main supporter in the same move. Even if she was able to force a marriage in the first place, Potato would be pretty much done for politically unless both Daddies suddenly dropped dead. The most she would be able to get would be a grandson in a privileged position, so she'd be back to square one, only with one more female to share power with. No, what Potato did and what Wanru suffered was mostly courtesy of Zilu's suspicious drugs. Not to say Potato isn't a rapist all the same, but I'd argue for diminished capacity.

As for Potato himself in his shining spuddy glory, I truly pity the man. From time to time we see glimpses of the ruler he could have become and whom he still tries to be, and it becomes clear that there was something there worth cultivating. The problem is that nobody could be bothered to even try. Daddy Emperor certainly didn't, leaving Potato pretty much to his own devices and believe me, it had nothing to do with his talents or the lack thereof. Do you remember that lovely family scene at the beginning of episode 1.? You know, the one where Awu, Zilu and Zitan lure Zilong into a trap and then leave him there to lie amidst icy rocks in the middle of winter? He could have easily hit his head and died right then and there. Or get pneumonia and die a little bit later. Does the Emperor care? No, not at all! Baby!Awu isn't that good of a liar, but even if she was, perhaps it would behoove him to actually investigate. Not from any kind of fatherly feeling, let's not expect miracles, but perhaps from political expediency? Yeah, no. And I doubt that was the only incident of this kind. Potato must have known even this early on that his father doesn't care for him, not even like an Emperor should for his eldest male scion. Moreover, there is no way Mommy Dearest wouldn't harp on about the Emperor's negligence in private, further affirming this awful truth in Potato's mind.

Mommy Dearest might care, but her care is no less toxic than Daddy Emperor's open negligence. Potato is her key to power, her only way to win the game of thrones and make all her sacrifices worthwhile... and this is exactly how she treats him. Oh, she loves him well enough as her son, clings to him in his role as Crown Prince and then Emperor, but she doesn't actually like him as a person. And oh boy, does it show! I get it, he's not this perfect shining prince that would justify her long years of suffering, but then I have this feeling she gave up on him the moment he showed himself to be perfectly average. Sure, she offers him (toxic) love and (conditional) support like nobody's business, but there's always this nasty undertone in their relationship. Mommy knows best, don't even try to think on your own, listen to me and only me. It's no wonder that Potato thinks he's perfectly useless and doesn't bother to try and better himself, if he knows that even his own mother sees him as a perfect nincompoop. Uncle Wang's open derision isn't helpful either!

And yet Potato is, deep down, a decent enough man. Better than the average Ma, I'd say. I mean, he has some scruples! They might be really, really tiny, but they're there, even as he's being subjected to a barrage of mental attacks from both his mother and his wife. Why, given proper support and a competent cabinet, he'd make a somewhat ineffective, but decent enough ruler, his handling of the flood crisis shows us this much. Potato's best quality is that he really tries. Oh, he fails, but he's no Zitan, content to sit in his room and mope while the country goes to hell. When it's important, he can make actual decisions! Which he may then go back on (or not), but it still counts. Also, he's not petty. Like, at all. He'd like nothing better than for everybody to get along and have lots and lots of plump babies. Even his decision to do away with Xiao Qi is not motivated by jealousy, no matter how hard Wanru and Mommy Dearest keep pressing on that particular button.

Is he childish? Yes. But then, he's never been given any real responsibility and for years and years languished under the care of a helicopter parent who never forced him to man up nor face actual reality, hence his disillusionment with Wanru, once she stops being this perfect smiling automaton. Is he selfish? Oh yes and it shows nowhere better than in his last will. But even so, such selfishness is pretty much par for the course when it comes to the Mas and at least Potato didn't wreck a country for the sake of personal spite, which puts him way ahead of his father, uncle Jianning and bro Zitan. And perhaps even cousin Zilu, who cared less for the country than for Huanmi.

At the end of the day, our humble root vegetable is a tragic figure. I can't help but pity him every time we see him bloom under somebody's attention. Give that man some respect and he'll pay you back with the same, weird comments about killing you nothwithstanding. And he did give us Miracle Baby, Our Lord and Saviour!

Our beloved Groomzilla, Ma Zilu

Daddy Emperor must have been stupid, high, blind or all of those in order to let Zilu and his beautiful brain slip through his fingers. He was right there, that defenseless, motherless boy and ripe for the taking too! If after years and years of being neglected and treated as an afterthought, after suffering an obvious slight of losing his love on Daddy Wang's say-so, after being allowed to supposedly run wild with no attempt at parental intervention... If after all this Zilu still craved his father's approval in whatever form he could get it, craved it so much that he allowed himself to be led into an obvious trap, then what kind of loyalty might he have offered, had somebody bothered to nurture him properly?

And it's not like his talents were easy to sweep under the rug. It's not until after he's an adult that Zilu takes up the pretense of being a never-do-well; during his adolescence he was still giving it his all, hoping in vain that his father might notice and offer him some sweet, sweet parental validation. Alas. The lack of powerful backing from his maternal family is an obstacle, but not if one actively tries to fight against consort kin clans and their influence. Or is it only the Wangs who are the enemy? Must be so, otherwise why the hell would one not see Zilu's relative independence as his greatest asset? You don't even have to make him Crown Prince to use him; just instill some sense of pride and validation, feed his need for attention and put him behind Zitan's throne. Okay, maybe don't do that last thing, deadly brotherly competition being a whole thing in palace environments, but still, use him! But no, Huanmi remained the only person to actually see and appreciate Zilu for what he was. Is it any wonder he was so absolutely loyal to her that even when it looked like she had attacked him with lethal intent, he still cared about her safety most of all?

And is it any wonder that he expedited his considerable will and brainpower solely for her benefit? I was absolutely floored when I realized that becoming an Emperor wasn't actually his ultimate goal - marrying Huanmi in the biggest, reddest wedding possible was! Even if he needed to drag the more august guests in at swordpoint. Not to say he didn't want to take the throne for his own sake; he absolutely did, but only as far as it served as a big fat fuck you to every person who kept dismissing him out of hand, so basically every person other than Huanmi. Taking the crown was a power fantasy, an idee-fixe of sorts, but for all that keeping a throne in one's basement can be seen as somewhat peculiar, there are very few - if any - signs of actual delusion in Zilu's actions. The throne is not a goal in itself, merely a way to achieve his primary goal, which is to marry the woman he loves, take revenge for Huanmi's sake as much as his own and build a life worthy of her. She's his Empress and by gods, she's going to be the real deal soon enough, no more cosplaying in private villas, however nice it might be!

Ma Zitan, the one and only Master of Mope

With every Ma Prince I become more and more convinced that there was something seriously wrong with Daddy Emperor's brain. Neglecting Potato makes some sense within the greater political picture, letting Zilu lie fallow is the height of foolishness, yet it's more a matter of criminal inaction than actively doing something wrong, but Zitan? Oh, there is no excuse for the way Daddy Emperor chose to deal with Zitan. If the Third Prince was truly his intended heir from the start and there is little reason to believe otherwise - if Wangs are to go then Potato is done for, Zilu was never even considered and Zitan remains the favourite long after showing his complete uselessness - why not try to prepare him for his future role? True, doing so openly might provoke the Wangs, but it's not like there aren't any ways to present such ruler lessons as something else, even a punishment. But no, let's just hope he turns out okay all by himself!

Now, logically reasoning, if Zitan was Daddy Emperor’s favourite and the prince he originally wanted as his heir, then Zitan should be given all possible help, right? So why wasn’t he taught any actual skills, whether in governance or in military matters? The thing is… they might have tried. In episode 61, when Zitan asks his faithful pair of retainers if he would be able to best Xiao Qi, their first answer is not that he’s the Emperor so it’s a given. Well, that too, but the first, immediate response? You studied the art of war. Which, okay, might be a reasonable guess when it comes to any prince, but those retainers are rather young and only recently-promoted. Before their soujourn at the Imperial Mausoleum they probably served somewhere within the wider imperial household, but not close enough to any great personage to be knowledgeable about what the princes might or might not have studied. Also, that answer, should Zitan’s lessons be limited to his early childhood, would make them look like idiots or bootlickers of the worst sort. But let’s say that Zitan actually studied the art of war and did so longer than his brothers. Or, alternatively, with more famous masters. That would naturally be a subject of some talk, if only within the imperial household itself. If so, then the female retainer, who seems rather astute in general, gave the best answer she could give.

Okay, so maybe somebody actually tried to help Zitan along. It still failed. Zitan at twenty or so is singularily useless and strangely unambitious, and no, calligraphy doesn't count as useful, not if one is an imperial prince and Emperor-to-be!

It's not Zitan's uselessness or even his refusal to feel any kind of reponsibility for his own people (as shown in the Huizhou arc) I have the most issue with. Although the latter is simply disgusting. And... really, really short-sighted. If Huizhou falls, as it surely must, Jianning and Co. get a clear way to the capital, leaving Xiao Qi to play deadly catch-up. Which means that Zitan's family is pretty much done for. Now, he might not care about Potato and Zilu, but surely he should feel something towards his father? Some filial piety, if not actual love? But no, screw the people of Huizhou and screw Daddy Emperor. Still, does he think that Jianning wouldn't pursue him to the ends of the earth in order to eradicate a potential claimant?

No, what really angers me is the way Zitan treats the women he claims to hold dear. And I'm not even speaking of Awu, although it's rather obvious that he cares little for her internality and rather more than is healthy for his idealized image of her. Xie Guifei dies for him, which is not his fault in the least... or is it? See, I'm pretty sure that Zitan's insistence on marrying Awu despite his mother's reservations was what provoked the Wangs to take certain... steps. Provoking a power struggle is all fine and good, if you're at least somewhat prepared for the consequences. Zitan is no fifteen year old well-bred young lady, he's an imperial prince right in the middle of a delicate balance of power, how the hell does he not know or care about possible ramifications? Naivety is theoretically not a crime, but that surely is criminal naivety. Which begs the question - how hard was that boy coddled by his mother? My guess is a lot. But Xie Guifei is but a trifle compared to the elephant in the room.

Xie Wanru. Xie Wanru, who supported Zitan as much as she could while being in a precarious situation herself. And whom he had no problems with asking for further support, going as far as to aim for the throne, disregarding her own and her children's potential interests. Xie Wanru, who didn't make the first move, even knowing Zitan to be a potential threat to her and hers. Xie Wanru, whose baby got a full portion of avuncular love in form of actual torture and was lucky to get away with his life. Xie Wanru, his sister, whose ghost must have screeched with fury upon hearing Zitan laud himself as this paragon of brotherly feelings in comparison to the well-intentioned Turnip.

Oh, and he just sat there like an offended child while the country kept sliding into chaos, simply because some evil old men didn't let him kill Cheng's entire army with his sheer incompetence. Those dastardly old bastards! Let them scramble around and let the people in the provinces keep dying; they all deserve this for not recognizing Zitan's awesomeness! I'm not saying he should have fixed everything. I'm saying he should have done the bare minimum. He killed a brother for that throne, now he should actually do something with it. Other than purposefully provoking the only guy who actually restored peace and stability simply because the man happens to be married to Zitan's first love.

I'm sorry, I cannot with Zitan. There's a lot more to be said about that twerp, much of which has already been said, but at this point refraining from plowing on it's a matter of mental hygiene.

[alatismeni-theitsa]

Hi theitsa! There has been something on my mind for quite a while, pertaining to PJO. I've always wanted to rewrite it with my own interpretation of the text and with due respect to the gods, but I've also been worried about doing the same thing that Rick did badly in regards to Greek people and Greek culture. Do you have any tips for how to strike the balance between writing things like Hades/Persephone's story and being respectful in the process? Like things to avoid and such?

hello! I am happy you want to do this and that you are asking for info! As a general rule, if you are writing a culture you are not familiar with, you can’t assume that something happens there unless you research it. There are things you don’t know that you don’t know.

And the research must take quite a few hours if you want to do solid work and give off the “feel” of the culture. That being said, you don't have to be an encyclopedia and get absolutely everything correct. There is always some room for ambiguity and small mistakes are human.

As you know, the gods are still important figures for the Greeks are symbols of many of our national teams and services. What is more, many ancient customs have kept on to this day. If your story takes place in the modern world, Hermes could be happy that he is the face of the postal office of Greece. Demeter is not the only one named “Demeter”. Many Greek women and men have that name. And is better to use Greek diminutives for names (#diminutives ) rather than their English ones.

Again, if you are writing in a modern-day setting, take into consideration the existence of the Hellenic nation and its history. I’d say dare write the story in Greece. But if you want to put the gods somewhere else, make them care about the place where they were worshiped the most. If you leave your home country as an immigrant, you still care what happens to it, right?

Not to mention that Greeks made sure the names of the gods, their stories, and depictions were preserved (and as I said, they are still important symbols). Dionysiac festivals still take place in many regions and sometimes Greeks dress up like the gods to embody them or reenact their stories.

Modern Greece is a continuity of “ancient Greece” and there is a strong chance the gods feel at home there for cultural reasons. Therefore, it won't make sense if you jump 2.000 years from antiquity to today, because that will erase the impact of previous triumphs and catastrophes. (Search an overview of Greek history - even in Wikipedia - to get some context.)  

You must also decide if you want your story to be light or a bit deeper. You may address some “problematic” aspects if you like, bringing some old habits of the gods to the modern day. I would, though, advise following the pattern of the myths. I mean, Zeus is not leaving women pregnant because he is a dick. He does it because he is a fertility god and from him great Hellenic heroes are born. He doesn't fuck around to create random peasants. He is divine power in the mortal world. 

Remember the gods are grand, powerful, wrathful when you underestimate them, helpful when you need them, wise, and (above all) worthy of worship. Sure, they are not “perfect” like the Abrahamic god is said to be, but that doesn't change their importance and influence. The ancient societies saw something in them if they worshiped them for eons.

Humans can’t judge them. The problems of the gods (created by their own “imperfections”) are only theirs. They are on another level.

Those are some “boundaries” that are likely to keep the depiction respectful.

To return again to the Greek culture, as you have probably guess and plan to do, I’d say include people of Greek heritage. Those can be Greeks living in Greece or Greeks of diaspora. If your story takes place in Argentina, there will be some Greeks there. If you want to showcase the culture you can do it through them, as well.

As a broad description of the Greek culture, I see it as a bittersweet dipole. It is ridiculous and austere, loud and bitter, friendly and envious, traumatized and ambitious. It’s like a person with PTSD who still laughs but sometimes relapses and their coping mechanisms are... questionable. Yet, they get through every day (and perhaps, many times they feel they won’t make it).

We are fucking up our own country but when we get into pressing situations we excel. The higher the stakes, the better we’ll behave and produce. The culture is also family-oriented and very personal (too close for comfort, at times).

Those are not exclusive to the Greek culture, of course. It’s just a set of behaviors, ideas and values that might be more specific to this culture.

There are some movies you can see to catch the tone of the Greek society. In my tag #greek movies  I have some who have English and Spanish subs. If you want to see interactions and dialogues there are my tags #greek youtubers and #podcast. And #greek memes (why not)

Unrelated: one or two “opa” in the proper moments (stumbling, remembering that you forgot something, “hold on!”, realizing you fucked up, uplifting a dancer or a dancing group) might give some realism xD

For some social issues you may want to search my tags #race in Greece and #race in Europe although for greeks of diaspora things might be a bit different. You can also take a look at #greek speaks. You may send me an ask if you don't know what happens in a specific country and I will try to get info (or rely on the asks of greeks of diaspora). 

I have a #writing tag, I think you will find many posts there that will help you. You may also want to see #greek customs  #greek traditions , #greek dances #greek history, #greek people. If you type anything in my search bar or search for tags I use, you will find many more things. 

If I didn't exactly answer your question, feel free to send another ask :) If you have more questions you can drop by, as well. Or send a PM.

[sasodei-is-real]

Good afternoon💙 Well, or just Hello if you have a different time of day 😅💙

Thank you for your answers!)

And I still can’t reply to comments (I don’t know what is wrong), so I’ll answer like this)

@justanotherblonde thank you very much, it's so nice 🥺💙 And I'm glad that it will be interesting for you) Because the topic is actual and worth discussing.

@movethisalong Thanks for the answer!) I will soon work on the text in drafts, I will publish it today)💗

@bodoquehenko Weeell ... it's not directly related. But indirectly, yes. After all, even though Deidara is an adult, he has a big age difference with Sasori. So, for us - Sasodei fandom, this topic is not completely alien. Anyway, in any fandom, this is a very controversial and interesting topic that is worth discussing. As a sasodei shipper, I was asked questions about this topic. I think it would be nice to say my opinion on this issue and put all the points above and. I will talk not only about the general phenomenon, but also about sasodei separately in this topic.

But of course I will continue the analysis💛. This is not even discussed, because it is for this analysis that my blog was invented. But the point is, right now I only have time for one post. And analysis consists of many parts. And if I had written today about Onoki and Gaara (that is, I would have continued the analysis), I would have been able to move on to the next part of the analysis only in two weeks (this is how long my studies at the university will last). And that's not very good. Because although the analysis consists of different parts, the thing is integral. And it is best to read it without long breaks. I already postponed the analysis for a long time because of the uni , and then I did not want to continue again and stop the two weeks between the next part. I thought, since there is only time for one post, why not write about an actual topic that I would still raise and which would fit into one post. And then continue writing the analysis during the holidays and without long delays between continuation in order to maintain integrity.

Well, then the question was whether it would be interesting for you to discuss the topic of the age difference))

As for the ships, I think to talk after a specific stage in the analysis - when we analyze the characters of Sasori and Deidara. That is, the storage of posts turns out to be something like this - 1 question about the age difference 2 analysis where we left off - Onoki and Gaara (Iva and Suna) 3 The next stage of the analysis is Sasori and Deidara's relationship with the rest of the characters 4 Sasori and Deidarf characters 5 Short conversation about crack ships (which is not part of the analysis of sasodei, but what is worth discussing) 6 Philosophy of Sasori and Deidara, the symbolism of their characters 7 FINALLY 😂 Analysis of the relationship between Sasori and Deidara - Sasodei

Thank you for answer ^w^🧡

@deidaraakasuna Yes, I myself really want to move on to their relationship as soon as possible 🤧❤ Yes, they were created for each other. It is obvious.💫💗

And yes. I agree, everyone has the right to ship whatever they want. I am not against any crackships, or ships with questionable context ... well, any. A person's taste is formed on the basis of his lived life and emotions, and this is too personal to criticize.

But. I'm not talking about WHAT they ship, but HOW they raise their ship, for example, how, by substituting facts, they justify their ships.

I will try to explain what I think about this. The bottom line is that Naruto is a very elaborate and fragile story, the essence of which is her philosophy. Naruto has a very interesting build scheme. Recently I talked with my friend, and she noticed that in its structure Naruto is similar to the Russian classic novel "The Master and Margarita" by Bulgakov. And this is so. The bottom line is that there are a lot of characters in Naruto. Each character has its own story, its own psychology, motivation and internal conflict, the solution of which manifests one thought. The character has a conflict, the opposite or controversial side of his conflict is put in front of him, most often with the help of another character and ultimately, thanks to the contradiction, the truth is found - that is, we get a ready-made thought about any aspect of life. And so on. Everything is connected together, and each such thought, which is formed with the help of the character's life - by doing it with the rest, creates the philosophy of the work.

For instance. Sasori and Deidara degenerate their vision of the world in their art. They were a contradiction, in the end they found harmony, Deidara accepted eternity, and Sasori the truth of transience. Thanks to the fact that Sasori took instant and soul - Kankuro managed to dissuade him and Sasori decided to find eternity in the continuation of generations. During Edo Tensei, we see Sasori no longer hide his concern for Deidara with excuses and aggression - he has evolved. Therefore, Kankuro deals with the question of the soul. Sasori dies while Deidara screams and he pretends to embrace his parents. During the conversation, Edo Tensei, with the help of Kankuro and Sasori, reveal to us the theme of the soul. What is the soul? A haven of pain that poisons the heart, but without which you become a weak-willed marilnet. And Sasori's conflict is directly related to Obito. After discussing the soul issue, we see Obito pointing at the hole in his chest and saying that he doesn't feel anything. This is great preparation for Obito. These two characters are somewhat similar. Both wanted to escape their pain and forget themselves in illusions. Sasori replaced people with puppets, and love with universal contempt and control. Obito wanted to forget himself in the eternal Tsukuemi. Sasori accepted his feelings for Deidara. Obito realized that he shouldn't forget Rin. Sasori died in such a pose like hugging his parents. Obito died again while saving his friend Kakashi. Both died in the same situations that doomed them to suffering and pushed them into the dark. Simbolic 👀.(By the way, did you notice that Sasori's main OST is playing in the background? "Despair"). I mean, in Naruto, everything is very closely related to each other. Sasori and Deidara's relationship is their development. And when, for example, I see the sasosaku shippers dismantle the battle scene and say that Sakura influenced Sasori, proving her validity, it's not very pleasant. Primarily as a Naruto fan. Let's imagine for a minute If Sakura really influenced Sasori.

Sasori would not be able to achieve what he most desired - true eternal art. The role of Kankuro would not be needed and he would not have developed as a character and would not have received future Puppets . Since Kankuro is not needed, then his conversation with Chiyo and her acceptance will not take place. Since Sakura has already influenced him, there is no need to talk about the soul - there is no full disclosure of Sasori and the prologue to Obito's conflict. Complete disregard for Sasori's feelings for Deidara and for finding harmony.

And the most important thing. Sasori is a complex and deep character with his own feelings and motives. Each of his actions is based on his state of mind and thoughts. And when they explain Sasori's decision by the fact that he was influenced by a 15-year-old girl who then shouted that she wanted to get rid of her parents and who was unable to understand Sasori continued to scream, and not his character - this is a spit towards Sasori. As a Sasori stan, I am not pleased.

And so with everyone. I love Deidara. Obito is my heart. But in the pairing, Obiday Deidara is presented not as a deep character with his own conflict, but as a cliché "I behave aggressively, but I like you." Rin and Obito's wonderful story...?? No?😅😂

And yes, of course it is clear that in canon these are all crackships.

And I don't mind when people ship characters for themselves, draw art, write fanfiction and have fun. no, that's cool. BUT when they try to prove the canonicity of such an absurdity ... I'm Here 🌚👍

And after all, philosophy really changes. I was talking to my friend last week and he said, "It would be cool if in the Kazekage arc it turned out that Gaara is Uzuma. It would turn out that Naruto Uzumaki saved Uzumaki." Umm ... no. It wouldn't be.

The fact that Gaara was none for Natuto was done for a reason. From the very beginning, Gaara's history and development prepared us for 1 Pain's Philosophy. 2 To resolve the conflict between Suna and Iva. Two old villages.

Remember the first season? As after the fight Naruto said "I understand your pain, I went through the same." Gaara was not Naruto's relative, his friend from the start, he was from another village and was his enemy because

1. This resolved the conflict between Chie and the conservative villages. Chie asked, "Why does he care so much about Gaara? They are from different villages." Chie of the old school has broken the world into structures, forgetting that, first of all, they are all people and not representatives of countries. Kakashi replies, "He doesn't care what village he is from. They went through the same pain and are the best at each other." Chie dies realizing the old mistakes imposed by generations "You will change this world invented by old and stupid people."

2. Gaara was preparing us for a meeting with Pain. Pain's philosophy was that people who were completely alien to each other could understand each other by knowing the same pain. If Gaara was Naruto's relative, it would destroy the entire structure of philosophy.

3 The example of Naruto and Gaara is Jiraiya's true teaching. "We know what pain is and try to be merciful to others." The idea seems to be the same as that of Pain, but at the same time it is completely different. Pain used pain ( ahh sorry 😂) as a weapon. Against the background of Gaara's example, this looks even more obvious.

4 In the future, just like Naruto changed Chiyo, Gaara will change Onoki.

I want to say that in Naruto everything is very fragilely interconnected. This is the order and the relationship of the characters of the link. So why when the same shippers Sasosaku, Tobidei and Itadei prove their "canonicity" by

1 Sakura influenced sasori

2 Tobi called Deidara his favorite senpai

3 Deidara hates sharingan and talks about Itachi

Well, on the one hand, I don't care as the sasodei shipper , because as many canonical proofs and justifications as Sasodey has, not a single ship has

but on the other hand, as a fan of Naruto philosophy, I hate to see how people are ready to distort the idea of ​​anime and the characters of in order to prove their canon.

So,

In a word, I want to talk about this first of all as

1 A fan of the naruto philosophy that becomes meaningless due to the substitution of facts for some ship

2 A fan of all these characters who are distorted trying to prove their "canonicity"

3 Sasodei shipper

In general, I do not mind "I like this ship and I ship it. Ok"

I do not like "I will ignore the facts and at the same time do not care that I made the philosophy of the anime useless, distort the characters of the persona only in order to prove their some crackship's canonicity 🌚👍"

I hope I could explain why I want to talk about it😶

And this one is so sweet🥺💗Yes, I also know people with a huge difference in age who are beautiful and happy together for a long time. And although I agree that a lot is not visible from the outside, but age really does not matter. It's all about people.

And I'm sorry that it turned out so long 😅

This was a good chance to explain why I decided to talk about other ships (/> <)/

So, thanks again for the answers ^=^ ❤💛

I’ll go and write a post about the age difference in the drafts, edit it a little and post 🐥🦂

[thelastyetfabolousmidwestmadman]

Dark Side Of The Rising Sun Part 1

Yo what’s up!

After the success of my previous post, I’ve decided to bring a follow up where I talk about the many dysfunctions and issues facing Japan that I’ve learned in my research. Detective Conan often shows the criminal justice system of Japan in a positive light while in reality it has many issues due to the culture.

Now let me make this clear: Japan has many great things about itself that should never be ignored. However, these are real flaws that have or need to be addressed with many Japanese also recognizing them as problems.

Now I had to split this into parts as this is rather ungainly to put it all at once. If you have any questions please ask and I’ll do my best to answer them.

 Suicide

Japan has one of the highest suicide rates in the world with about 15.2 deaths per 100,000 people.

This is due to many factors such as Suicide not being considered a sin as well as historical connotations of it being a honorable way to go.

It is also considered a act of revenge, apology, and protest.

It is mostly caused today by factors such as unemployment, alienation and intense social pressure.

Japanese society is overall tolerant of Suicide but this is changing in recent times.

Another factor is the need for acceptance over individuality.

People with mental illness are often discriminated against, stopping potential help.

Internet Suicide Clubs where anonymous people make/plan suicide pacts and commit group suicide are a major issue.

If you kill yourself via Shinkansen, your family will be fined heavily. It is also the cause of half of the train delays and referred to as a human incident.

Tall buildings have mandatory suicide fences to prevent people from jumping off. When they succeed, they take off their shoes before hand.

It is common for suicidal people to take insurance policies and wait a year or two to go through with it so their families would be okay.

Ikka Shinju or family suicides are when the entire family kills themselves together due to Asian views of the family. When the parents kill their children before themselves, this is called Muri-Shinju or murder suicides.

Oyaku Shinju or parent-child suicide are where a single parent kill their children along with themselves.

Drownings, overdoses, hangings, and jumping off places are the most common form of suicide.

Judiciary

Traditionally, the judge is hated more then the lawyer is in the west as the Judge is often viewed as a symbol of the Japanese nobility judging the common man.

If you are sent to trial, you are certain to be convicted regardless of innocence due to the countries 99% conviction rate. (Really makes Eri’s work more awesome and badass doesn’t it?)

The Japanese supreme court is one of the most conservative in the world, rarely ruling against issues that are blatantly unconstitutional and anti human rights. As a result, one of the more positive proposals for amendments of the Constitution is the creation of a separate Constitutional Court.

If you are sent to death row, you will never be told in advance when you are going to die.

Culturally, once arrested the person is automatically considered guilty.

Police are often reluctant to overturn convictions as they insist that only guilty are arrested and convicted.

The law when a child is considered criminally responsible is 14.

Judges are often pressured into making convictions as their careers are negatively affected by a not guilty verdict.

Prosecutors are given the choice not to pursue a case regardless of sufficient evidence.

Prisoners in Japan, while somewhat treated better then much of the world due to it’s focus on rehabilitation instead of punishment, have to follow strict military style regulations from minor things such as being forced to fold the bed, or to wash your face to more draconian measures such being beaten if you don’t march or sit the wrong way.

In turn, many have inadequate access to medical care as they don’t have many options for their healthcare.

It can take months or years before you are tried, meaning that a right to a speedy trial is completely nonexistent.

“Periods of reflection” where inmates are forced to be handcuffed, gagged and placed in solitary, are often not recorded by the warden.

Foreigners are forced to speak and write in Japanese.

Drug Use

It is considered vastly socially unacceptable to do narcotics in Japan.

Most drug addicts are even considered to be not human.

If a celebrity is caught doing drugs, his career is automatically fucked and he is blacklisted from the industry, as well as erased from current projects.

The most commonly sold drug is methamphetamine. This started after World War II due to Meth being legal for soldiers to consume in order to stay up late on petrol as well as from occupying Americans. After the was, it became a huge epidemic for 12 years.

Marijuana use has risen among youth. Despite it having little danger as well as medicinal uses, it is widely considered evil, with the law having no tolerance.

Overall, Japan has little drug use compared to the rest of the world due to the cultural taboo and strict laws. However, there are signs that it is being vastly under counted,

Most illicit drugs are imported from Taiwan and South Korea due to it being near impossible to grow it natively but it is becoming increasingly hard to do so.

Drugs overdoses are criminally under diagnosed.

Epidemics often occur due to low periods of economic growth and recessions. (Examples include the postwar period, the 70′s, and the Lost Decade after the Bubble Economy burst in 1989)

It is common for your family or doctor to call the police once you admit there is a problem. Then you are forced to take a urine sample and if it tests positive you are immediately arrested.

A lot of doctors open pharmacies to add to their income. As a result, many oversubscribe prescription drugs.

Hypocritically, Alcoholism is completely tolerated and not treated as a addiction due to alcohol being considering purifying in Shinto, a cure, and Japan having a intense drinking culture.

Child Abuse

For the most part, physical child abuse is considered a private issue and often ignored. While things are slowly getting better, Japan still has a long way to go. (Imagine if Kogoro did what he did to Conan in the west. Child services would be on him like a fly swatter.)

Child services often return the children to their parents even if they say their abusing them as the counseling centers need the parents to admit to their abuse.

It is a complete myth that Japan’s age of consent is 13. That is only the lowest one could set it. Most prefectures are set at 16 or higher. In turn, child molestation of those under 12 is heavily punished. However while vaginal rape of children is illegal, basically just about everything else as long as it’s statutory is basically alright.

Enjo Kosai or compensated dating is the practice of Teenage Girls to go on dates with older men in exchange for money and gifts. While not necessarily always leading to prostitution is treated as such and the girls are often blamed if they are hurt in the process.

Child sex trafficking of migrants is a serious issue and they are often treated as criminals and sent home without counseling.

Adoption of children is rare and frowned upon so many of them have to gro up in centers.

Children of unmarried couples are discriminated against due to the violation of the traditional Ie system and do not have the same protections or privileges of married couples because of its Koseki system.

Men are not obligated to pay child support and it’s near impossible to get them to legally as they can simply hide their finances by not telling them. Plus only one person can be named on the custody sheet.

Child Pornography was effectively decriminalized until 2014. No seriously.

Sexual Harassment/Assault

Domestic violence victims are disabused from coming forward due to the idea of bringing shame to their family.

Stalking cases are rarely taken seriously by the police

OH THERE”S WAY MORE BUT THIS LIST IS DARK ENOUGH SO LET”S SAVE THIS FOR A LATER DATE.

Working Conditions

Idols are heavily exploited and forced to follow strict rules such as having no social life, banned from having a boyfriend, etc. This is because they are supposed to sell a image of innocence and be there exclusively for their fans.

Anime creators are often forced to work long hours with little pay. This has resulted in a slump in the industry with very few new hires so they are forced to rely on the older animators whose health may fail sooner rather then later.

Funds are rarely given to films with artistic intent or that are political in nature, resulting the film industry suffering compared to the more internationally regarded South Korea.

Police Corruption

Until recently, Japanese police would work with organized crime to lower crime. The only reason they stopped was not out of concern for the everyday citizen but because they were embarrassed by the Yakuza when they began to show up more publically.

The media is often laughably compliant to the police, with they rarely offering a critical lens.

Police have undue influence on the Pachiko industry, with many retired officers being hired as muscle and for advice.

It is quite common for officers to embezzle from their slush funds.

In a effort to cover up crime, police often refuse to investigate mysterious or suspicious deaths, preferring to label them as accidents or suicide.

Police are often anti migrant and sexist to a fault.

It is neigh impossible to get a wiretap going due to rigid privacy laws.

Even the police can’t fire weapons as you need approval to even loose your gun so many officers have never fired a bullet.

Government Incompetence/Corruption

Voter Apathy is super high, with many elections having hilariously low turnout.

Many politicians have Yakuza connections, with the gang members serving as bodyguards and canvassing for votes.

Votes in the countryside are worth two compared to urban ones.

A lot of politicians are completely out of touch and constantly have to resign for gaffes (racism, sexism, historical revisionism, etc.)

Political acts are based on group consensus so it can take a long time to get meaningful reform done.

Criticism and debate is ironically frowned upon, with open criticism within a party being effectively banned.

Cronyism is common. While for the most part Japanese politics is based on expertise, many politicians are awarded ministries based on their support for the leader.

The NHK (Japanese version of the BBC) is largely neutral and free but the current Japanese government can dictate what it is to focus on temporarily.

Press Clubs are often given exclusive access to interviews and information from the government, so they get biased preferential treatment.

Okay I guess the point of this list is to bring attention to these issues and expand the opportunities of where to go when it comes to dark DC fanfiction. Don’t worry, here’s a cute Conan to make you smile!

[dailyexo]

[INTERVIEW] Lay - 200819 Rolling Stone India: “How Lay Zhang Claimed The Throne of M-pop”

"The singer-songwriter and producer offers an in-depth look into his latest record ‘Lit,’ his evolution as an artist and finding the balance between East and West

When I last spoke to Lay Zhang in 2018, he was embarking on an ambitious but daunting journey to bring Mandarin pop aka M-pop to the world. “I hope they think, ‘This artist isn’t bad,’” he had said with some trepidation in his voice. “I hope that they find my music special and maybe… they’ll want to learn more about me and Chinese music.” The singer-songwriter and producer aspired to create a true hybrid of traditional and modern music, a sound that defines our generation’s ability to package the past for the future.

Zhang, more commonly known by his stage name LAY, first debuted in 2012 as a member of world-famous K-pop group, EXO. Although he remains a member of the group, he’s spent the last couple of years in China to focus on a solo career and spotlight his own country’s burgeoning pop scene. It’s a process he kicked off with his second studio album Namanana in 2018, but he was still some time away from realizing his dream of pushing Chinese pop to a global stage.

It’s been nearly two years since our conversation for Rolling Stone India’s November 2018 cover feature, and any signs of trepidation are a thing of the past for LAY. We could chalk it up to him being two years older and wiser, but I’d like to think it’s because he kept his promise to bring M-pop to the world. If Namanana was just a dip in the pool of fusion experimentation, his latest studio album Lit is the deep dive.

“It is the evolution of M-pop for me,” LAY explains. “I wanted to take it to another level. When you hear the Chinese instruments, you know it is a different sound and vibe. The style is more pop, R&B, and hip-hop influenced with the Chinese instruments thoughtfully mixed in.” Comprising a total of 12 songs (all written and co-produced by LAY) Lit was released as two EPs instead of one LP; the first dropped in June while the second made its appearance in July. Nearly every track presents a fresh blend of traditional Chinese instruments like the hulusi, guzheng, flutes and gong with modern genres like trap, R&B, soul, hip-hop, future bass, dubstep and more. It’s a complex, refined and intricate record, utilizing production techniques that clearly outline LAY’s growth as an artist over the past two years. In retrospect, Namanana comes across a slightly more naive record–innocent and optimistic with a hope that international audiences would embrace both M-pop and LAY. Lit however seeks to take a different path and carves out the future LAY envisions with cool confidence and fearless production.

The tracks seesaw smoothly from Mandarin to English and back, with LAY showcasing both his vocal and rap skills. It’s an extremely powerful and expansive album, hair-raising at some moments due to the sheer surprises the artist packs in (at one point I hear what sounds like the tabla on “Call My Name” and it catches me totally off-guard.) Some of the collaborators on the record include big names like hip-hop hitmaker Murda Beatz, Grammy Award-winning producer Scott Storch, composer and producer Mitchell Owens and Grammy-nominated songwriter Mike Daley to name a few. For the title track “Lit,” LAY recruited China-native Anti-General who created a vicious and chilling trap/dubstep beat to complement lyrics that decimate LAY’s haters, gossip-mongers and the media, challenging them to come forward and take him down if they dare. The track sees the singer-songwriter rightfully crown himself a ‘king’ and leader in the music industry.

If that wasn’t enough, the music video for “Lit” is without a doubt one of the best released in 2020. With hundreds of extras, dancers, impeccable CGI and a compelling storyline, it’s more movie than music video, portraying LAY as a warrior king who refuses to be defeated. As executive producer, music director and co-choreographer on the project, LAY pays homage to China’s rich history and culture with tons of historical references and traditional symbolism. I tell him I particularly loved the symbolism of a white lotus emerging untouched and pure from the black ink–representing LAY’s rise in the industry–and he shares that the magnificent dragon that appears at the end was his personal favorite. “It was super important that we added it in,” he says. “It represents my wishes, aspirations and my relentless desire to always pursue perfection in the works that I create. I want my dancing, visuals, and music to be the very best it possibly can be.”

Lit is also thematically more complex and layered than any of LAY’s previous works, exploring concepts that revolve around confidence, love, fame, the media, success and more. “The album continues to explore chasing your dream,” the singer explains. “This time it’s about more personal things in my life. Like hometown, family and self-doubt.” A phonetic play on the word for lotus (莲 / lian) in Mandarin, ‘lit’ is a clever pun used to describe LAY’s similarity to a lotus and his prowess as a musician. He named the album after the lotus because of the symbolism of it growing and blossoming from dirt or mud. The lotus also continues the theme of duality with Lit’s two-part release, and, according to LAY’s team, “represents a new birth plus a new sound in the midst of all his past achievements.”

The album’s success more than speaks for itself– when the pre-order for Lit went live on China’s QQ Music streaming platform, nine certification records were instantly broken as it surpassed 1.5 million pre-orders within seven minutes and 19 seconds. This immediately pushed the EP to Number One on QQ Music’s daily and weekly album sales charts. Lit has also made LAY the best-selling artist in China in 2020, with a whopping 2.5 million records sold. It’s a testament to his drive and determination as an artist, the attention to detail and refusal to back down. The record’s international success was no less, hitting top 10 positions on iTunes charts across 32 countries, bagging 21 Number One spots and firmly cementing LAY’s position as the global megastar that he is.

Some things however, never change; brand deals, TV shows, multiple singles, EPs and collaborations keep his schedule completely booked and– just like back in 2018– it’s extremely tough to pin him down for a conversation. He’s currently in the middle of filming a reality show and has several other projects in the pipeline, but still makes the time to catch up and answer a few questions for Rolling Stone India. In this exclusive interview, LAY details his most successful record yet, the journey of finding the balance between East and West, dealing with the dark side of media attention and why the relationship between an artist and their fans needs to be a two-way street.

Congratulations on the release and tremendous success of Lit! It is an absolutely phenomenal record and I was thrilled to see you explore so many new streams of production. Can you tell me a little bit about the process of making this album and do you feel you met your own expectations for it?

For this album I wanted to mix in Chinese traditional instruments and tell Chinese stories. It is the evolution of M-pop for me. I wanted to take it to another level. When you hear the Chinese instruments you know it is a different sound and vibe. It is hard to say if I met my own expectations. As an artist you never ever feel your work is perfect. You can always find spots where you can improve. But I think what I was able to do with my team in the time we had was great.

You dove deeper into the fusion of tradition and modernity on this album than Namanana—there was a larger variety of Chinese instruments used as well as bilingual wordplay with language in the lyrics. In what ways do you feel you’ve evolved as a producer and songwriter since that album to Lit?

I am still trying to find the right style and combination to share my music and Chinese culture with the world. Lit was an example of my growth. I had this desire to include traditional stories and instruments from Chinese culture. Trying to find the balance with the Western music was challenging. I had to think and spend a lot of time arranging the chords around and fitting everything together. Also with this album I am talking about things in a more personal level and taking time to explain with more of an artistic style. I feel like I am growing up on this journey.

Lit is the first part of a series of EPs which will make a whole LP—why did you want to release it in this format and when did you begin working on the record?

I split it into two parts to give time to people to listen to it. I feel like if I released 12 songs at once, people may not give enough time to listen to each track. But when there are just six tracks each time, then it gives people time to listen more carefully. I started this project maybe early 2019.

The title track “Lit” is about your battle with the media, hateful netizens and malicious comments/rumors. Does it get easier over time to deal with this obsessive analysis of your life or does it never really ebb away?

It will always bother you, but over time you learn to deal with it. You focus on it less and less and back on what you love doing. When I make my music or learn dance or do anything I love, I kind of forget about it. Just focus on your goals and dreams and everything else becomes background noise.

The music for “Lit” is, in my opinion, the best of 2020 so far. Can you tell me a little about your role as the executive producer and music director on this project? How did the concept come about?

I was very involved in the project. I oversaw a lot of things that happened and discussed with almost everyone on the team on how to achieve my vision. When I was making the song I was thinking about how do we share Chinese culture. I thought filming in an ancient palace would catch people’s attention. It took off from there when discussing with the director. We started adding more and more elements of Chinese culture. We were trying to tell the story of Xiang Yu, a warlord who rebelled against the mighty Qin Dynasty but wasn’t able to conquer China. I’m Xiang Yu, but I’m trying to change my fate and succeed in my goal.

You incorporated Chinese Peking Opera in the music video version of the track and visual elements of Peking Opera in the album art for “Jade”–What was the motivation behind that decision and is there a particular story that the opera section references?

I wanted to bring people back in time to ancient China. I reference the traditional Chinese story of Xiang Yu and his love, Concubine Yu, so then I added in select passages from the Peking Opera Farewell My Concubine which tells their tragic story.

You displayed your incredible skills in dancing in this music video and you recently talked about how dancing was a way for you to show the audience who you are. Did you feel a sense of relief that the audience can see you or understand you a bit better after the release of “Lit”? Can the audience ever truly understand an artist?

It feels good to know people can see me and understand me more. I don’t think people can ever understand an artist completely. But they can relate to many things. I think that is a challenge for an artist to see how they can use their music to connect with people. It is a worthy challenge.

How do you hope that the artist you are today crafts the Lay Zhang of tomorrow?

I always believe in working hard and improving. I hope that the Lay Zhang of tomorrow continues to keep looking for ways to improve his art. I hope he never gives up his dreams.

Last time we spoke, we talked about Asian traditions represented in global mainstream pop culture. Now as you’ve grown as a megastar, you are one of the leading names in pop filling that space, bringing your heritage to the stage. Why is it important for our generation to see ourselves and our histories represented on these platforms by artists?

It is important for people to remember where they come from. They should know their own history and how their culture came to be. Also, it lets other people know another culture and have a deeper understanding. It can stop miscommunication and it helps people be closer to each other.

Why do fans need to see themselves in an artist? Does it work the same on the other side, do you as an artist see yourself in your fans?

I want fans to be able to relate with an artist. It is important for a fan to see themselves in artist and an artist to see themselves in a fan. When you can see each other you are able to understand each other better. You can connect with each other and really feel things.

I absolutely love the ‘Re-Reaction’ videos you have been doing for years and it means a lot to your fans that you take the time to do it. Why did you want to do this series and what does it mean to you to be able to connect with your fans like this and see them react to your work?

I am curious to know what fans and people think of my work. I want to know where I can improve. I want to keep growing as an artist. But also I want to let my fans know that I am reading their comments and I see everything they say.

Other than releasing more music, what are the rest of your plans for 2020? Do you have any film projects that you’re looking at taking up or are you planning on doing something completely different?

I am busy filming a TV drama and a few reality TV shows for the rest of 2020. A very busy schedule.”

Photo links: 1, 2, 3, 4

Credit: Rolling Stone India.