#hero and warrior motif

[imminent-danger-came]

had a character revelation so huge I had to lay down for floor time. Moon symbolism with MK. Yeah they’ve always been associated with gold and brightness but is the moon not simply a reflection of the sun, forever looking down at its reflection in the ocean??? Does it not wax and wane in an attempt to hide the darker parts of itself from people??? Is it not left behind by the sun everyday, not in a malicious way, it’s simply what has to be done for the day to move forward. I’m gonna be sick

The hero and the warrior were like the sun and the moon- *gets shot*

Anyways yeah! I think that's what I particularly like about the sun and the moon symbolism for the hero and the warrior. It's the cyclical nature of leaving and returning leaving and returning. Wukong is bright and powerful and he decides where his light is best needed, but in doing so leaves those he left behind in darkness. Yaddy-yadda 2x07. Like obviously MK's a warrior to Wukong, and at this point he has been associated with an eclipse (the moon covering up the sun):

I found a source that said "An eclipse was also an omen linked to natural disasters or deaths in the imperial family, it was a warning —for the Sun was the symbol of the Emperor according to traditional astrological theories" (link), which I think is very appropriate considering 2 Jade Emperors die not long after this scene.

You're also killing me with the mention of the moons reflection

[imminent-danger-came]

(thanks for the tag potatey!)

Sun Wukong: "What? You got what you wanted didn't you? Not gonna gloat, monologue a little bit before scurrying off to your master? Go on! The Lady Bone Demon is waiting." Macaque: "I couldn't care less about what the Lady Bone Demon wants!"

(3x09 The King, the Prince, and the Shadow)

So like, both Wukong and Macaque are very focused on freedom, and being able to use that freedom to "get what they want", even to avoid the ultimate chains of death. Macaque became bound to the Lady Bone Demon, and at the first opportunity it seemed like he could escape LBD and live, he took it (i.e. with the Samadhi Fire, or even provoking MK early in s3 to see if he still had power). In this way, both Macaque and Wukong have reached for power for their ultimate freedom, something that is also seen with MK (though MK and Wukong wanted power specifically for others, while Macaque wanted it to protect himself).

I'd also argue that the characters in the show do notice this discrepancy between what Macaque says versus what he actually wants, specifically in 3x13:

Macaque: "Nice speech kid, but it's not gonna-" MK: "Ugh, stop! You keep playing at being this bad guy, acting like you're just in it for you! But I know, deep, deep down, you're not that guy—help us, make it right." Macaque: "I'm not a hero bud." MK: "Then be a warrior!" Macaque: "*laughs* Okay kid, you win."

(3x13 Time to Be Warriors)

Macaque spent all of s3 insisting he wanted to be on the winning side, and in the end he does choose that side—he chooses the side that wins him over. By virtue of letting MK "win", Macaque "loses" his internal battle, an inner conflict that started when MK refused to abandon Mei back in 3x10 ("We're heroes! It's what we do!").

It's this way that MK changes Macaque, completely rewrites his world view, that I think makes MK the monk to Macaque's Wukong. It's an ideology that clashes with LBD:

Lady Bone Demon: "I thought, if I helped someone with real power, guided you to be better, I could make a true difference in the world! But I now see the only true way to create the perfect world, is to start with a clean slate."

LBD eventually believed that the world, and the people in it, were incapable of change. But we know they are. We know that the Monk changed Wukong, and that MK changed Macaque, and by doing so they were able to help make a better world. Not a perfect world, but a better one.

I also think another foils relationship to be considered is the LBD & Macaque / Tripitaka & Wukong relationship dynamics. Team "the world and people can not change" versus team "the world and people can change, and for the better". I think deep down Macaque did want to believe that things could change, he was just so wrapped up in his own misery and cruelty to see beyond his own pain. We see the culmination of this development in 4x10:

Macaque: "Point is, it’s time to start making your own choices—something I wish I would have learned a lot sooner than I did. You don’t want to fight Azure because people might get hurt, you don’t want to not fight him because people might get hurt–so do something else!

"Start making your own choices", start using your freedom. Look for the 3rd choice (being a warrior).

tldr: monkeys

Okay wait wait wait maybe I’m hallucinating but the dialogue in this show tends to parallel each other so like what if when Swk started taunting Mac about “screwing off to your master, the lady bone demon is waiting” like what if Mac before The Monkey Pancakening said something like that to Swk about “running off to the monk” v different context tho of course. Surprised there’s not much commentary abt how Mac literally doesn’t want to be working for Lbd and doesn’t care even after he said he wanted to be on the winning side and already had a taste of death and wasn’t a fan. He says it like nearly every fight. Is this one of those instances where it’s different for the show characters and I only care about the red flags as an outside viewer not getting attacked by a smoke monster 😭

dw anon you're remembering right! parallels in dialogue is a THING™️ in this show and it makes me so unwell (@imminent-danger-came has a plethora of #lmk parallels on their blog. thank you for all your hard work bestie)

that being said: WHY THE FUCK WOULD YOU SAY THAT T^T DO YOU KNOW WHAT YOU DID????? DO YOU KNOW THE DAMAGE YOU INFLICTED ON ME?????

but yeah, it would make so much sense to be a callback from what Macky said in the past to swk. it's like his way of throwing memories and Macky's own hypocrisy. he greeted swk by reminding the other about their argument under the mountain. so why not have that other reminder be from swk??? why fucking not!

[condenysada]

i always think about how mei and mk are depicted as this parallel to swk and macaque and it makes me so crazy thinking about how both mei and mk are the hero AND the warrior like it genuinely makes me feel a little manic

[orchestrated-haunting]

using my classics degree for good. i cannot wait for 3.0

my notes from my first watch through of "Amphororeus' Saga of Heroes" under the cut. please note that i did this at 8am with minimal double and triple checking of sources

Aglaea- Aglaea in mythology is the child of zeus and is one of the three Charities in Greek myth; according to Dionysiaca she is one of the "dancers of Orchomenus" who tend to Aphrodite. Helped Aphrodite in her attempt to weave better than Athena by holding and passing Aphrodite the yarn. She also acts as Aphrodite's messanger. Her drip marketing also mentioned her connection to romance so her being a stand in for Aphrodite feels like a easy call

Tribbie- hermes or hecate (likely a combination) she's a messenger like hermes, however the description of "the three-faced" is usually used in description of Hecate goddess of the crossroads

Anaxa- likely the athena parallel as said to have enough knowledge to refute faith and is capable of killing gods. this is in line with athena's domains of wisdom and the logical side of combat; eyepatch is similar to odin of norse mythology as he exchanged one of his eyes for all the knowledge in the world; Anax is the attic greek word for "tribal cheif, lord, or military leader"; there are also several notable figures who have the prefix anax- in their name Anaxandridas II (a king of sparta) and anaxagoras and anaxarchus (both philosphers)

Hyacine - name from hyacinthus, lover of apollo and where we get the name of hyacinths from; she also "severs dawn from dusk" which makes me feel more than confident in her being the apollo parallel

Mydei- ares parallel, lion symbolism is common with warriors in ancient greece; hercules wore the skin of a lion he killed. the rest of it is vibes based but look at him; could not find any strong name parallels immediately as both Medea and Midas do not have many war-like contributions; however medea is close enough to mydei in pronunciation. medea was the daughter of Aeetes and lover of Jason from the argonauts and granddaughter to the sun god Helios; fire motifs, could be connection to hephaestus but i'd need more before i make that call; japanese version uses Mydeimos which points to Deimos, the god of terror and twin brother of Phobos the god of fear, both of which are children of Ares and Aphrodite (thank you @/integraseras for connection)

Cipher- fleet-footed hunter and said to "make time stop" while i can't think of any deity that specifically can do that the fleet-footed hunter aspect along with her being feminine strongly implies to me an artemis parallel; "make time stop" is interesting because in some stories and accounts the gods could stop time to communicate with a single hero or person without others noticing their presence

Castorice- "daughter of the river styx" and other death motives makes her almost certainly Hades; this is likely unrelated but one of the twins of the Diocusi (gemini twins) is named Castor however they are the children of Zeus, however castor was born mortal and pollux was born immortal, eventually they made a deal in which they would spend half of the time with the gods and the other half in the underworld

Phainon- couldnt find one of the olympians that fight however the god Phaenon is the sky god of Cronus (the planet Saturn); name means "bright" or "shining"; this could also be our Zeus figure due to Phaenon being called "the star of Jove" (Jove being another name for Zeus in roman myth)

(following names were from the video description but no other info was given)

Hysilens- name possibly comes from the combination of the gods Silenus and Hysminai; silenus is the god of wine, drunkenness, and the forest while also the foster father of Dionysus. Hysminai is the personification of combat; likely stand in for Dionysus

Cerydra- name has some parallels to the hydra the lake monster of Lerna in the Argolid, cer- could possibly (very unlikely) come from cerberus; my money would be on them being the parallel for posideon; the hydra was also one of hercules 12 labors and the lake Lerna was said to be an enterence to the underworld, possibly connecting cerberus in there, as cerberus is the guard dog of the underworld

Two unnamed characters: also there Gods that haven't been explicitly shown: Hera, Hestia, Demeter and Hephaestus. I could see hoyo combining Hera and Hestia into a single character of marriage, hearth and home

Other notes:

the gods were said to have gold blood

Amphoreus from the greek vessel style of a container with a long neck and two handles used to store oil, wine, milk, or grain. Amphorae were sometimes used as grave markers or as containers for funeral offerings or human remains and Amphora was also used as a unit of measure

the titans in the trailer = titans in myth; the conflict that follows is basically the equivalent of the war in mythology between the olympians and the titans

[serpentface]

how do you come up with the ways cultures in your setting stylize people/animals/the world in general in their artwork, i.e. jewlery, rock carvings, statues, etc? Each culture in your world seems to have a very unique "art style" and I love it a lot - makes them seem that much more 'real'. This is something I struggle with a lot in my own worldbuilding and I'd love to pick your brain if possible 😁

I think a starting point is to have a research process based in the material realities of the culture you're designing for. Ask yourself questions like:

Where do they live? What's the climate/ecosystem(s) they are based in? What geographic features are present/absent?

What is their main subsistence method? (hunter gatherer, seasonal pastoralist, nomadic pastoralist, settled agriculturalist, a mix, etc)

What access to broader trade networks do they have and to whom? Are there foreign materials that will be easily accessible in trade and common in use, or valuable trade materials used sparingly in limited capacities?

Etc

And then do some research based on the answers, in order to get a sense of what materials they would have routine access to (ie dyes, metal, textiles, etc) and other possible variables that would shape how the art is made and what it's used for. This is just a foundational step and won't likely play much into designing a Style.

If you narrow these questions down very specifically, (ie in the context of the Korya post- grassland based mounted nomads, pastoralist and hunter-gatherer subsistence, access to wider trade networks and metals), you can direct your research to specific real world instances that fit this general idea. This is not to lift culturally specific concepts from the real world and slap them into your own setting, but to notice commonalities this lifestyle enforces - (ie in the previous example- mounted nomadic peoples are highly mobile and need to easily carry their wealth (often on clothing and tack) therefore small, elaborate decorative artwork that can easily be carried from place to place is a very likely feature)

For the details of the art itself, I come up with loose 'style guides' (usually just in my head) and go from there.

Here's some example questions for forming a style (some are more baseline than others)

Are geometric patterns favored? Organic patterns? Representative patterns (flowers, animals, stars, etc)? Abstract patterns?

Is there favored material(s)? Beads, bone, clay, metals, stones, etc.

When depicting people/animals, is realism favored? Heavy stylization? The emotional impression of an animal? Are key features accentuated?

How perspective typically executed? Does art attempt to capture 3d depth? Does it favor showing the whole body in 2 dimensions (ie much of Ancient Egyptian art, with the body shown in a mix of profile and forward facing perspective so all key attributes are shown)? Will limbs overlap? Are bodies shown static? In motion?

Does artwork of people attempt to beautify them? Does it favor the culture's conception of the ideal body?

Are there common visual motifs? Important symbols? Key subject matters?

What is the art used for? Are its functions aesthetic, tutelary, spiritual, magical? (Will often exist in combination, or have different examples for each purpose)

Who is represented? Is there interest in everyday people? Does art focus on glorifying warriors, heroes, kings?

Are there conventions for representing important figures? (IE gods/kings/etc being depicted larger than culturally lesser subjects)

Is there visual shorthand to depict objects/concepts that are difficult to execute with clarity (the sun, moon, water), or are invisible (wind, the soul), or have no physical component (speech)?

Etc

Deciding on answers to any of these questions will at least give you a unique baseline, and you can fill in the rest of the gaps and specify a style further until it is distinct. Many of these questions are not mutually exclusive, both in the sense of elements being combined (patterns with both geometric and organic elements) or a culture having multiple visual styles (3d art objects having unique features, religious artwork having its own conventions, etc).

Also when you're getting in depth, you should have cultural syncretism in mind. Cultures that routinely interact (whether this interaction is exchange or exploitation) inevitably exchange ideas, which can be especially visible in art. Doing research on how this synthesizing of ideas works in practice is very helpful- what is adopted or left out from an external influence, what is retained from an internal influence, what is unique to this synthesis, AND WHY. (I find Greco-Buddhist art really interesting, that's one of many such examples)

Looking at real world examples that fit your parameters can be helpful (ie if I've decided on geometric patterns in my 'style guide', I'll look at actual geometric patterns). And I strongly encourage trying to actually LEARN about what you're seeing. All art exists in a context, and having an understanding of how the context shapes art, how art does and doesn't relate to broader aspects of a society, etc, can help you when synthesizing your own.

[x-i-l-verify]

Okay Linked Universe Fandom, we have to talk. I am extremely disappointed in all of us that out of all the myriad possible duos of the Chain, only one has an official name (Downfall Duo). This has got to change. We need more duo names stat. So, this is my proposed list! Hopefully at least some of them catch on. 👀 Many thanks to @kuraiarcoiris for assisting me with some of the uncooperative duos on the list. >.> Looking at you, Warriors and Wind.

Without further ado!

Sky

Sky+Four: Horizon Duo (because they are the first two Links chronologically in the timeline, charting new horizons for the young kingdom of Hyrule, and because I view the two as representing the sky and the world [e.g. Four’s element motif]. And where do the sky and world meet? The horizon.)

Sky+Time: Wife Duo (because they both canonically love their wives and miss them. Sky isn’t married to Sun yet, but he will be, so it counts. >:V)

Sky+Legend: Harp Duo (because they both canonically play magic harps and enjoy music)

Sky+Hyrule: Thunder Duo (because of their abilities to channel lightning and the fact that Hyrlule’s spell is called Thunder. Also two of the quietist Links having a duo named after a loud sound is amusing)

Sky+Twilight: Firmament Duo (because “firmament” another word for the physical sky, and also sounds like “firm,” and both characters are good grounding forces for the other Links.)

Sky+Warriors: Knight Duo (because they actually remember their training as knights and can apply that training. Plus, both are knights in shining armor for their Zeldas.)

Sky+Wind: Breeze Duo (because flying and sailing both use air currents, and breezes are heartening and encouraging, just like these two.)

Sky+Wild: Aeon Duo (because “aeon” means "a long or seemingly long period of time" and these two are the Links that had to wait the longest amount of time to complete their quests.)

-

Four

Four+Sky: Horizon Duo

Four+Time: Shade Duo (because they are possibly the only two Links that lingered after their deaths, Time with the Hero’s Shade in Twilight Princess and Four with the four Shadow Links that appear in the Palace of the Four Sword in A Link to the Past [though one could theorize that those are Dark Links unrelated to Four entirely, so this duo name could also refer to Shadow from the Four Swords manga])

Four+Legend: Forging Duo (because not only do they have blacksmithing skills, but both forge the way for the heroes who come after them to the best of their abilities.)

Four+Hyrule: Mousetrap Duo (because they can both shrink to the size of mice, Four with his Minish form and Hyrule with his Fairy spell)

Four+Twilight: Prism Duo (because light is very important to both of their games [Twilight’s light spirits and Four’s Light Force], but also their mechanics allow them to “split” and show another side of them like light through a prism, i.e. Four's ability to divide into four and Twilght’s crystal that lets him become a wolf)

Four+Warriors: Teamwork Duo (because their games center on teamwork more than any of the others')

Four+Wind: Shield Duo (because of their identical shields that signifies a possible blood connection between them)

Four+Wild: Shattered Duo (because they both break or "shatter" things in order to fight. Four breaks himself through his splitting mechanic, and Wild breaks his weapons. You could also interpret this as Wild's memories being broken, too.)

-

Time

Time+Sky: Wife Duo

Time+Four: Shade Duo

Time+Legend: Melodic Duo (because their games focus so much on music)

Time+Hyrule: Fairy Duo (because of their connection to fairies)

Time+Twilight: Legacy Duo (self-explanatory)

Time+Warriors: Command Duo (because leader and his unofficial second in command)

Time+Wind: Menace Duo (because these two absolutely will be menaces together once Time relaxes a bit.)

Time+Wild: Moon Duo (because of the focus on the moon in their games. “I Hate the Moon” Duo doesn’t have the same ring to it :p)

-

Legend

Legend+Sky: Harp Duo

Legend+Four: Forging Duo

Legend+Time: Melodic Duo

Legend+Hyrule: Downfall Duo (basically codified fanon at this point)

Legend+Twilight: Critter Duo (because they are currently the only two Links with animal forms)

Legend+Warriors: Worsties Duo (or just "the Worsties." Self-explanatory :3c)

Legend+Wind:Seagull Duo (because Aryll loves seagulls and Marin loved seagulls.)

Legend+Wild: Stockpile Duo (Because they’re obsessive about being prepared, so they stockpile things more than anyone else in the whole Chain.)

-

Hyrule

Hyrule+Sky: Thunder Duo

Hyrule+Four: Mousetrap Duo

Hyrule+Time: Fairy Duo

Hyrule+Legend: Downfall Duo

Hyrule+Twilight: Rustic Duo (because they both come from very humble origins. Most of the Links come from pretty humble origins, but I get the feeling those two are Country Boys if you know what I mean. ;))

Hyrule+Warriors:Firestorm Duo (because of Warriors' penchant for using fire in battle and Hyrule's thunder spell)

Hyrule+Wind: Salvage Duo (because both have had to salvage their kingdoms from their destroyed states and salvage important items from where they were scattered around their worlds)

Hyrule+Wild:Wander Duo (because they both are the most adventurous Links and tend to go off the beaten path more than any of the others)

-

Twilight

Twilight+Sky: Firmament Duo

Twilight+Four: Prism Duo

Twilight+Time: Legacy Duo

Twilight+Legend: Critter Duo

Twilight+Hyrule: Rustic Duo

Twilight+Warriors: Big Brother Duo (because they are the big brothers of the Chain)

Twilight+Wind: Successor Duo (because they are Time’s direct successors that are actually acknowledged as such in their games and in the comic)

Twilight+Wild: Protégé Duo (because Twilight is Time's protege and Wild is Twilight's)

-

Warriors

Warriors+Sky: Knight Duo

Warriors+Four: Teamwork Duo

Warriors+Time: Command Duo

Warriors+Legend: Worsties Duo

Warriors+Hyrule: Firestorm Duo

Warriors+Twilight: Big Brother Duo

Warriors+Wind: Scarf Duo (because there have been a few panels where Wind steals or hides under Warriors’ scarf)

Warriors+Wild: Arson Duo (because of that one sketch where the two are riding on a log burning everything down around them, and they clearly enjoy setting things on fire)

-

Wind

Wind+Sky: Breeze Duo

Wind+Four:Shield Duo

Wind+Time: Menace Duo

Wind+Legend:Seagull Duo

Wind+Hyrule: Salvage Duo

Wind+Twilight: Successor Duo

Wind+Warriors: Scarf Duo

Wind+Wild: Walkie Talkie Duo (because Wind's joy pendant allows him to talk to Wild through his Shiekah slate)

-

Wild

Wild+Sky: Aeon duo

Wild+Four:Shattered Duo

Wild+Time: Moon Duo

Wild+Legend: Stockpile Duo

Wild+Hyrule:Wander Duo

Wild+Twilight: Protégé Duo

Wild+Warriors: Arson Duo

Wild+Wind:Walkie Talkie Duo

-

A few trios for good measure!

Wind + Wars + Time = Eras Trio

Wars + Sky + Wild = Chivalry Trio

Wind + Wild + Hyrule = Apocalypse Trio

Hyrule + Legend + Wild = Triple Threat

Warriors + Twilight + Sky = Big Bro Trio

[mall0w-rambles]

saw some people on twitter who are saying that jayvik's posters are giving off sun and moon motif vibes

and. my brain made one of the connections of all time.

“The Hero and the Warrior were like the Sun and the Moon. Their light, a protective glow, shining upon the world. Together, there was nothing that could stop the two of them. Either in the Celestial Realms or on Earth. As time went on, the Hero attained power beyond comprehension. As the Hero's light grew, so too did his shadow. And soon, the Warrior was cast in that shadow. In the darkness, the Warrior was forgotten by the Hero.”

[laurasimonsdaughter]

How loathly is the lady

The motif of the loathly lady shows up primarily in (Celtic and English) Medieval saga's and Romances and it typically involves a knight or warrior who is confronted by a physically repulsive woman and shows her hospitality (The Daughter Of King Under-Waves; The Saga of Hrolf Kraki), agrees to kiss/embrace her (The Adventures of the Sons of Eochaid Mugmedon), or agrees to marry her (The Wedding of Sir Gawain and Dame Ragnelle; The Marriage of Sir Gawain; The Wife of Bath's Tale). When this respect is shown, the loathly lady transforms into a beautiful one, sometimes this takes a further proof that the knight is willing to let her decide about herself instead of imposing his will on her.

But to my surprise I recently learned that the Scottish ballad King Henry (Child ballad 32) is also considered a Loathly Lady tale. This lady does a whole lot more than require respect, however:

In "King Henry", the king spends the night in a haunted hall during a hunting trip, and meets a lady who seems like she is no less than "a fiend that comes from hell". In a way, she does ask for hospitality, but she does it by demanding that King Henry let her eat his horse, his greyhounds and his goshawks. Which hurts him a great deal. Finally she tells him to make her a bed out of heather, lie down with her and take her for his bride. He complies with heavy heart, but in the morning he wakes to find the fairest lady he has ever seen lying beside him, who tells him: . “I’ve met with many a gentle knight That gave me such a fill, But never before with a courteous knight That gave me all my will.”

This behaviour is quite a bit more on the monstrous side, from where I'm standing. Especially since the king does not know the loathly lady. It would make more sense to put him through such terrible trials if he was atoning to win a lover back.

Interestingly, this story does share some notable elements with The Daughter of the King Under-Waves, where there really is an element of atonement. In that tale the hero Diarmaid wins his lady with hospitality, but loses her after they are married, by breaking his promise to never bring up how repulsive she looked when he met her. He brings it up in anger when she gives his greyhound's puppies away. When he loses his supernatural wife, his beloved greyhound also dies. When he goes to find his wife, he finds she is suffering from an illness and can only sleep on a bed of rushes. He manages to cure her, but in the process falls out of love with her. She accepts this, because they are from different worlds and cannot live together. In some versions her last gift to him is restoring his greyhound to life.

Irish folk singer Tom Reid wrote some fitting extra verses to finish the ballad of King Henry: the lady tells the king to bring his horse, hounds and hawks' skins and feathers and then brings them all back to life before they marry.

I haven't been able to find a recording of that one but The Furrow Collective and Matt Williams both have nice renditions of this ballad. But my favourite is actually a German version by Faun called Herr Heinerich, which subtly changes the lady's ending speech to:

Many a knight I caught myself Yet none have acted right You are the first to sleep with me All the blessed night

[geshu-lin]

A Post-Ovathrax AU Geshu Lin design

Tried my best to keep the general essence of his original design whilst making him look more disheveled/"back from the grave." Lore, drafts, and design breakdown under the cut:

First Draft Notes

Tried to keep it somewhat loyal to his initial silhouette, maintaining the necklaces and instead burning up one of his arms (hence bandages). While I did like this draft it still felt kind of wishy washy and not at all like an AU version, just more like Geshu Lin if he unbuttoned his shirt LOL

I also burnt the wrong arm in this draft. Geshu is right-handed...

Second (Final) Draft Notes

On the second draft, I decided that Geshu needed a bit more of a solid design motif; all characters have one. Jiyan, for example, is a dragon, Calcharo's is the Tacet corruption, so on.

Geshu on the other hand, has no real theme (at least, from what we've seen of him), so I took it upon myself to take some creative liberties.

First off, I decided to go with a "cage" sort of theme for his lower half; we can already see this in Geshu's original design, but it's not as heavy-handed about it. I actually doubt it was intentional at all, but given that I already see him as a tragic hero (a man doing his best in a terrible situation, relatively mentally isolated, trapped, etc), I thought it best to enunciate that design aspect to be more "front and center."

Next up, the chains; in my head canon for Post-Ovathrax Geshu Lin, this is sort of a design for also a "post prison-break" Geshu Lin.

Hold on; what prison-break?

As far as the general gist goes, his body was found overclocked and comatose by the Jinzhou government after the events of the Battle Beneath the Cresent. Due to public outcry for his crimes and need for a scapegoat after a countless loss of life, he was put under bare minimum care until he awoke, and then imprisoned off the coast of Huanglong.

One thing led to another, and the Fractsidus caught wind of his presence; they attempted to break him out and sway him to their cause given his already close encounter with a Threnodian and an assumed hatred/need for vengeance against Jinzhou, but the operation ultimately failed and Geshu Lin got away. Little did everyone know, his sacrifice to the black flames essentially burnt away his memories and sense of self identity, so he's also an amnesiac as much as the Rover is.

His chains are used both as weapons and as a way to keep his sword with him. I can imagine him using it almost like a chain mace or a way to "grapple" (lasso?) enemies to him. They're also meant to symbolize how he's chained to his life as a warrior and his past (one that he doesn't even remember, no less).

I'm still wishy-washy on whether the broadblade he carries is The broadblade or not; I reckon it was destroyed in his fight with Ovathrax; or rather, his original broadblade was not a physical weapon, but something his Forte allowed him to manifest into physical form due to his strong sense of self identity/self-confidence (seen in the few second-hand accounts we've had about him); but now that his sense of identity is gone, he cannot manifest the original to much success. For now, his weapons are as much of a shell of their former selves as he is, thus lacking luster or intricacy.

Third, his bandages. You might've noticed these wrap him head to toe (tits to toe really); Geshu acquired these due to the significant burns he sustained on his body during his sacrifice to the black flames. His right arm sustained the brunt of it, but is mainly covered by his huge sleeve. I believe this is intentional by him so he doesn't stick out as much whilst wandering through Huanglong trying to piece together who he was.

Though for the fun of it, here's what that arm looks like:

The rest of his bandaged skin under the bandages looks like normal burn scars. His right arm is mutated due to its proximity to the Threnodian in his final moments, which I like to imagine as capable of inflicting mutations in the bodies of resonators, especially overclocking ones who are already physically vulnerable.

If you want to think about this in an excessively bad-ass manner though, I have an additional headcanon (may or may not be canon to the AU; I think I'll leave it up to interpretation) that his right arm was already severely injured to the point of disintegration by his overclocking; so he ripped an arm straight off of the wings of the Dreamless and took it as his own. In this scenario, the combination of overclocking and absorbing a TD's bodypart as his own is what resulted in the almost complete erasure of his memory.

Also, for the sake of stacking more badassery because why the fuck not, Dreamless' body is already fractured all over during her first manifestation against the Rover and Jiyan. I like to entertain the idea that she ended up this way (and with her core exposed) because of Geshu's initial encounter with Ovathrax and assumedly Dreamless as well.

If you can't already tell, I love this guy too much. That's all for this post though! Thank you for reading if you managed to get through all of this.

[jonsnowunemploymentera]

I rarely speculate on Patchface’s seemingly prophetic jingles because, unless they refer to past events, it’s always a challenging exercise to parse out what they might mean. However, a few things stuck out to me as I was revisiting the ACoK prologue, especially when considering how this chapter works as a narrative mirror to Dany X, the AGoT prologue, and other chapters that come later in the series.

ACoK’s prologue takes place in Dragonstone, where Maester Cressen looks at the red comet in the sky and considers it an omen—"prophesies in the sky", as he calls it. This in itself isn’t particularly remarkable, as most characters who see the comet interpret it as a sign of something supernatural. Then, Shireen and her bizarre fool, Patchface, enter.

Shireen wants to see the raven that recently arrived from the Citadel—a white raven that marks the end of the longest summer in recorded memory. This, Cressen acknowledges, is certainly noteworthy.

And yet . . . and yet . . . the comet burned even by day now, while pale grey steam rose from the hot vents of Dragonmont behind the castle, and yestermorn a white raven had brought word from the Citadel itself, word long-expected but no less fearful for all that, word of summer’s end. Omens, all. Too many to deny. What does it all mean? he wanted to cry.

And Cressen is right; all of these are omens connected to prophecy. According to prophecy, the end of a long summer precedes the rise of a hero destined to wake dragons from stone and fight the darkness.

“In ancient books of Asshai it is written that there will come a day after a long summer when the stars bleed and the cold breath of darkness falls heavy on the world. In this dread hour a warrior shall draw from the fire a burning sword. And that sword shall be Lightbringer, the Red Sword of Heroes, and he who clasps it shall be Azor Ahai come again, and the darkness shall flee before him.” Davos I, ACoK

It is written in prophecy as well. When the red star bleeds and the darkness gathers, Azor Ahai shall be born again amidst smoke and salt to wake dragons out of stone. The bleeding star has come and gone, and Dragonstone is the place of smoke and salt.  Davos III, ASoS

“He is not dead. Stannis is the Lord’s chosen, destined to lead the fight against the dark. I have seen it in the flames, read of it in ancient prophecy. When the red star bleeds and the darkness gathers, Azor Ahai shall be born again amidst smoke and salt to wake dragons out of stone. Dragon-stone is the place of smoke and salt.” Jon X, ADWD

The omens that unsettle old Master Cressen foretell the birth of a hero of fire. Daenerys Targaryen, in the chapter that directly precedes this prologue (Dany X, AGoT), became that hero when she emerged from Drogo's pyre as "the Unburnt" and "the Mother of Dragons".

It is important to note that Dany X is a direct narrative parallel to the AGoT prologue, where creature of ice were seen again. The return of ice demanded the birth of fire, as all things must remain in balance. And Maester Cressen makes note of this as well,

The smallfolk said that a long summer meant an even longer winter […]

As a mirror to the AGoT prologue and Dany X, the ACoK prologue is full of references to Azor Ahai and the Long Night—too many to ignore. What’s particularly interesting is how this prologue circles back to a motif first introduced in Dany X: the birth of dragons. This comes to the forefront when Patchface utters his first prophecy in the series, which leads to an intriguing conversation between Cressen and Shireen about dragons coming to life; this conversation is occasionally interrupted by more cryptic jingles from the fool.

The fool turned his patched and piebald head to watch Pylos climb the steep iron steps to the rookery. His bells rang with the motion. “Under the sea, the birds have scales for feathers,” he said, clang-a-langing. “I know, I know, oh, oh, oh.”

Before I proceed, I want to address my thoughts on the phrase "under the sea". I subscribe to the theory that Patchface's prophetic ability was awakened because he drowned and was brought back to life. After his "death" at sea, he became an emissary of the Drowned God.

The boy washed up on the third day. Maester Cressen had come down with the rest, to help put names to the dead. When they found the fool he was naked, his skin white and wrinkled and powdered with wet sand. Cressen had thought him another corpse, but when Jommy grabbed his ankles to drag him off to the burial wagon, the boy coughed water and sat up. To his dying day, Jommy had sworn that Patchface’s flesh was clammy cold. No one ever explained those two days the fool had been lost in the sea. The fisherfolk liked to say a mermaid had taught him to breathe water in return for his seed. 

Thus, “under the sea” could refer to the process of dying and being reborn; note that this phrase often appears narratively as an accompaniment to talk of death. More generally, "under the sea" could represent a state in which suspended life is reanimated. Keeping this in mind, the image of birds having scales for feathers “under the sea” refers to dragons, which exist as suspended life forms encased in stone until they are brought to life

The conversation between Cressen and Shireen that directly follows Patchface’s first jingle continues the theme of stone dragons coming to life.

“Sit with me, child.” Cressen beckoned her closer. “This is early to come calling, scarce past dawn. You should be snug in your bed.” “I had bad dreams,” Shireen told him. “About the dragons. They were coming to eat me.”

Though Cressen tries to assuage her fears by telling her that dragons carved from stone cannot be brought to life, Shireen aptly remarks on the significance of the comet in the sky.

“What about the thing in the sky? Dalla and Matrice were talking by the well, and Dalla said she heard the red woman tell Mother that it was dragonsbreath. If the dragons are breathing, doesn’t that mean they are coming to life?”

Dany X proved that stone dragons have indeed been born. But Daenerys is the least of Shireen's worries. While her dragon-related nightmares are tied to Azor Ahai and the prophecy of his coming, it is her own father she must truly fear.

What’s truly puzzling, however, is Patchface’s next jingle, uttered as Cressen and Shireen turn their discussion toward the end of the long summer.

Patchface rang his bells. “It is always summer under the sea,” he intoned. “The merwives wear nennymoans in their hair and weave gowns of silver seaweed. I know, I know, oh, oh, oh.”

In a word, this is nonsense. "Nennymoans" don’t exist and are never mentioned again after this chapter. The term doesn’t refer to anything in the real world either. So, what exactly is Patchface talking about? I’ll have to take some liberties here to try and tease out the meaning behind this.

"Nennymoans," as a few fans have suggested, could refer to anemones. An anemone could be one of two things: a multicolored flower in the buttercup family that blooms in spring or fall, or a multicolored sea creature that resembles these flowers and grows in the depths of the ocean. Given that this chapter centers on the Long Night and dragons, this jingle likely plays into those themes.

Anemones, in whatever form, are tied to the cycle of life and death:

Greek legends say that Anemos, the Wind, sends his namesakes the Anemones in the earliest spring days as the heralds of his coming. […] Greek myth gives the anemone two meanings, the arrival of spring breezes and the loss of a loved one to death […] (Flower Meanings: Anemone)

This cycle of life and death is central to the Ironborn belief: “What is dead may never die, but rises again, harder and stronger”. With spring winds—or flowers—in their hair, the mermaids become agents of this process.

This cycle of life and death is also closely related to the waking of dragons:

She heard a crack, the sound of shattering stone. The platform of wood and brush and grass began to shift and collapse in upon itself. Bits of burning wood slid down at her, and Dany was showered with ash and cinders. And something else came crashing down, bouncing and rolling, to land at her feet; a chunk of curved rock, pale and veined with gold, broken and smoking. The roaring filled the world, yet dimly through the firefall Dany heard women shriek and children cry out in wonder. Only death can pay for life. Dany X, AGoT

Dragons are also tied to the Lands of the Long Summer, which mirror the Lands of Always Winter—a place of death. Ice versus fire, death versus life, dragons or Others. This is the essence of the Long Night.

Other clues in the text help us understand the mermaids’ silver gowns:

On the crown of the hill four-and-forty monstrous stone ribs rose from the earth like the trunks of great pale trees. The sight made Aeron’s heart beat faster. Nagga had been the first sea dragon, the mightiest ever to rise from the waves. She fed on krakens and leviathans and drowned whole islands in her wrath, yet the Grey King had slain her and the Drowned God had changed her bones to stone so that men might never cease to wonder at the courage of the first of kings. Nagga’s ribs became the beams and pillars of his longhall, just as her jaws became his throne. For a thousand years and seven he reigned here, Aeron recalled. Here he took his mermaid wife and planned his wars against the Storm God. From here he ruled both stone and salt, wearing robes of woven seaweed and a tall pale crown made from Nagga’s teeth. The Drowned Man, AFFC

The only other time seaweed is woven into cloth is in Aeron’s thoughts, as he reflects on the Grey King, the legendary figure who slew the fire-breathing sea dragon Nagga. The Grey King wore gowns of seaweed and decorated his hall in a similar fashion. This was where his warriors feasted:

But that was in the dawn of days, when mighty men still dwelt on earth and sea. The hall had been warmed by Nagga’s living fire, which the Grey King had made his thrall. On its walls hung tapestries woven from silver seaweed most pleasing to the eyes. The Grey King’s warriors had feasted on the bounty of the sea at a table in the shape of a great starfish, whilst seated upon thrones carved from mother-of-pearl. Gone, all the glory gone. Men were smaller now. Their lives had grown short. The Storm God drowned Nagga’s fire after the Grey King’s death, the chairs and tapestries had been stolen, the roof and walls had rotted away. Even the Grey King’s great throne of fangs had been swallowed by the sea. Only Nagga’s bones endured to remind the ironborn of all the wonder that had been. The Drowned Man, AFFC

Aeron believes that those who serve the Drowned God will be taken to feast in his halls when they die (The Prophet, AFFC; The Foresaken, TWoW). This evokes imagery of Valhalla and its inhabitants, the Einherjar—dead warriors who are destined to be reborn to fight in the final battle during Ragnarok. The Valkyries, who take the dead to Valhalla, parallel the mermaids mentioned in Patchface’s jingle. Both partake in the cycle of life and death, acting as agents of an apocalypse.

If we associate “under the sea” with the cycle of death and rebirth, then gowns of silver seaweed might symbolize either armor or the more spectral funerary garments worn by the dead (or ghosts). The latter seems more likely, given Shireen’s next line:

Shireen giggled. “I should like a gown of silver seaweed.”

This is a child’s innocent wish—but tragically, it will come true. Shireen will receive her silver gown, her funerary garment, soon. The next line seals her fate and is what inspired this post in the first place:

“Under the sea, it snows up,” said the fool, “and the rain is dry as bone. I know, I know, oh, oh, oh.”

It puzzled me for quite some time what Patchface was referring to here. But given that this chapter focuses on the Long Night and dragons, this jingle is clearly referencing the latter—especially considering it directly follows Shireen’s unwitting prophecy of her impending death for the sake of a dragon.

On the surface, this third jingle doesn’t seem connected to the birth of dragons at all. However, remember that Azor Ahai will be born after a long summer, amidst “smoke and salt". And remember, this prologue is set on Dragonstone, which sits on the Dragonmount—a volcano where dragons once lay, where ash and smoke billow up (this detail will be important later). The jingle seems to describe the conditions that breed dragons! “Snow falls up… rain [is] dry as bone” clearly refers to “smoke and salt".

Up until this point, you’d likely think this jingle refers to Dany and her dragons—and you’d be right, but only partially. From this point forward, we see that Patchface’s jingles align closely with another character who is being positioned as Azor Ahai—Jon Snow.

Let’s revisit the second jingle about mermaids with “nennymoans” in their hair. It’s noteworthy that although Patchface often uses the sea as the backdrop for his prophecies, mermaids only appear twice in the entire series. The first instance is in this prologue, where they seem to evoke imagery of life after death. The second instance occurs just before a pivotal moment—before a Targaryen prince, a dragon, is put to sleep.

Patchface jumped up. “I will lead it!” His bells rang merrily. “We will march into the sea and out again. Under the waves we will ride seahorses, and mermaids will blow seashells to announce our coming, oh, oh, oh.” Jon XIII, ADWD

For context, this prophecy follows Jon’s announcement of his intent to lead the ranging beyond the Wall—a ranging that would surely lead him and his men to death’s door. Patchface’s assertion that “[they] will march into the sea and out again” could symbolize the process of wight-ification—a perverse form of new life springing forth after death.

The mention of seahorses is also intriguing. It could refer to serpentine sea creatures, which ties into the broader theme of dragons and their role in the cycle of life and death. Dragons serve as vehicles for new life after a period of death, a theme that is mirrored in Daenerys’s campaign in Slaver’s Bay. However, I’m also inclined to think of Kelpies—grey or white sea-horses that lure men and women to their death under the sea. The imagery of grey or white sea-horses calls to mind part of Patchface’s second jingle, where mermaids wove gowns of silver seaweed.

While I won’t speculate too much on the point about riding seahorses, it’s worth noting how Patchface’s third jingle relates to Jon Snow. This particular jingle, which references snow falling up, has two narrative parallels—and they complicate things quite a bit. The first parallel comes later in this prologue, just before Cressen meets his end:

Patchface sprawled half on top of him, motley fool’s face pressed close to his own. He had lost his tin helm with its antlers and bells. “Under the sea, you fall up,” he declared. “I know, I know, oh, oh, oh.” Giggling, the fool rolled off, bounded to his feet, and did a little dance.

The dichotomy here is fascinating. If the first mention of snow relates to the “smoke and salt” that provide the necessary elements for the birth of dragons, what does it mean when the focus shifts to Cressen himself? “You fall up” evokes the image of a person being lifted from the ground—resurrected. Where the first instance of snow falling up might reference the birth of dragons, this second instance could refer to the rise of their natural enemies, the wights.

That this second instance of “falling up” refers to the creation of wights—perversions of life after death—is further reinforced by the unsettling tune Patchface sings in the preceding paragraph.

Over the clatter of knife and plate and the low mutter of table talk, he heard Patchface singing, “… dance, my lord, dance my lord,” to the accompaniment of jangling cowbells. The same dreadful song he’d sung this morning. “The shadows come to stay, my lord, stay my lord, stay my lord.”

But this isn’t the first time Patchface sings this. When Shireen finally sees the white raven, Patchface unleashes his prophecy:

“Clever bird, clever man, clever clever fool,” said Patchface, jangling. “Oh, clever clever clever fool.” He began to sing. “The shadows come to dance, my lord, dance my lord, dance my lord,” he sang, hopping from one foot to the other and back again. “The shadows come to stay, my lord, stay my lord, stay my lord.” He jerked his head with each word, the bells in his antlers sending up a clangor.

I think it’s clear that the shadows Patchface refers to are the Others, who are often described as “white shadows” throughout the text. Remember, this chapter mirrors the AGoT prologue, which featured Waymar Royce’s confrontation with an Other—“dance with me, then", Waymar challenged. That was just before he died at the hands of the Other and rose as a wight. Shireen also states that Patchface began signing this tune only recently—perhaps once the comet became visible in the sky.

Jon Snow, a narrative parallel to Waymar, begins his twelfth chapter of ADWD fighting the dead atop the Wall. Though his dream and its immediate aftermath suggest he will be victorious, the specter of death follows him until the next chapter, when he is assassinated by his own brothers. This sense of death lingers as he meets with Queen Selyse, Shireen, and Patchface in Jon XIII.

They found Her Grace sewing by the fire, whilst her fool danced about to music only he could hear, the cowbells on his antlers clanging. “The crow, the crow,” Patchface cried when he saw Jon. “Under the sea the crows are white as snow, I know, I know, oh, oh, oh.” Princess Shireen was curled up in a window seat, her hood drawn up to hide the worst of the greyscale that had disfigured her face. Jon XIII, ADWD

Other than the ACoK prologue, this is the only time snow is mentioned in Patchface’s prophecies. And this second instance is even more puzzling than the first. What does it mean for Jon, the crow, to be “white as snow”? If the first instance says “snow falls up", does that mean Jon, who is the snow, will rise?

The entirety of ADWD is centered around Jon’s impending death.

You are wrong. I have dreamed of your Wall, Jon Snow. Great was the lore that raised it, and great the spells locked beneath its ice. We walk beneath one of the hinges of the world.” Melisandre gazed up at it, her breath a warm moist cloud in the air. “This is my place as it is yours, and soon enough you may have grave need of me. Do not refuse my friendship, Jon. I have seen you in the storm, hard-pressed, with enemies on every side. You have so many enemies. Shall I tell you their names?” “I know their names.” “Do not be so certain.” The ruby at Melisandre’s throat gleamed red. “It is not the foes who curse you to your face that you must fear, but those who smile when you are looking and sharpen their knives when you turn your back. You would do well to keep your wolf close beside you. Ice, I see, and daggers in the dark. Blood frozen red and hard, and naked steel. It was very cold.” Jon I, ADWD

But, a key point is that Jon will return, for Melisandre has seen it in her flames.

Death, thought Melisandre. The skulls are death. The flames crackled softly, and in their crackling she heard the whispered name Jon Snow. His long face floated before her, limned in tongues of red and orange, appearing and disappearing again, a shadow half-seen behind a fluttering curtain. Now he was a man, now a wolf, now a man again.  Mel I, ADWD

But what’s interesting is that the language surrounding Jon’s death and rebirth mirrors the birth of dragons—“smoke and salt”, “snow fall[ing] up”, and “rain dry as bone” mirror the “ashes and cinders” in Mel’s visions of the boy.

And keep him away from the red woman. She knows who he is. She sees things in her fires.” Arya, he thought, hoping it was so. “Ashes and cinders.” “Kings and dragons.” Dragons again. For a moment Jon could almost see them too, coiling in the night, their dark wings outlined against a sea of flame.  Jon VIII, ADWD

Mel is the first and only person in the series to recite the prophecy of Azor Ahai being born amidst salt and smoke to wake dragons. In fact, she always precedes it with “I have seen it in the flames”. Though Daenerys fulfilled those requirements in her last AGoT chapter, it’s still noteworthy that the narrative continues to present this prophecy as something that is yet to reach full completion. From a Doylist perspective, you don’t repeat a motif if it is no longer relevant to the ongoing narrative, especially when it is presented in a particular context; in this case, as it’s continuously presented in Jon’s Dance arc.

Mel is the primary person in the current timeline who links the waking of dragons to Azor Ahai, and every time she looks for this hero, she sees Jon!

Yet now she could not even seem to find her king. I pray for a glimpse of Azor Ahai, and R’hllor shows me only Snow.  Mel I, ADWD

It’s striking that the last time the idea of dragons waking as part of Azor Ahai’s rise comes up in Jon X, just three chapters before his death.

Melisandre’s face darkened. “That creature is dangerous. Many a time I have glimpsed him in my flames. Sometimes there are skulls about him, and his lips are red with blood.” A wonder you haven’t had the poor man burned. All it would take was a word in the queen’s ear, and Patchface would feed her fires. “You see fools in your fire, but no hint of Stannis?” “When I search for him all I see is snow.” The same useless answer. […] “Would you know if the king was dead?” Jon asked the red priestess. “He is not dead. Stannis is the Lord’s chosen, destined to lead the fight against the dark. I have seen it in the flames, read of it in ancient prophecy. When the red star bleeds and the darkness gathers, Azor Ahai shall be born again amidst smoke and salt to wake dragons out of stone. Dragonstone is the place of smoke and salt.” Jon had heard all this before. “Stannis Baratheon was the Lord of Dragonstone, but he was not born there. He was born at Storm’s End, like his brothers.” He frowned. “And what of Mance? Is he lost as well? What do your fires show?” “The same, I fear. Only snow.” Snow. […] “You are seeing cinders dancing in the updraft.” “I am seeing skulls. And you. I see your face every time I look into the flames. The danger that I warned you of grows very close now.” “Daggers in the dark […]” Jon X, ADWD

This passage not only foreshadows Jon’s impending death, but once again, we see “cinders dancing in the updraft”—a phrase that echoes “snow falls up, and the rain is dry as bone". Both the ACoK prologue and this chapter discuss the waking of dragons, and in both, “snow” is linked to the conditions necessary for such an event. This raises interesting questions about Melisandre’s visions of “smoke and salt”—what exactly did she see?

Regardless, Jon is quite firmly wrapped up in the mysteries surrounding Azor Ahai and the waking of dragons. Not just in this chapter, but a common motif that comes up in his Dance arc is the aspect of sacrifice to wake dragons.

Burning dead children had ceased to trouble Jon Snow; live ones were another matter. Two kings to wake the dragon. The father first and then the son, so both die kings. The words had been murmured by one of the queen’s men as Maester Aemon had cleaned his wounds. Jon had tried to dismiss them as his fever talking. Aemon had demurred. “There is power in a king’s blood,” the old maester had warned, “and better men than Stannis have done worse things than this.” The king can be harsh and unforgiving, aye, but a babe still on the breast? Only a monster would give a living child to the flames. Jon I, ADWD

Much of this revolves around the sacrifice of a living child. Jon sends Mance’s son away with Gilly, believing he’s bypassed such a tragedy. But GRRM has confirmed that Stannis will sacrifice his own daughter, reinforcing the theme of royal blood as a powerful magical catalyst. The prophecies set in stone in the ACoK prologue through Patchface and Shireen are thus mirrored in Jon’s Dance arc.

What’s particularly interesting is how the idea of burning dead children to wake dragons is paralleled by Dany X, when Rhaego was placed in Drogo’s pyre, bringing dragons into the world and “rebirthing” Daenerys as Azor Ahai. Dany had her dragon eggs waiting to be brought to life, but at the Wall, there are no such eggs. So where will the dragon come from? Jon himself questions this:

“That I would speak to Stannis, though I doubt my words will sway him. A king’s first duty is to defend the realm, and Mance attacked it. His Grace is not like to forget that. My father used to say that Stannis Baratheon was a just man. No one has ever said he was forgiving.” Jon paused, frowning. “I would sooner take off Mance’s head myself. He was a man of the Night’s Watch, once. By rights, his life belongs to us.” “Pyp says that Lady Melisandre means to give him to the flames, to work some sorcery.” “Pyp should learn to hold his tongue. I have heard the same from others. King’s blood, to wake a dragon. Where Melisandre thinks to find a sleeping dragon, no one is quite sure. It’s nonsense. Mance’s blood is no more royal than mine own. He has never worn a crown nor sat a throne. He’s a brigand, nothing more. There’s no power in brigand’s blood.” Sam I, AFFC

As of Jon XIII, ADWD, there are no dragon eggs at the Wall. But what we do have is a Targaryen prince—Jon Snow—bleeding out in the snow, growing hard with cold as all memory of warmth flees from him (Bran III, AGoT). Jon himself is the dragon waiting to be woken, a “sleeping dragon” not of stone, but of blood and prophecy. Exactly how he will be woken remains a mystery, but we see a fascinating thread running from ACoK through ADWD regarding Jon’s role in the series’ central conflict.

In the ACoK prologue, Patchface sang of mermaids with spring in their hair, weaving funerary gowns. In ADWD, he sings of these same mermaids blowing seashells to announce the coming of those who have descended into the sea’s depths and emerged alive once more. How intriguing that both of these jingles are framed by discussions of dragons.

“A grey girl on a dying horse. Daggers in the dark. A promised prince, born in smoke and salt. It seems to me that you make nothing but mistakes, my lady. Where is Stannis? What of Rattleshirt and his spearwives? Where is my sister?” “All your questions shall be answered. Look to the skies, Lord Snow. And when you have your answers, send to me. Winter is almost upon us now. I am your only hope.” Jon XIII, ADWD

The first two prophecies have already come to pass. The third, however, still looms over the narrative. Yet, it too will soon reach completion. A crow has now become white as snow—dead. But as in Patchface’s prophecy, he will emerge from under the sea—a dragon reborn, the promised prince who will save his realm.

[wsjyuyuyuau]

Cell (Dragon Ball)

Name: Cell

Series: Dragon Ball

Gender: Male

Status: Alive

Family: Dr. Gero (Creator)

Flower Motif: Purple Foxglove (Digitalis purpurea)

Flower Meaning: Insincerity

Weapon of Choice: Bow and Arrow (With poison arrows!)

Associated With: Interdimensional Hero Club

Hero Form Appearance: An absolutely showstopping mix between a cyberpunk outfit and YuYuYu’s Hero Form outfits. The sleeveless base of the outfit is a glossy jet black so the purple and green can stand out more. The base is a peridot green, which slowly fades to foxglove purple near the pants, tailcoat, and the sleeves. Accents of dark green and white, as well as yellow, add contrast to the outfit so the green fading to purple doesn’t overpower the outfit fully, while the shoes themselves are combat ready boots. The foxglove’s petal shape is seen in the sleeves, pants, boots, and tailcoat. The only accessories are the wristbands, which are foxglove patterned, and the earrings as well. Oh, and there’s room for his wings.

Full Bloom Gauge Location: Back Near The Neck

Guardian: Khepri (Based on Khepri)

Favorite Food: Do Energy Drinks Count?

Parallel To: None

Bio: Created from the DNA of the universe's strongest fighters (Except Yamcha), Cell is a wicked android obsessed with his own perfection. He believes himself to be the greatest warrior in existence, and will gladly destroy the world to prove his superiority.

[bestworstcase]

Say, what was that about the 1/2/4 motif for Ozpin you mentioned the other day? I’ve been reading your stuff for a good minute now and I don’t think I’ve seen it come up once before that.

it's about the symbolism of the huntsmen academy teams and the vytal festival; huntsmen and huntresses are meant to "protect their fellow man" and

for this reason, trainees are grouped into teams, ensuring the continual development of communication, empathy, and teamwork; traits that are vital to any guardian of peace.

but the way the initiation process is designed, the way these teams form, creates conditions detrimental to this notional goal: you're tossing a bunch of teenagers who don't know each other into semi-random pairs to choose a single token which, unbeknownst to them, selects the other half of their team, and then you put one of them in charge and more or less tell them to figure it out.

it should come as no surprise that most professional huntsmen work alone or in pairs. there is one (1) singular example of an academic-model team-of-four functioning at the professional level—team BRIR in arrowfell. and of course we have team STRQ, who fell apart in spectacular fashion within at most five or six years of leaving beacon.

aside from the more general issue that the mechanism used to assemble these teams is just not a terribly effective way to build functional teams, the interesting part with regard to oz is that the system is designed such that the pairs are most likely choosing their token under pressure—i.e., while fending off grimm, i.e. not having any time to actually deliberate or discuss or otherwise work together to make this very important, defining choice about their futures; and indeed they're not even told that it will be defining in any sense so they're unlikely to treat it as important at all.

which is to say, the probable outcome for any given pair is that one of them will grab a token without putting much thought into it, and then they run. this is—i suspect, at least in part—a test to find out which of the pair is most decisive under pressure. whether they know it or not, every student undergoing the initiation is also auditioning for a leadership position and the structure of the initiation reflects that.

so you have this one -> two -> four pattern. the teams of four are composed of two pairs, each of which first faces a task which inherently sort of expects one to make the pivotal choice.

and then the end result is one student leading three others with no real structure beyond that. delegation and separation of duties is left wholly to the leader's discretion.

we see this same kind of symbolism at work in the vytal tournament, wherein the point of the quads bracket is for the winning team to select its two best fighters to go on to the doubles round, and then winning doubles pick the best solo combatant to compete for the championship alone by fighting a series of 1v1 duels. notionally the point of the vytal festival is to celebrate peace, cooperation, harmony—but its main event is about breaking down the team into smaller and smaller units until One Warrior emerges as the very best, standing victorious all alone.

it gives the lie to all of ozpin's talk about the importance of standing together; even his Festival About Standing Together is really about finding The Chosen One. the point of the team and of the pair is to act as a good enough foundation for The Lone Champion to reach the actual tournament. the quads aren't even properly part of the tournament itself, they're the qualifiers.

and that's why the teams fail, fundamentally. they exist in a system whose underlying purpose is really to pry them apart and extract singular heroes from teams that are good enough. whether oz consciously intended it this way or just cannot let go of trying to find the right Chosen One to replace himself is an open question, but it is top to bottom designed to find The Ones Who Are Special.

[illegiblewords]

Almost current in Dawntrail, I make some references to plot stuff under the cut but this post isn't mainly about Dawntrail. This is an analytical rant. There are people who disagree with me that I adore/respect to bits who have done brilliant stuff from angles I wouldn't take. People shouldn’t stop doing what they’re inspired to do according to whether I like or dislike something. This post qualifies less with 'I think' and 'I believe' statements/is a little harsher because I'm venting though. Proceed at your discretion.

Features critical/darker discussions of Venat and Hermes with brief mentions of Zenos.

I really, genuinely think a lot of people are only getting pieces of what's going on in FFXIV.

The story still isn't black and white. Characters very, very often are not what they advertise themselves to be. Neither the cast nor fans are immune to misjudging.

Hermes is not as compassionate as he presents himself. There is an enormous discrepancy between what he professes and the choices he consistently makes, both with regard to other ancients and creations. I do believe he was genuinely miserable but he is basically Satan from Paradise Lost, who wonders why he alone was made unsatisfied with obedience and perfection. Who recognizes there is difference in himself compared to others but is conflicted about whether this is a defect or higher calling. Satan sees himself as inherently 'other' above all else and Hermes is just the same. The shared snake imagery isn't a coincidence either.

Everything I've seen points to Hermes being a narcissist who does not have instinctive empathy in a society where empathy is the most valuable quality a person can have. He strives to have more empathy than all other people without truly understanding what that means. It's why he projects his anger and hatred onto the wolf creation as it dies instead of offering it any kind of comfort. It's why he sends Meteion into space to suffer pain, death, and despair as a high empathy being who challenges all concepts of what it means to be alive… instead of presenting her to the Bureau of the Architect, where her very existence might instigate star-wide reform for how all other creations are handled. For his ego, he needed to be the only one with extensive knowledge of dynamis. He needed to be the only one with answers from on high regarding the nature of life. That was far more important than Meteion's wishes or well-being, and the creations he claims to love are expendable for this purpose. He frequently oscillates between seeing himself as beneath all other ancients and the sole, divinely powerful judge/jury/executioner of all living things. Like Satan from Paradise Lost he can't be grouped with those around him. He can't be just one of many ancients dealing with fears, doubts, despairs. He MUST be exceptional above all else. I'd argue the main reason he accepts the Warrior of Light at all is because we do not appear as a fellow ancient to him--he sees us as a familiar, and therefore inherently without equal authority and agency compared to him. When we are useful to his worldview he uses us and when we aren't we're disposable.

I've seen people claim that Hermes is just anxious and that's why he didn't submit Meteion. You don't opt for genocide and decree all of humanity as immoral and unworthy of mercy without even allowing your targets a voice to answer out of anxiety. You certainly don't do that while having specifically gone out of your way to avoid any steps that might have given room for more charitable judgments. Hermes opted to destroy everyone because it was what he wanted to do, but it didn't fit his self-image as a benevolent and empathetic person to do so. That's why he made a loophole via memory erasure.

Venat, further, is not a hero. She's gray at best and in all likelihood a pretty dark shade of it. Light motifs and crystal mommy themes do not change this. She not only decided, independently, that Hermes' genocide was an appropriate course without allowing anyone else room to discuss or address the issue--she actively denied everyone else knowledge of what happened or even basic information about dynamis (LET ALONE METEION'S LOCATION) so they could deal with the issue effectively. She passed judgment on the entire Convocation because of Hermes' appointment without once judging herself for withholding information on his true character. There is a reason Emet-Selch called her out for being immediately ready to see herself as a morally correct messiah of the star. He wasn't wrong to do so. And especially after Endwalker I think Venat grossly misunderstood not only what led to worlds self-destructing on a philosophical level (never mind Meteion's emotion amplification powers), I think she misread her own star and its people. Pursuit of purity and certainty was what led to the destruction of worlds. The total absence of pain is just one form that can take, but it isn't necessary for a world to be in perpetual agony to avoid that. Venat dismissed the despairs and struggles of her own fellow ancients because there was no room for them in the view she had of herself and her world. If she didn't see them they didn't exist, but even when she did see them they didn't count enough to sway her judgment. Venat had to be the most correct person and she didn't allow even as Hydaelyn the possibility of making mistakes or unwarranted cruelty to others. She is 1000% guilty of 'ancient hubris'.

Venat might be a more middling gray, in my view, depending on whether she'd been trying to shield as many people as possible from tempering with the traveler's ward only for most of the star to become tempered by Zodiark post-summoning. There are a lot of repeating phrases between Elidibus, post-Final Days ancients, and the lunar shades that I think point to mass tempering. Venat would have grounds for assuming people had homogenized views, prayers, and voices if the star was largely tempered. If they weren't, I think she becomes pretty sinister for how she deals with people's post-Final Days trauma. Her injustice toward the ancients in that case would just happen to be in a way that benefits the shards.

The Zodiark plan prevented life from going extinct. It was necessary. Zodiark's tempering and the subsequent sacrifice spiral were not deliberate I suspect, seeing as Zodirk was the first primal EVER. People have been consistently misreading the loporrit quote on this to try and argue that Zodiark didn't temper the Unsundered.

The line states that Venat used a different summoning technique to the one utilized by Ascians. Venat's technique specifically does not temper people. The Ascian method does. If Venat's technique was used to summon an entity of Zodiark's magnitude (whose power could not be resisted according to Emet-Selch) there might be a slight tug toward tempering despite the technique being much safer.

This is not saying Zodiark didn't temper anyone. It's specifically saying that despite Venat having a safe technique, Zodiark's summoning was on such a monumental scale that even Venat's technique would carry some risk.

Meanwhile, Lahabrea has been getting set up for years as someone who has been dehumanized, judged, isolated, and misunderstood. This has continued to increasing degrees through Dawntrail. It has been going on since A Realm Reborn. The sheer consistency of it is insane at this point. There is a HUGE gap between how Lahabrea emotes and what he's actually feeling. His choices reflect this and it is demonstrated firsthand in Pandaemonium.

No one seemed to think it was weird that Lahabrea was ready to commit a pseudo-suicide by killing Hephaistos. No one seemed to catch that the 'pseudo-suicide' in the lyrics to Scream referenced Lahabrea, as did the 'shadow left far behind' line. People contorted themselves into pretzels trying to say that Scream was not about him. Nevermind that Pandaemonium is the Lahabrea raid, in which all other characters were supporting cast to flesh out Lahabrea. It must be mainly about Hegemone and Agdistis! If not them, it must be mainly about Erichthonios!

The man's entire story is about being dehumanized, dismissed, invalidated, and excluded while suffering severe mental illness. It's kind of horrendous that fans are continuing to do this to him on a meta level.

Lahabrea has a long history of Abrahamic imagery. If the Warring Triad mirror the Unsundered, Sephirot as the Tree of Life maps to the Kabbalistic process of creation. The game explicitly and correctly references this in the attacks used. The lyrics to Fiend track for Lahabrea as does the association with Id issues, and there's symbolically significant overlap between muscular/multi-armed Sephirot (where multiple arms reference the boddisatva Guanyin, who uses those many arms to help those in need) to muscular/multi-armed Zodiark as Lahabrea's creation. And Zodiark being Lahabrea's creation is indicated in Akademia Anyder. People have been trying to attribute Zodiark to Hermes because Hermes hijacked him in EW and it drives me nuts.

Meanhwile, what did Pandaemonium do?

Paired the Tree of Life to The Tree of Knowledge of Good and Evil. There's a ton of snake, fruit, and mouth imagery in Pandaemonium. Athena is Eve offering Lahabrea as Adam knowledge of good and evil via the soul bonding. Lahabrea has been afraid of himself as an extremely powerful ancient (which I've analyzed before, tying to Emet-Selch too), particularly given he's in a position of power. He reflects the societal idea that someone with his aetherial strength and authority cannot afford to be selfish or he risks causing immeasurable harm to others. Result is that Lahabrea is absolutely terrified of being selfish in any capacity, even on a basic healthy level. Athena meanwhile is a purely selfish being. Like I believe is the case with Hermes (and am positive is the case with Zenos)--she does not have instinctive empathy. Athena deliberately psychologically violated her husband by forcing him to acknowledge understanding selfish desire through her perspective, then compounded it by exploiting his lack of self-confidence to say he was bound to be just like her for understanding such selfishness. She's not an authority on that, but Lahabrea sees himself as personally less than Athena and is not at that point equipped to argue on his own behalf.

Anyway. Abrahamic connections, Hegemone has the snake imagery. Agdistis has the tree and the fruit. Athena is Eve. The soul bonding is the fruit of knowledge of good and evil. Hephaistos uses a ton of snake imagery too. Lahabrea is covered in symbolism both on a personal psychological level and tied to traditional symbolism via the hand of god acting upon the world, the eye of god watching the world. For savage, one arm is covered in eyes. This is his role as Lahabrea employing power for his people. The other arm, his personal desires/needs, is long and thin and malformed/not really functional. He covers his heart with a pair of wings for protection and reduces himself, weeping, to DNA because that's the only value he sees in himself. He'd rather be that than himself as a person because at least as DNA he's wanted for something. Lahabrea doesn't think anyone would ever give a shit about him on a personal level.

When Hephaistos is defeated, there's a reason Lahabrea is shaken when he states that Hephaistos' goal was never to raise himself high. That was what Athena wanted and what she told him he'd want. All Hephaistos wanted was his family back and to be loved. That was the moment Lahabrea had to introspect and realized Athena wasn't correct about his motives. Her declaring something about him didn't make it true.

Erichthonios is convinced he has a cruel and indifferent father for much of the raid. We see him twist neutral-to-kind gestures as malicious in front of us, as with Lahabrea allowing him to go to Pandaemonium as a child but insisting he know spells to protect himself. Erichthonios takes Lahabrea's insistence as believing he's not good enough instead of wanting him to be safe. We also see Erichthonios construe something that actually points to Lahabrea being depressed (giving himself no credit for completing the phoenix and advertising nothing only to be surprised by coworkers throwing him a celebration anyway) as him scorning Pandaemonium for not sharing the achievement with them. Erichthonios was taught to do this by Athena, and Athena likewise twists Lahabrea's self-image as a form of psychological abuse from the moment he approaches her in the soul bonding scene. She cites his status and accuses Lahabrea of thinking himself morally above others for descending to Pandaemonium and judging her. It never occurs to Athena that Lahabrea would try to stop her because he loves and wants to protect his son.

People are projecting their own personal beef with parents behaving poorly to assume Lahabrea is an uncaring father. He's not. He's extremely mentally ill and Erichthonios was groomed by an abusive mother while having no concept of what Lahabrea's mental illness would even look like... let alone how to deal with it.

Lahabrea explicitly thinks Erichthonios is better off with the false memory of a mother who abused him than having him present as a father because he considers himself so personally worthless. He can only see his presence as a detriment in his son's life. He is a short step from the kind of suicide people commit when they think other people would be happier and less burdened if they were dead. 'They might be sad for a while, but ultimately they'll be better off.'

I'm not even bringing out my citations right now. This isn't an Archon Thesis because I want my evidence properly assembled for that. But I recently saw someone try to frame the Convocation and Zodiark plan as uniformly awful, when the reality is doing nothing would have resulted in life going extinct. And if we're talking about zodiac signs mapping to Convocation members, there are more layers to it than 'Ascians = bad versions of the zodiac'.

Ex. The duality (two fish) and creativity associated with Pisces both apply to Lahabrea, but the emotionality does too. It isn't obvious at first but when you look it's there. Lahabrea has hidden strong emotions consistently through a variety of methods across the game. Sometimes it's reserve, sometimes it's aggression, sometimes it's hysteria. But when you look at the surrounding circumstances from his perspective, it makes perfect sense how and why he'd emote that way. It has never been safe for him to be emotionally vulnerable.

One of the earliest moments of 'villain laughter' from him we see is at Carteneau. His assistant waits quietly for him to finish. At that point Bahamut had been unleashed in yet another action that goes directly against Lahabrea's own morals, but is necessary to the Ardor. The sundered respond by invoking Lahabrea's phoenix as protection for humanity against a primal Lahabrea helped orchestrate. On some level people instinctively believe Lahabrea can and will protect them despite his failures, their own reincarnations, and thousands of years passing. It's ironic and horrible but this kind of irony has been happening to Lahabrea over and over again. If he doesn't laugh the dude's going to cry and (again) it isn't safe for him to do that.

(Also as the only Ascian to ever refer to Zodiark as 'master', Lahabrea is A) very tempered B) continuing a pattern of thought/behavior/worldbuilding where he puts his people first and himself dead last C) not talking about Athena. Lahabrea says in-game he had no earthly idea Athena was in the Heart of Sabik. I do think Heart of Sabik effected him by magnifying his desire to save his people and redeem himself in the face of survivor's guilt. It might have influenced his phrasing too. I have theories about what Lahabrea did at Praetorium but blowing it up was not 'the ultimate magic' by any means. I'm pretty sure he used it as a Themis and/or Zodiark backup drive, which Athena's presence at Anabaseios proves is possible anyway. He doesn't need to know about her to figure it out.

People have tried to say Athena is Lahabrea's god instead of Zodiark. Especially given the history of abuse and Lahabrea's own repeatedly shown priorities/actions, that take is pretty appalling imo. Completely dismisses how devoted he has always been to his people to destroy his will and identity altogether on a meta level.)

Even if we strip shit down to the most bare bones narrative form and ignore evidence--where motives and arcs are concerned 'oh Lahabrea has always been evil/uncaring/sociopathic/self-absorbed and stayed that way forever after' is bad storytelling. That would require a 'failure to change' arc as literal or spiritual death. That arc form ties to death because life requires accounting for/adapting to new experiences. If a character fails to do that (for better or worse) that character is stagnant and effectively not living. Such arcs require meticulously showing the process of rejecting experiences though. Zoraal Ja actually approaches the form a bit when we see him repeatedly taking nothing from the trials he undergoes, but his trajectory becomes 'change for the worse' after losing to his father's shade. None of the Unsundered are set up with that arc form, Lahabrea included. It wouldn't offer any insight, fit with what we know of the ancients and their values/society, or carry any emotional impact. Trying to go that route without setup is just bad storytelling and makes characters less believable. But yeah. Tl;dr I really, really wish people paid more attention and examined words vs actions vs surrounding circumstances vs motives.

[biomic]

I know and share how you feel about Exaid Drive and Gaim, but what are your FAVORITE parts of those shows?

gaim: easy answer but it's gotta be the suit designs. prior to gaim i'd say the most out there rider motifs were decade's barcode face and fourze's big ol' rocket head, but "fruit + samurai/warriors throughout history" was a pretty big leap and i think they executed the concept flawlessly. somehow both subtle enough to not completely take you out of the show while obvious enough that you're never not thinking about how that guy is a Banana. it's so great

drive: the roidmude trio are the most i've ever actively rooted for the villains over the heroes in any tokusatsu. in a franchise that churns out an unimaginable amount of forgettable antagonists, the roidmudes are instantly compelling and steal just about every scene they're in. factor in how sexy they are and their messy polycule drama and there's no way i was going to come out of this show not obsessed (brain still makes me cry ;_;)

ex-aid:

[redwebber]

I fucking love Natlan

I've seen many people complain about how they expected Natlan to be bloodier (even seen some mentions of human sacrifices which seem kinda reductive and disrespectful?) because they are the nation of war, but ngl, as a mexican, I actually really liked how they interpreted and referenced some cultural an mythological stuff!

Some examples:

SPOILERS FOR THE NATLAN QUESTS

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•Natlan. I mean, this is an obvious one, but I'm still gonna talk about it lmao. I love the name! Natlan is probably originated from the word Aztlan (Or Aztlán/Aztatlan), the homeplace of Aztecs. The 'Na' I'm assuming is either a referrence to the word 'Nahuatl', the language of the Aztecs, the word 'Nativo', or Native, or the word Nacimiento (Birth). Honestly I lean more towards the last one mostly because, with '-tlan' meaning 'close to' or 'beside' (as with the names of places like Mazatlán, Tenochtitlán, Cuautitlán, among others that still remain to this day), it would come to mean something like 'Close to birth'. And I find that neat as a nation that was at war for so long only to finally find some peace.

•The Archon of War and the sun motifs. The Aztecs venerated Tonatiuh, The Old Sun, and thus were known as the People of the Sun (El Pueblo del Sol para mis amistades mexas). I think this isn't precisely the god being used as a referrence for the current archon, but rather part of the inspiration for Xblanque (who i will talk more about later). Instead, the main god of the Mexicas was Mexi, or as we more commonly know him, Huitzilopochtli, who is the god of War and the young sun.

•Tribe names. While everyone probably remembers the tribes by their nicknames 'Scions of the Canopy', 'Children of the Echoes', 'Collective of Plenty', they actually have names that we can see in the reputation quest screen! That is Nanatzcáyan, Huitztlán, Meztli, Tlalocan, Teteocán, and Mictlan. These names mostly come from the Mexica 13 skies, part of their cosmology which represents the world above where the gods reside. Though while I love the reference, I don't quite see why they chose most of the names here (Except for the one on the next point), since the name meanings don't have anything to do with what the place is about, but oh well...

•The Masters of the Night Wind. I lied a bit on the last point. The Masters of the Night Wind are called Mictlan, which isn't a part of the 13 skies. Rather, it's the Aztec equivalent of the underworld, so it made so much sense for them to be the most connected to the Night-Soul Kingdom!

•The Pilgrimage of the Return of the Sacred Flame. On that note, the whole 'sending our best warriors to fight in the world of the dead and being able to be rebirthed from flame' thing is also kinda related! In Mexica mythology, warriors that died in combat or in sacrifice were said to go somewhere other than Mictlan. This was Tonatiuhichan (which would be the equivalent of Vallhalla and Elysium if anyone wants a referrence), or the House of the Sun, a place where warriors wouldn't have to feel sadness, pain, or displeasure. In myths, the souls of the warriors accompanied the sun from the moment it rose until its midpoint (hey, kinda like Mavuika and her theme of memory).

Fun fact: Women who died during childbirth were considered to be on the same level as said warriors, as childbirth was considered a form of combat. As such, they are the ones who accompanied the sun from its midpoint until the sun set, singing and fighting as a form of entertainment.

•Tenoch. Ah, yes, the one to select the ancient heroes from the 6 tribes in the game. Tenoch is the namesake of Tenochtitlan, Mexico City's ancient name. Tenoch was said to be the last cuāuhtlahtoh, who were the leaders of the Mexica as they travelled from Aztlan to the Mexican Valley. He was also the first one to do the first Fuego Nuevo Ceremony and- heeeey, doesn't that sound familiar?

•The Sacred Flame. I admit, this one is actually one I only learned recently when I was investigating Tenoch because I actually didn't know much about him. The Fuego Nuevo, or New Fire reminded me of the sacred flame! Essentially, the ceremony represented the start of a new cycle, a sort of rebirth, which is another one of Natlan's core themes. In this ceremony, among many other things, they burned statues of the gods in sacrifice, and common people burned their old belongings and any physical representation of their gods, cleaning their houses thoroughly. The priests would go on a pilgrimage to the top of the Huixachtecatl, where they would light a hearth. This fire would then be shared onto the main temples! Thus, the New Fire means rebirth, just like how the Sacred Flame brings back the heroes.

•Och-kan and Ochkanatlan. This one is more speculation, but I wonder if the 'Och' is a reference to Tenoch too. As said before, Tenoch is the namesake of Tenochtitlan, which was named that by Tenoch's successor Acamapichtli. Thus, clould it be that Ochkanatlan stands for Tenochtitlan as an ancient form of Natlan standing for Mexican-adyancent? And Och-kan was, I believe (but correct me if im wrong because I do not remember lmao), the last king of Ochkanatlan, just like Tenoch was the last cuāuhtlahtoh? Wow, too much theorizing, my brain hurts.

•Och-kan part 2: Electric Bugaloo. Wait a damn minute. Cocouik is a little bird-like thing that represents the mind and turns into a full on dragon (named Och-kan, whatever, name isn't as relevant in this second theory of mind). In mexica mythology, Quetzalcoatl is the feathered serpent (Often represented as your typical feathered amphitere dragon, which is symbolized by the quetzal). Quetzalcoatl is the god creator of men and god of light (among other stuff) who famously fought against Tezcatlipoca, the god of darkness, magic and war, kind of how Cocouik and Bona were fighting against the dragon of the city of ash in order to reach the altar of the primal flame. One might also nickname Quetzalcoatl as Coco. Am I tripping? Perhaps. Uhhhh back to the regular schedule.

•Obsidian. Those paying close attention to Natlan's worldbuilding might see obsidian popping up again and again! This is because obsidian was highly valuable to ancient mesoamerican cultures. It was used in everything, from making cutting tools, to weapons, jewelry, art, and yes, religious purposes! Obsidian was thought to be the blood of the Earth and was used for bloodletting, statues of the gods, etc. which is why I find it especially fascinating that ancient names are made out of it. Plus all the Waylob Obsidian totems!

•Relay Ball. Some of you might be aware of the Relay Ball mechanic in the game! Honestly, I wouldn't be surprised if this is inspired by the Mesoamerican Juego de Pelota/Ball game, an ancient sport where players struck a ball made out of rubber to send it through a hoop of stone! Dunno, just look at them pictures!

•Natlan food! While there's probably more that I didn't notice, the three main ones I remember are Chocolate, Xocoatl, and, of course, the tatacos. First off Xocoatl in the game is based of Xocolatl, which is a form of ancient hot chocolate made out of water and cacao the mexicas used to drink, particularly nobles and warriors. Next off is chocolate, which I was surprised to see! For some reason, I never see people talk about the fact that Chocolate actually originates from ancient Mexico, it was a treat to see (pun intended). Finally, tatacos. While it's obvious that these are tacos, I find it so cool that they actually didn't go for the meat ones but rather the ones made from shrimp from Ensenada! They are soooo good!

•Names names names! There's so many references in the names of many characters in the story! From Citlali, Granny Iztli (ik they're the same but the meaning has different origins!), Kinich, Xilonen, Chasca, etc. As well as the names of some of the places! Really, it's a treat reading through the story and seeing a name of an origin I recognize.

•Not exactly Natlan but I looove this hoyoverse Dia de Muertos post. The Cempasúchil? The papel picado? The catrin and the alebrijes??? I so hope they make an event similar to this next october/november!

That's all I'm including in my post, but there's so many things I didn't mention because I'm on my migraine arc. Hopefully this post gave you a bit of insight on some ways the game did represent our culture beyond the typical 'human-sacrificing savages' outlook. I loved Natlan and, though I wish we had darker-skinned playable characters (Sumeru fans 🤝 Natlan fans) and that the characters were voiced (What I get for being an English player), I do see that they dug pretty deep in our mythology and culture to create Natlan. I'd love to hear what other things you loved about the nation, or what things from your own culture you noticed! After all, ancient mexico is just one of several cultures used as inspiration. That's it from me, maybe I'll be back if I notice something particularly cool that I didn't mention. Have a great day!

[nightshademyn]

Ok I'm still going insane about the wisdom saga specifically god games so I'm gonna start yapping under the cut because I have A LOT to say

First off, as I said in a previous post, Apollo's verse really does feel like the first/tutorial boss. There's nothing really personal (?) about why he doesn't want Odysseus to be set free, and I'm pretty sure that's intentional with how much this saga took from video games. Also I love his voice because it's fucking Brandon McInnis and as someone who's in the middle of her first FE Engage run w/ male Alear, it was a fucking shock lmao (did not expect to see male alear's va here)

I have no real in depth thoughts when it comes to Hephaestus's verse other than it just scratches my brain the right way. Something about Mike Rivera's voice is just sooo good and there's something so sweet about Jorge getting both his parents as vocalists in his passion project. It makes me smile every time.

OK OK HERE'S WHERE I START GOING INSANE. APHRODITE AND ARES. First off I swear you can hear the danger motif in the instrumentation WHICH MAKES SENSE because Aphrodite isn't going to be easily swayed and that poses a danger to everything Athena is trying to accomplish! It would also foreshadow that Ares is going to come in if Athena pushes Aphrodite to release him. SECOND! This is the longest segment and I wanna argue was the one that took the most effort out of Athena, and I'd like to think it's because of their history with the Trojan War. I'd like to think that Ares and Aphrodite are still holding a grudge from when Athena helped Diomedes almost kill them both during the Trojan War lmao. (Also Athena referring to Telemachus as her friend and Ares' insult towards Telemachus being what causes Athena to lock in is so sweet)

I love Hera's verse and I love how amicable she is towards Athena?? It makes sense to me that she's not quite as hostile as Aphrodite and Ares despite being the final "boss" before Zeus because to my knowledge in mythology Hera held no longs standing animosity towards Athena, probably because she's the child of Zeus and his first wife Metis and not the result of an affair. They were actually on the same side of the Trojan war. So it makes more sense to me that she's less antagonistic and more testing Athena. And I love that her verse starts with "So many heroes/So many tales" because Athena is the goddess that helps out most greek heroes. Off the top of my head outside of Odysseus there was also Perseus and Diomedes that she aided. Hera is testing Athena and asking her what makes Odysseus so special out of all the heroes Athena has mentored

AND FINALLY ZEUS!!!! THE OTHER BIT THAT MAKES ME INSANE! I wanna double back to make a comparison because in the beginning of God Games, it almost sounds to me like Athena is trying to find her rhythm, like she's choosing her words carefully to appeal to Zeus and get him to agree with her. And then once she's convinced the other gods, she returns to zeus with confidence and pride ("I've played your game and won/ Release him") DEMANDING THAT HE RELEASE ODYSSEUS! AND HOW? HOW DOES ZEUS RESPOND???? WITH THE SONG ABOUT PRIDE CRUMBLING AT HIS HANDS!! I firmly believe that's why Zeus struck Athena the second time she approached him. In his eyes, she was prideful and defiant and needed to be taught a lesson (and if the line "to make me feel shame" is any indicator, he probably did not like being called out for his propensity for affairs during Hera's verse). Also I might be going insane but the line "thunder, bring her through the wringer" IS SUNG IN THE FUCKING DANGER MOTIF SIGNALING THE DANGER ATHENA IS IN

The warrior of the mind motif returning first with a soft piano and then with a triumphant brass section (trumpets probably?) was also so good and what a way to end that song

I think that's all I had for now but I will probably come back with more to say because this musical is doing things to me