#i agree with karn

[louna-fnaf]

Pov me watching bestiale episode 4 :

Wow he is cool

OMG JULITH L'M SO HAPPY

[hasarjunadoneanythingwrong]

gnnnnsnsnnnn forcing myself not to go after posts from 2019 that lack nuance

[hight0wers]

idk why but i feel like syril would listen to wham!

[air-mechanical]

Syril saying "One would be wrong" and Dedra absolutely blanking for a moment because what the fuck? some loser like him is speaking back to me? telling me I'm wrong? I hate this. I kinda like it. I kinda like him. This is all completely wrong.

"I have a busy day."

She's speaking the truth and not lying to herself or to Syril. She can deflect. She can pretend that Syril is so far beneath her that she doesn't care about anything he has to say.

"Tell me, what's not in Lieutenant Blevin's report that I need to know?"

ANDOR - S01E08 Narkina 5

[mask131]

The gods of Gaul: Cernunnos

Cernunnos is without a doubt one of the most famous gods of Ancient Gaul, and yet he is actually one of the most mysterious Gallic deities. Sure, he definitively marked the imagination of people - I mean he was literaly used as the basis for the Wiccan Horned God, and you will see lots of Cernunnos-copycats in fantasy RPGs and the like. But... we actually do not know the truth about this god, and despite everybody on the Internet trying to make it sound like we have an easy and simple summary of what he is, we only have strong theories and conflicting hypothesis.

I/ What we actually have

As with a lot of Gallic gods, Cernunnos exists not in legends or myths, but through a name and a visual. The name Cernunnos is found three times all on its own in Gallic documents. One was a Greek inscription from Montagnac that only says "This is dedicated to Karnonos of Alisontia". The other two are identical inscriptions found in Luxemburg (near Steinsel), votive inscriptions of wish-offerings merely saying "Deo Ceruninco". There is actually a fourth inscripton of the name Cernunnos - and it is from this one that we get the spelling we use today - but it is a special one. Unlike the other three, this one has a picture alongside it identifying the god visually. It is the famous "pilier des Nautes" found under Notre-Dame-de-Paris, the "pillar of the Nautes", the "pillar of Boatmen", considered one of the most important Gallic monuments (because it depicts a set of divine portraits with their names explicitely spelled out).

It is only thanks to this pillar that we know today that the many depictions of a male horned god found across Gallic art are meant to be Cernunnos. There are too many visual depictions of him to be listed here (sixty or so were found by archeologists), but among the most famous is the one I put a picture of above: the Cernunnos of the Gundestrup cauldron found in Denmark.

Here is what Cernunnos looks like on the pilier des Nautes:

So, we have a name and a bunch of pictures. Let's try to break it all down.

When it comes to the name, Cernunnos/Karnonos, it is commonly agreed by etymologists and those that studied the Gallic language that it means "the horned god". "Carnon/Karnon/Karn" was known to mean "horn", both in the sense of animal's horn and a blowing instrument - it was tied to the Gallic tribes known as the Carni and Carnutes, and to the Celtic carnyx. The "kern" part is also considered to be equivalent to the Old Irish "cern", which was associated with horned beasts. Some have pointed out that if the "Cern" of "Cernunnos" means horn, the "unnos" could be a suffix meaning "beautifully" - so instead of Cernunnos being the "horned god" or the "horned one" it would mean "He who is beautifully horned" or "He with beautiful horns". But all in all, his name stays connected to horns.

[But is it truly his name? This is another debate typical with the gods of Gaul: we do not know the differences between the proper names, the titles and the nicknames. It could be (to take a Greek comparison) like Hestia's case, where he names literaly means "hearth" but is a proper name ; or it could be like the "Old Man of the Sea" which was a generic nickname for a whole group of sea deities.

Now let's talk about the images of the god. Thanks to having so many depictions of him, we can identify recurring traits that define his visual.

Cernunnos always appears with his legs crossed, in a position (the "lotus" or "yoga positon" to take Asian terminology) that is considered, depending on the sources, either "very unusual for a god of Gaul", either "absolutely typical of Celtic representations of gods, warriors and heroes"... Well, he is almost always in the "lotus position" - in rare cases, he can be standing up. Cernunnos is also always wearing a torc, the traditional Gallic ornament, though he isn't always wearing it around his neck as one would expect: sometimes he holds it in his hands, other time it hangs from his antlers. Speaking of antlers: as we said, Cernunnos is a horned god, and he is usually depicted with antlers. But sometimes, more rarely, he rather sports goat horns - maybe it is a Romanization effect, as he got confused with Pan?

Cernunnos is always a male figure, though his actual age is unclear. Sometimes he is a mature and bearded man, but we also have "ephebe" depictions of him as a beardless youth - that some researchers even go as far as to describe as "child-like". Similarly, he keeps oscilatting between being a singular entity, and a triple-god with three heads or three faces. The disposition of the three faces can be really weird and freaky - for example, he can have a regular human head, and two small human faces growing from either side of his neck, or from the top of his head.

He usually always has a bag or basket with him, a bag that he eithers opens or that is simply sitting before him, spilling its content: sometimes the bag is filled with food, other times with coins, and other tims yet with grain. Cernunnos is usually sitting in the middle of a trio (as in two other humaoid or divine figures are by his side), or he is surrounded by various animals - which he can be seen holding with one hand, or petting near his lap. There are various animals he is associated with - we have seen him with stags, with bulls, with rats, with dogs, with lions, with goats... He is most notorious for being often depicted with the symbolic-mythical beast of Gaul known as the cryocephal snake: a ram-headed snake, whose exact meaning is still unclear to this day. However, Cernunnos seems to really like them: sometmes they just sit side by side, sometims he holds it by the throat, sometimes he feeds it, and other times two of them sit on his lap.

(This depiction above lacks any horns, but there are two holes at the top of the head implying that the horns were a different part of the statue added separately - which is very interesting in the theory of Cernunnos having antlers that "fall")

One of the problems with the Cernunnos visuals is that it is not clear where they stop, as we got a wide range of variations between the animal and the man. For example, there are strong theories according to which Cernunnos appears on the Strettweg chariot, as the tiny deer with oversized antlers that two men are holding (which would mean Cernunnos could be depicted as a full stag without human traits):

And on the opposite spectrum, a Gallo-Roman statue was found in Amiens of a fully human deity... except for one deer ear on the side of his face. One of the theories to explain this bizarre statue of the first century claims that it is an hyper-Romanized depiction of Cernunnos - though other theories do exist (for example, when the statue was discovered, it was originally believed to depict Midas, with a variation of the "donkey ear" punishment):

And you also have in Bouray a cross-legged god with deer legs rather than antlers or ears:

Given how "late" the visual depictions of the gods of Gaul was, and how the Romanization of Gaul strongly encouraged and favorized the depiction of deities as humanoids (to fit with the Greco-Roman deities), it is very likely that Cernunnos started as a divine stag, as fully animal, and then slowly, especially under the Roman influence, became more and more humanized... (There's also a fascinating case of antlered-goddesses at Clermont-Ferrand and Besançon, but that's for later).

II/ Some theories

Now that we have the name and the visuals done... What's Cernunnos deal? Again remember we can only make theories based on these fragments and their context - but we do not know for certain if it is the truth.

A: It is agreed that Cernunnos is a nature god, and a god of abundance. The fact he is half-stag, and usually depicted with animals, and even holding them in a gesture of domination or use, shows that he is a fauna god, which prompted some researchers to identify him as one of the avatars of the "Lord of Animals, Master of Wild Things" archetype of Indo-European myths. But more importantly we are certain that he dealt with abundance and prosperity - thanks to him always having a big bag of grain, food or money. He was very clearly a god of riches and wealth - be them natural (grain, food) or manufactured (coins). Some have highlighted the idea that this tied to the symbolism of "forests that have big strong stags in them are bound to be fertile places filled with resources". Cernunnos' ties to abundance cannot be denied because in some Classicized depictions of him (such as the silver goblet above), he is literaly seen holding a cornucopia, aka a horn of abundance.

Some people even want to push the domain further by thinking Cernunnos might have been a god of sexual and reproductive fertility - but this is not based on any visual or religious clue. Rather this theory ties on the European symbolism of the stag as a symbol of virility and reproductive prowess, so it is a purely contextual reading, to be handled carefully. We are only truly certain that Cernunnos offered lots of money, lots of grain, lots of food, and lots of animals (him being surrounded by animals might be an extension of the "I offer you this bag of grain" visual, since animals were hunted down for food, so he isn't just a god of good crops and economic riches, but also one that ensures a plentiful hunt).

B: There is a strong theory going around that Cernunnos might be a seasonal god, or a deity of the seasonal cycle. This idea comes from various elements pieced together - and which added with the A theory above, would make this go a sort of "Father Nature" figure. It all starts wth the European symbolism of the antlers and the stag in general: given the antlers fall and grow with the turn of the seasons, the stag has been used heavily in Europe as a way to measure the year or symbolize seasons. Some researchers theorized, based on how the size of Cernunnos antlers changes through depictions, and on how he is sometimes a beardless youth sometimes a bearded mature man, that Cernunnos, like the stag, had a seasonal cycle. For some he just loses and grows back his antlers (there is a Cernunnos depiction at Meaux with what seems to be the stubs growing back after antlers fall, which would support this theory), but others push it further by claiming the god died and was reborn each year with winter/spring - an idea inspired by the Indo-European archetype of the dying/sacrifical vegetation god.

There is a specific depiction of Cernunnos that ties into this whole - and I will have to trust Yann Brekilen's word for this, as I couldn't find any picture of the engravings he described. According to him, on the Gallo-Roman Germanicus Arch/Arc, by Saintes, there is a dual depiction of Cernunnos. On one side of the Arch, he is part of a trio: he is sitting crossed-leg with antlers on his head, but naked (usually Cernunnos s clothed in some ways). By his side there is a man armed with a club/mace (which might be tied to the "god with the mace", we'll see that in later posts), and a woman holding a cornucopia. Now, that's on one side of the monument - but on the opposite side, the scene is reproduced... with both the armed man and the antlers of Cernunnos missing, only leaving a regular cross-legged naked man, and the cornucopia-woman. Speaking of this cornucopia-woman: there are repeated talks and interpretations of any female figure by Cernunnos' side to be a "Mother-Goddess" or Earth-Goddess supposed to be the wife/companion/lover of Cernunnos. This is all part of an effort to make Cernunnos a "father-god" (which makes sense in some ways), and it ties into the whole reading of his myth as being a seasonal cycle (the god dying and resurrecting after impregnating his female counterpart ; something the Wiccan mythology for example reused in their beliefs), but... If you ask me, I am not really convinced? A lot of people insist on there being a "Mother Goddess" clearly by Cernunnos' side, but sometimes you see these people reinterpret a lot of the visuals, and it is not obvious that the female figure is with him (Cernunnos is usually surrounded by male figures rather than female ones). Plus, we know the Mother Goddess of Gaul tended to come in three (the famous Matronae) so... I am a bit doubtful of that, but that's just me and because of a lack of convincing evidence.

III/ Comparisons and equivalences

As I said in my introduction post, a lot of what we know about the Gallic gods comes from the syncretism the Romans operated with their own deities. And with Cernunnos it is... complicated. Because we do not know exactly who was the Roman equivalent of Cernunnos (since the Romans did not speak of him), and based on researches we have two likely candidates. It is very possible Cernunnos might have been split into those two Roman deities, or at least that his attributes led him to be interpreted as two deities mixed in one.

On one side, there is a very strong and popular theory that Cerunnos was the god Cesar, in his description of the religion of Gaul, called the "Dis Pater". "Dis Pater" was the Latin god that was equated and synthesized with the Greek Hades under the share nickname "Pluto", "the rich one". This was because Dis Pater was not originally a god of the dead in the old Italian religion - he was an underground god, indeed, but a chthonic god of riches and wealth, an earth-god of fertility (his very name meant "Rich Father"). This is what tied him to Hades, the richest of the Greek gods - and made him the new god of the underworld and the dead, Pluto. So, equating Dis Pater with Cernunnos makes sense as we do know that both deities were strongly associated with an earthly form of fertility: Cernunnos, just like Dis Pater, brought grain and earth-grown fruit, as well as precious metal (in the form of coins). Not only that, but Cernunnos was strongly associated with the ram-headed snake, and while we don't know much about this mythical being (typically a companion of male gods in Gallic art), it seems to have been a chthonian symbol, and perhaps even a form of guardian of the world of the dead (or a guardian of underground riches cousin of the dragons of legends). This is what led many to interpret Cernunnos as a chthonian deity, perhaps even an afterlife deity - a tradition that seems to have been in early Christian art, where Cernunnos was often associated with the "mouth of Hell" or the "entrance to Hades" (like the 9th century manuscript Stuttsgart Psalter, which illustrates Cernunnos in a depiction of the Christ descending into Limbo.

If Cernunnos is indeed Cesar's Dis Pater, then it would be extremely interesting, because Cesar wrote in his records that the peopleof Gaul believed Dis Pater to be their divine ancestor, and the "father of their race". Aka, the Gallic Dis Pater is meant to be an All-Father, the first ancestor of the Gallic tribes, and the origin of the human race (or at least of the people of Gaul). If Cernunnos is this Dis Pater, it would confirm his role as a "Father-God" and his links to a potential "Mother-Goddess". (It could also explain why he so persistantly wears a torc, as an emblem of the civilization and traditions of Gaul) If Cernunnos is also the Dis Pater, it would give him a role as a nocturnal god, since Cesar resumed in his texts (or rather "recaped" since he was doing a report based on Posidonius own records) that it was because the people of Gaul descended from Dis Pater that the druids measured the time not in "days" but in "nights"...

The other very likely candidate for the Romanized Cernunnos is the one we call the "Gallic Mercury". We know that Mercury was one of the most popular and widespread gods of Gallo-Roman gaul. Cesar did mention him as one of the most important gods venerated by the Gallic tribes before the omans arrive (though this would contadict the is Pater theory, since Cesar identifies Dis Pater and Mercury as two different deities in the Gallic beliefs). Still, Mercury was a god of commerce and riches before all - even more so than his Greek counterpart Hermes - so it makes sense that he would be present in the Gaul province of the Empire, which was big heart of commerce. And where Mercury has a pouch of coins, Cernunnos has a full bag of them... And in several Gallo-Romans depictions one of the two gods that surround Cernunnos is very obviously Mercury... [Several of the images in this post are of the altar of Reims, which depicts Cernunnos surrounded by Apollo on one side and Mercury on the other] And Cernunnos' presence on the Pillar of Boatmen implies he was tied to the fluvial sailors, and to the fluvial commerce and travels... And in Luxembourg we have Gallic depictions of stags vomitting coins, again insisting on how the stag was associated with riches... Even if you take Cernunnos as a chtonian god or death god, it ties to Mercury's role as a psychopomp inherited from Hermes ; and Mercury's presence by Cernunnos side on the altar of Reims for example makes sense if you consider one of the deities Cernunnos was conflated with was Pan (hence the goat horns) - aka, the son of Hermes... Everything is tied together into one big convoluted web of inter-mythologies.

And when it comes to comparisons to other Celtic mythologies, things are a bit... In French we say "vaseux" - basically there were parallels drawn between Cernunnos and Celtic figures of the Isles, but they rely on very meager if not unstable links. For example some have tried to identify the Cernunnos of Gaul with the Irish figure of Nemed (interpreted as a "stag-god" leading "stag-people" or "deer-people"), and in return the battle between Nemed and Balor for the land of Ireland was projected onto the scene depicted on the Arch that I described prior - a battle between the horned god and the god with the mace for the "earth-mother", the cornucopia woman, the land-goddess. The acceptance of this scene between the horned god and the mace god as a battle for the mother-goddess (which, I insist, was not PROVEN in any way and is completely hypothetic and theorized with no definitive proof - maybe the mace god is here to sacrifice the horned god for the cornucopia-woman, or maybe he is just here to cut off his antlers, or maybe the cornucopia woma cheats on Cernunnos wit the mace god, we cannot know), also led to vague comparisons being drawn to the story of Pwyll and Arawn and how they exchange each other's identities, but we are really in a stretch here.

More interestingly there is a Welsh comparison that could indicate a leftover of a Christianized Cernunnos in an Arthurian setting: the Owein tale (Mabinogi): Kynon, a knight of King Arthur's court, describes how in his youth he had to encounter an ugly knight clad in a black armor who had the information he needed to find his enemy. The knight lived by a "fountain" (a water stream) surrounded by wild and ferocious animals - and to give Kynon the information he needed, the ugly black knight struck a stag nearby, and the animal lowers its head in the direction Kynon must follow. It is very plausible that this supernatural knight who hits an informative stag and who lives surrounded by wild animals is a form of Christian censorship or caricature of a Cernunnos figure, going from a wise and benevolent stag-god to an ugly evil knight who abuses animals, and who has his duality human/beast split between the knight and the stag.

There were also tenuous elements that made people consider the Irish Conall Cernach (known for being one of the sidekicks of Cuchulainn) as a diluted version of Cernunnos as a "Master of Beasts" - more precisely an episode in "The Cattle Raid on Fraech" where instead of killing a monstrous snake, Conall somehow tames it and wears it as a belt, has been compared to Cernunnos' handling of snakes and ram-headed snakes. And don't even get me started on the many, MANY saints of Catholicism that are supposed to be leftovers or reinventions of Cernunnos (saint Ciaran of Saighir, because he tamed wild beasts including a stag ; or the saints of Bretagne Edern and Théleau both supposed to ride a stag instead of a horse...).

The complicated thing (well ONE of the complicated things) with Cernunnos is that he is tied to the stag, and the stag was one of the most prominent smbols and images of the medieval and proto-medieval imagery in Western Europe. You had lot of old mythology stuff that survived in modern days, but you also had lots of medieval symbolism and images (like how the flying stag was one of the symbols of the king of France), and a HUGE re-use of the stag by Christianity in various forms (from the antlers falling being used as a symbol of the Resurrection, to the hunt for the white otherwordly stag of Celtic myths suddenly becoming a hunt for Christ incarnate when a glowing cross appears above the stag's head...). As such it is hard to pin-point what the Gauls truly believed the stag meant, versus the stag symbolism that arose in the Middle-Ages.

To conclude this post, while I said I had my doubts with systematic identifications of Cernunnos as a companion of a Mother-Goddess, I want to briefly return about a fascinating trivia of Gallic researches: the existence of a female version of Cernunnos, a "Cernunna" we could jokingly say.

Little figurines and statues were found of a horned goddess - sometimes with antlers! - in both the area of Clermont-Ferrand (which was the domain of the Avernes folk) and around Besançon (the Séquane folk). Who were these goddesses? Local variations of Cernunnos? Sisters, daughters or wives of the god? Or completely unrelated deities? Were they one or several (some are more matronly, motherly figures such as the one with antlers above, others have Venus-like poses unveiling their breast and legs such as the bull-horned below)?

We will probably never know - but while they can be incarnations of this famed "Mother-Goddess" companion of Cernunnos everybody speaks about (and links to the importation of the cults of Demeter and Cybele in Gaul), it is VERY likely these statues date from the Gallo-Roman era and from a Romanized version of the Gallic religion. Indeed, they are all tied by their attributes - they hold a cornucopia, and a "patère" (sacred vase for religious libations). Attributes present in very Romanized Gallic goddesses (such as Rosmerta), but also in typical Roman deities (mainly the lares). Add to that how the adjunction of a male attribute (the stag antlers or bull horns) to a female figure is VERY unusual for Gallic depictions (where the genders are neatly split), while the divine androgyny was a feature of Greco-Roman mythology (the effeminate Apollo and Dionysos, the masculine goddesses Athena and Artemis, the mythical Hermaphrodite...), and it is very likely these statues of the "Cernunna" are the result of the Roman religion "breeding" with the Gallic beliefs...

[lackadaisicallizard]

hello! in tlg, there's a scene of reg learning hindi for james, but never one of james finding out; how do you think that went?

Ooh yes that! Them learning each other’s languages is so special to me.

Please bear with me because I don’t speak Hindi (or French), but this is how it went:

The Long Game

An additional scene

“Come on you bastard,” James shouts at the TV, his voice double the volume of any reasonable human in an enclosed area.

Regulus is sitting sideways on the sofa, leaning against the arm with his legs resting in James’ lap. He looks up from his book; even after eight months together, his boyfriend’s ability to be completely enraptured by people running up and down a field truly puzzles him.

Sure Regulus looks at the screen every now and then, but he’d be lying if he said it was for anything but the close ups of fit players in shorts.

“Are you wining?” Regulus asks.

“Not if Erling Haaland can’t kick a ball straight for once in his fucking life.”

Regulus raises his eyebrows, doing nothing to keep the smile off his face. James’ eyes are still glued to the screen, and quite frankly his whole energy right now is really rather attractive. There’s not a lot that can make James angry, and his set jaw and piercing eyes are a sight that makes Regulus want to make him forget there’s a game on at all.

He’d never do that though, he knows how much it means to the older boy, and so he makes himself content with just watching the emotions play across his face.

The other team scores a goal then and all hell breaks loose. Regulus is fairly sure he hasn’t heard that much profanity come out of one person’s mouth in his entire life.

Effie appears in the doorway then, her hands on her hips.

“James, dhang se bolo aur chillao mat. I know you’re an adult but this is still my house.”

James has the decency to look apologetic. Even with a game on, he can’t ignore his mum.

“Sorry, Mum. We’re losing.”

“Phir bhi, gaaliyan kam se kam honi chahiye, theekhe?”

James shrugs, “Main koshish karunga.”

She looks disapprovingly at her son.

“I’ll make sure he does more than try, Effie,” Regulus promises.

Effie smiles at that. “This is why you’re my favourite. Use shaitaani karne se rokna.”

“Ek namumkin kaam,” Regulus comments.

Effie laughs. “You’re not wrong there.” She gives James one last stern look before disappearing back down the hallway.

Regulus goes to read his book again but feels James’ eyes on him. He looks up to see a look of complete disbelief.

“What?”

“You just spoke to my mum.”

Regulus’ mouth twitches. “Is that not allowed?”

“Regulus.”

“Yes?”

“You understood and spoke to her in perfect Hindi.”

Regulus is properly smiling now. “Is that a problem?”

There’s a moment of silence and Regulus can almost see the whirring of James’ brain. He then splits into a wide grin, the warmth spreading to his eyes almost immediately.

“You learned Hindi for me?”

“You learned French for me.”

James shakes his head, his expression soft. “I love you so much, Regulus Black.”

The older boy puts his hands on Regulus’ knees before leaning in, waiting for him to lean forward and meet him halfway. Regulus does so gladly, his love for James warm on his lips.

“Say it in French,” Regulus says, voice low.

James’ smile is back. “Je t’aime chaque jour davantage.”

Regulus takes his hand as he speaks. “Mai tumse humesha pyaar karunga.”

“Only forever? That’s not nearly long enough.”

And Regulus kisses him, because how else is he supposed to respond to that? Especially when he agrees. Forever is not long enough to love James Potter.

As they pull apart again James speaks. “Regulus, I love you so much and you learning Hindi for me means the absolute world and we will definitely come back to this moment, but-“

“James-” Regulus interrupts and James pauses in his rambling. Regulus smiles. “You can get back to the game, it’s fine.”

“Are you sure?”

“Yes. I’ll have plenty of time later to seduce you in multiple languages.”

James takes an audible deep breath. “Fuck me, I’m so lucky.”

“Don’t forget it,” Regulus winks at him before picking up his book again, settling back down on the sofa as he does so.

“Regulus.” James asks just before his attention is once again consumed by football.

“Mm?”

“We can talk about Sirius while he’s in the room now.”

And oh, the French and the Hindi is sexy, but that suggestion? Well, that’s the hottest thing he’s ever heard.

[criticallyinneedofadar]

Alliance of Shadows (12)

A/N: This is it babes... the final chapter. I do have an epilouge planned that is definitely... rated R for raunchy. For now though, enjoy!

Pairing: Adar x Reader

Warnings: None

Taglist: @annatartastic @oakenshielq @perse-cora @eowyn7023 @passionofthesith @zoya-olenko

Word Count: 3.2 K

Previous- Next

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The mountain range ahead loomed vast and ancient, its peaks dusted with snow even in the warmer months. The mages had long called this place home, hidden in their solitude, away from the world that often looked at them with distrust. Now, as you and Adar led the Uruks and your people toward the imposing peaks you couldn’t help but feel the weight of the journey ahead—not just the trek through rugged terrain, but the merging of two vastly different peoples.

“Ered Sûr,” you murmur to Adar beside you, “The Mountains of Silence.” 

The Uruks, stoic as always, walk with purpose. Their dark eyes sweep the horizon, ever wary of danger. Though the threat of Sauron has been sealed away, they carry with them a wariness, as if expecting some new battle at any moment. Behind them, the mages move with quiet grace, their robes flowing in the wind. Though both groups had fought side by side, it is clear that old habits of distrust have not yet fully faded.

As the path begins to ascend, the Uruks raise their heads toward the jagged peaks of Ered Sûr. You catch the gleam in Adar’s eyes—his people have wandered for too long, and now they stand at the threshold of a potential home. The air grows colder as you climb higher, the rocky terrain testing everyone’s endurance, but there is no faltering, no doubt in the steps of either group. This is a necessary journey, and one that holds promise.

Finally, as night begins to fall, the peaks come into full view. The closest summit, which you had planned to offer to the Uruk’s, stood sentinel over the landscape. 

“This is Karn Maug, or the "Red Peak,"" you say to Adar, as you steadily climb. “With any luck, the council will agree that it is perfect for your people.” 

Adar takes in the landscape around him. He nods slowly, “I can see its appeal. Your land is beautiful.” Though you know he is only remarking on the land that will soon be his home, you cannot help the flush on your cheeks at his praise.  

As you descend toward the valley where your council waits, your thoughts churn. Would they understand? Would they accept the Uruks?

The chamber where the council convenes is carved deep into the mountain’s heart. Torches flicker on the walls, casting dancing shadows as you and Adar enter. The council members sit in a half-circle, their faces impassive. Their robes, a shimmering deep blue, mark them as the wisest of your people.

While you regale the council of your journey and your proposition, Adar stands tall beside you, his presence commanding but not hostile. His Uruks wait outside, scattered along the valley as they observe their surroundings, no doubt suspicious of this new environment. The mages, too, watch with silent curiosity, knowing that this meeting would shape the future of their kingdoms.

One of the councilors, an older mage named Erys, leans forward, his piercing gaze fixed on you. “You ask much of us, Your Majesty. These Uruks, they are not our kind. They have lived in the shadows, they have spilled blood. Why should we welcome them into our lands?”

You straighten, allowing the weight of your title to settle in the room for a moment before you speak. “I understand your concerns, Erys. And while it is within my power to make this decision alone, I value your wisdom, your guidance. I have not led us into ruin, nor will I now. Your counsel matters, and I won’t act without hearing your voices.”

Erys frowns, but he gives a nod of acknowledgment. His respect for you remains, even in disagreement. You continue, your heart heavy but your voice firm. “The Uruks have been cast aside by the world, just as we once were. For too long, we’ve shut ourselves away from the world’s struggles, and though we have known peace, it is peace born of avoidance. Now we have an opportunity to do more, to offer a home to those who have been cast out.”

You pause, the words building up inside you like a storm that you could no longer contain. “And I owe them this.”

The room stills. The councilors’ eyes flicker in confusion, waiting for you to explain. You draw in a breath, the weight of your confession pressing down on your chest.

“When we fought Sauron,” you begin, your voice softer now, “I lost control of my magic. In my rage, I sought only to stop him. I didn’t think… I didn’t think about the consequences. In my desperation, I bound him to the volcano in Mordor. I cursed that land, the very place the Uruks had fought to reclaim as their home.”

The councilors exchange uncertain glances, but you press on. “I did this. I destroyed their home with my mistake. And now they have nowhere to go. I feel responsible for giving them a place—a true home. Not just because of my error, but because I’ve seen their strength, their loyalty. They deserve more than to be cast out again.”

The weight of your words hangs in the air. You can feel the tension in the room, the discomfort of the councilors as they absorb what you have admitted.

Another councilor, Mara, speaks up next, her voice carefully measured. “And what if they turn against us, Your Majesty? What if they use that strength to conquer rather than to coexist?”

You meet her gaze, your spine straightening with resolve. “We cannot live in fear of ‘what ifs,’” you say calmly but with conviction. “I am Queen, and if I doubted them, they would not have crossed our borders. But understand this: they have no desire for conquest. I have seen their pain, their yearning for a home. They wish to live, as we do, in peace.”

The council remains silent for a beat, but you can sense their hesitancy. It is then that Adar, who has remained quiet, steps forward. His voice, calm and steady, fills the chamber.

“I will swear fealty to you and your people, if that is what is required. I will pledge my life and the lives of my children to your kingdom’s protection.”

His words take you by surprise. You turn to him, shaking your head. “You owe us nothing, Adar. You and your people have already paid enough. You do not need to bend the knee.”

Adar meets your gaze, his dark eyes unreadable. “It is not about owing, but about peace. I will do what is necessary to ensure that our people can live without fear.”

The council murmurs among themselves, weighing the offer. Erys finally raises his hand for silence, his brow furrowed in deep thought. “Fealty may not be enough to ease the minds of our people. There is a way, though, to ensure unity between us...  A marriage.”

Your heart skips a beat, and for a moment, the entire room seems to close in. You blink, flustered, your mind racing to comprehend the suggestion. “A marriage?”

Mara nods, her eyes observing your reaction carefully. “A marriage between the leaders of our people would serve to quell any doubts of rebellion or uprising. It would symbolize the merging of our kingdoms—both Uruk and mage united by blood and bond.”

You look at Adar, searching his face for some reaction. To your shock, he is smiling, albeit subtly. There is a glimmer of amusement, perhaps even approval, in his eyes. He glances at you, his voice low and filled with a private, secret satisfaction. “It seems… a practical solution.”

Heat rises to your cheeks as you stammer, “I—”

Adar speaks again, his tone now more serious. “We are willing to carve our home into the Red Peak. But if you allow us, we will not be a kingdom separate from yours. Over time, our peoples will come together. We will share the land, share the mountains, our resources. Let us build something lasting.”

Erys sits back, considering. “Very well. Should the Queen approve, the Uruks will begin carving their homes in Karn Maug. In return, their armies will be ours in times of need. And we will help them carve out the stone, with our magic and with our hands.”

Relief floods through you. “It will be done,” you say quietly.

As the meeting concluded, the future now set in motion, you linger beside Adar. His presence is reassuring, grounding you in this moment of monumental change.

“You’re… you’re not opposed to the council’s suggestion?” you ask, still flustered by the mention of marriage.

Adar’s dark eyes gleam as he regards you. “Opposed? No. I am not opposed to being bound to you, not in the least. In life or death, I would never wish to be parted from you.”

His words send a thrill through your chest, and for a moment, the weight of all that has passed seems distant, replaced only by the quiet certainty of his love.

As you and Adar make your way down from the council chamber, a familiar sight greets you—his children, gathered near the valley clearing where the Uruks have set up a temporary camp. Their rugged faces, scarred and hardened by years of battle and struggle, soften the moment they see Adar approach. A murmur runs through them, and soon, every eye is fixed on him, anticipation hanging thick in the air.

Adar pauses before them, casting a long glance over the gathering of his people, his family. He has always been a pillar of strength, but today, there is something different in his posture, something that makes the air hum with expectation.

Finally, he speaks, his deep voice carrying across the clearing. “My children,” he begins, and the murmurs quiet immediately. “We have traveled far. We have fought harder than anyone could have imagined. And today, I bring news of hope.”

The Uruks lean forward, listening intently. You stand by Adar’s side, watching as their eyes light with the faintest spark of hope—something that has been a rarity in their lives.

“The Red Peak will be our new home,” Adar continues, his voice steady and filled with quiet pride. “The mountains have welcomed us, and we shall carve out a kingdom here. No longer will we wander the shadows, cast aside by the world. This land will be ours.”

For a moment, there is silence, the weight of his words sinking in. Then, like the breaking of a dam, a cheer erupts from the Uruks. The roar of celebration is fierce, filled with the raw emotion of a people who have been denied a home for so long. The ground seems to tremble beneath the force of their joy, and you feel the warmth of it settle deep in your chest.

Adar’s children rush forward, some clapping him on the back, others raising their weapons in triumph. The sense of unity, of shared victory, is palpable. The Uruks, so often seen as brutal and cold, now stand together in a moment of pure celebration.

You step forward, raising your hand to quiet them, though your heart swells with the same sense of relief and hope. “For now, make camp in this valley,” you say, your voice carrying over the crowd. “But soon, we will begin building homes. Permanent homes. It will take time, but know this—you are safe. You are protected within these mountains. If there is anything you require, please find one of my people. We know the pain of rebuilding. We will provide what you need. Be welcome, children of Adar, and know peace.”

A second, louder cheer erupts, so fierce and full of life that it seems to echo through the peaks around you. The Uruks raise their fists in the air, their voices merging with the wind, a chorus of triumph and gratitude. Even the mages among them, initially cautious of this alliance, are swept up in the infectious energy, their faces softening as they join in the cheers.

Adar turns to you, his dark eyes filled with something akin to pride. You have both fought for this—together. And now, standing in the midst of your united peoples, you know that the road ahead, though still fraught with challenges, would be walked side by side.

As the night stretches on, the valley becomes a place of celebration. Fires are lit, food is shared, and laughter—a rare, beautiful sound—rings out among the Uruks and mages alike. It is the beginning of something new, something stronger than either people have ever known.

Adar leans in close, his voice just loud enough for you to hear amidst the celebrations. “They cheer for us now. But it is you who gave them this hope.”

You shake your head slightly, smiling. “It was you Adar, you have done well by your children.”

A single tear slides down his cheek. You gasp as he gives you a rare full smile. It changes his face, making him appear younger, lighter, and even more beautiful. You cannot help the smile that stretches across your lips in return.

—--

After the night’s celebration, you retreat to your chambers, longing for quiet, though the silence feels foreign after so many weeks spent among the chaotic, lively Uruks. The vast room, with its high ceilings and sweeping drapery, feels too large, too empty. Every footstep echoes in the stillness, and the luxury of the space suddenly feels overwhelming. You dismiss your handmaidens, assuring them that you need time for contemplation, though as soon as the door shuts, the weight of solitude presses down upon you.

You sit at your writing desk, staring at the blank page before you, but your mind refuses to settle. Without Adar’s steady presence, without the constant hum of voices around you, the quiet gnaws at your thoughts. Your heart aches with a strange, unfamiliar emptiness, one that pulls you toward the one person who has anchored you in this tumultuous time.

Finally, unable to bear it any longer, you rise and move to the door. You grasp the handle and pull the door open wide, and there stands Adar, his silhouette bathed in the soft light of the hallway.

“I was coming to see if there were any extra blankets,” he says, his voice low and familiar. “Some of the young ones—” he pauses, hesitating for just a moment before continuing, “they’re not used to the cold here.”

You blink in surprise, relief flooding through you at the sight of him. “Adar, you could have sent anyone,” you say, though there’s no edge to your words, only affection. “One of your people, or even one of my guards—they would’ve gladly provided whatever was needed.”

His lips curve into the faintest of smiles. “Perhaps,” he admits. 

The simplicity of his confession sends a warmth through you, and without another word, you turn to the guard outside your door. “Fetch more blankets for the young ones,” you instruct gently. “Distribute them to those who need them.”

The guard nods, disappearing down the corridor. As soon as the guard vanishes, you turn back to Adar, your heart thudding a little faster now that you’re alone with him.

“Come inside,” you say, stepping back to let him enter.

He moves into the room, his dark eyes quietly taking in his surroundings. You walk ahead of him, showing him the front room where your writing desk and library reside, the shelves lined with scrolls and books of ancient knowledge. You pass by the door to your bathing chamber, the lingering scent of herbs and oils filling the air. Finally, you lead him to your bedroom.

You hesitate there, both of your gazes drawn to the large bed in the center of the room, its sheets pulled tight and pristine. The tension between you, already simmering beneath the surface, spikes. It occurs to you that this is the first time since your meeting that you are truly alone, no armies outside demanding your attention, no fights on the horizon, and no duties calling your names for the rest of the night. Your heart races, and for a moment, neither of you speaks, the air thick with unspoken words and unsaid desires.

Desperate to break the tension, you turn abruptly and lead him toward the balcony doors, pushing them open to reveal the vast terrace that overlooks the mountain range. The cool night air greets you both, carrying with it the scent of pine and stone. Above you, the stars stretch out like an endless sea of glittering lights, brilliant and bright against the dark sky.

Adar steps onto the balcony beside you, his gaze drawn upward. His breath catches, and you see something in his expression that you’ve never seen before—wonder, pure and unguarded.

“The stars,” he murmurs, almost to himself.

You watch him closely, the way his eyes shine with awe, as if he’s seeing them for the first time.

“When I was very young,” he begins, his voice low and steady, “my mother used to hold me in her arms on nights like this. She would point up at the stars and tell me stories of the Valar—how they shaped the world and guided the fate of all who lived within it. She said that the stars were the light of the Valar’s love, watching over us, even in the darkest times.”

You listen intently, your heart swelling at the image of him as a small child, cradled by a mother who, despite the world’s harshness, still found a way to pass on stories of hope and wonder.

“She would say that the stars were our ancestors, shining down to remind us that we were never truly alone,” he continues, his voice softer now. “Even when everything seemed lost, there was always light to guide us—if only we had the strength to look up.”

He takes a deep breath, his expression both wistful and sorrowful. “As I grew older, those stories faded. My mother died when I was still very young. After that… the world became harsher, crueler. There was no time for stories, no time for the stars.”

His voice softens, a shadow passing over his face. “During my time with Sauron, I lost hope in them. I stopped looking up. I had no time for them while freeing my children.”

He falls silent for a long moment, his eyes still fixed on the sky. “Now,” he says, his voice barely above a whisper, “I can’t remember the last time I saw them this clearly.”

His words hit you like a weight, and a lump rises in your throat. You take a step toward him, closing the distance between you. “Adar…” you whisper, your voice thick with emotion.

Gently, you reach for him, pulling him into your arms. His body tenses for just a moment before he relaxes into the embrace, his forehead resting against yours. The silence between you is filled with the soft rustling of leaves in the wind, the distant murmur of the mountains.

“We will bask in their light together,” you promise, your voice steady. “And in the joy of your children. You are free now, Adar. We are free.”

Tears prick at your eyes as you press a soft kiss to his lips, the weight of everything you’ve both endured and survived pouring into the moment. He returns the kiss gently, his hands coming to rest on your waist, grounding you both in the here and now.

When you finally pull back, his gaze is locked on yours, filled with the same awe he had for the stars moments before. There is a quiet peace between you now, the tension gone, replaced with something deeper, something unshakable.

“Together,” he whispers, his voice a vow.

[colleybri]

What’s in the bag??

Official Andor merchandising is really terrible. I want my set of Eedy Karn motivational messages mugs! But maybe that’s all about change …

Going by some of the leaked Season 2 photos from last year , we’re going to get some great opportunities for Andor themed … tote bags!! Yaaay!!! Because it looks like they’re going to be playing a major role in the plot.

S2 Spoilers below!

Bespin Bulletin spies observed the shooting of this scene in London. It seems that Cassian and Bix are undercover (yay, rebel Bix!) and heading for a meeting in Samo’s deli. No idea if that’s the same Sam(m)o character from Ferrix as to my memory he didn’t make it out. Unless Pegla and some others took off in a second ship.?! More Ferrix survivors?! 🙏

Anyway, the report says:

“It begins with Cassian Andor, who’s got his hood up to keep a low profile, and Bix Caleen, who’s carrying two grey bags, walking towards Samo’s Deli Grocery store. Cassian and Bix are deep in a tense conversation before Cassian suddenly stops and grabs Bix by the arm – stopping her in her tracks. Cassian, seemingly paranoid and untrusting, begins to rifle through the bags she is carrying. Bix seems surprised and visibly upset by Cassian’s actions. After the short pause and Cassian assumably being satisfied with his search, the two link arms and carry on walking towards their location and enter Samo’s store.

“Due to Cassian’s apparent paranoia, I assume he and Bix are possibly meeting a contact of some kind inside of Samo’s store, perhaps even Samo himself is the contact. Given the history between Andor and Caleen you’d assume he has trust in Bix, and why Cassian was searching for in her bags was maybe to make sure something they needed to take to the contact, perhaps credits, was there. However this is merely speculation on my behalf.”

So there we have a tiny nugget of possible plot detail. Filmed at the Barbican, which was used for Coruscant in season 1. Not sure I agree with his speculation… from Cassian’s actions and Bix’s reaction it sounds more like he might be checking that nobody has put something undesirable in the bags?! or maybe he thinks her torture has made her absent-minded or something? Can’t believe this fuss would just be for checking she’s remembered her purse! Cassian’s own bag looks like a spy camera type number, but maybe that’s a bit obvious. Anyway, we know that every little detail will have story importance so I’m very intrigued.

So I n the absence of any other S2 information I now have a new question to drive me nuts…

What’s in the fucking baaags??

Set build for Samo’s deli ^

Full report and other photos here:

[charaznablespeteevee]

Everyone agrees the Qubeley is sexy, SD Gundam Sangokuden says “yes we will make her one of the Four Beauties of ancient China”

I somehow totally missed getting this ask but YOU'RE SO RIGHT. I'm glad we all agree on this, sometimes I think "am I just extremely into Qubeley because it's piloted by turbo hottie Haman Karn" but actually I love all the Qubeleys regardless of the pilot (though I confess Haman's white one is probably my favorite). Just a gorgeous mech all around... I should get an MG

[space-blue]

Oh if I hadn't written that post on my cracked phone while on the toilet this morning, I definitely would have expended and included that he should suffer for the realisation.

It should not come cheap. Him learning of some conspiracy and growing a moral code out of shock would be the weakest sauce solution. Him suffering in some way and turning straight away would be fine... But I fully agree that he should double down.

He should have that flicker of shock and doubt, and then a frown and a double down. He should barrel towards more disaster while we scream at him to wake the fuck up.

I keep thinking about that episode in which he seems to be in limbo. Shamed, still shell shocked from the events on Ferrix and his dismissal... We meet his mom, we watch him quietly interact with his acursed cereals, and in that time his narrative sort of holds it's breath. We're left to wonder if he'll turn good or if he'll fall. And he falls, he turns into an obsessive creep, and it's delicious.

That was so well done... And I hope against all hope that we'll see him hurt, we'll see him wrestle with emotions, with the obvious realisation that the empire doesn't care about him, his efforts, and will crush him and everyone he loves and not waste a thought for him... And then the absolute delusion that it can't be his fault. It's someone else's fault. He couldn't possibly have had it this wrong, all this time.

I want the empire to destroy him until he has no choice left but to face the ugly truth, but I hope that in that moment he turns for good (and I hope it doesn't take that for your dad)

There are others at hand I'll want to see suffer and fall (insert "tear that bitch apart" meme pointing at Dedra). I hope one person can be shown tearing their head out if

I'm not afraid though, for once! Fully trust the writers of Andor to give all characters a satisfying arc. They know best, and they bulls-eyed the themes so far.

Thinking about Cyril Karn this morning. He's so fun to hate, but you know... I can't help but feel like he conforms and sucks up to the empire and is a creep to women all due to his upbringing. Missing father (died in the war?) overbearing mother, who tells him nobody believed his career would be in enforcement (unlike his dead father?). A society that thrives on people like him helps molding him too.

And look at his social life! Seems to be his mom and his work... And everything about that job is meant to make you feel disgust, and even pity for anyone trapped in there.

I can't help but feel like Cyril opening his eyes, seeing the wrong of his ways, self reflecting, and actually turning against the empire would be the best outcome for him.

I'd love to see him get close to Dedra only to realise what a monster she is. Or how heartless and mindless the empire is if it crushes her despite her efforts.

Idk, he needs a moment of self reflection. He isn't too far gone. He wants to please. He wants to get jobs done and have powerful women pat his head and tell him he's a good boy. I don't feel like he has a solid core ideology of a fascist.

And even if he does, Andor could benefit from this too, from a message that it's never too late to be deradicalised. That death isn't the only outcome for people who are molded into this system from childhood. If there's hope for Cyril then there's hope for many people who work for the empire unquestionably.

I love to watch the space nazis die, but I'd like, for our times' sake, to see a proto baby nazi get his mind blown, values shaken, and dedication turned around.

A Hux with actual character development and substance, less bitterness more thoughtfulness.

[gentlemanjimcraddock]

Wanna Try Star Trek?

Hi tumblr! I love Star Trek, as do many of you, but it can seem intimidating to folks who are interested but don’t really how to approach such a large franchise. The thing is, Trek’s “golden age” lived in that delicious sweet spot where tv shows outside of soap operas were only just starting to learn about serialisation. These shows were built for drop in, drop out viewing. So I’m gonna write some beginner friendly summary/reviews of various episodes and you can see if it strikes your fancy. If you decide to watch an episode I talk about, please, feel free to talk to me about it!

Also, I made a big spinner wheel of all the TNG/DS9/VOY/ENT episodes and I needed something to do with it.

Today’s random pick is Deep Space Nine’s “Indiscretion”, episode 5 of season 4.

So real quick, Deep Space Nine aired between 1993-1999 and was set aboard the titular space station. It’s still the only Star Trek show not to be based on a ship. The long and short of the premise is that, after a long and gruelling occupation by the Cardassian Union, the planet of Bajor wins its freedom. Having no means of defending themselves from something like this happening again, Bajor reaches out to the Federation (the post-scarcity multi species utopia that humanity is part of) for protection. They send a Starfleet detachment to administer the space station the Cardassians left behind, commanded by one Benjamin Sisko, who has to manage the delicate political situation. This show is by far the most serialised of this era, but nowhere near the extent of modern shows.

First Officer’s Note: Starfleet is an all-in-one exploratory, scientific, defense and diplomatic service, and most of the shows and movies revolve around the various adventures of Starfleet crews.

Our episode today opens with DS9’s First Officer, Major Kira Nerys, receiving a call from an old friend named Razka Karn. He tells her that he’s found a lead on a ship she’s been searching for called the Ravinok. He won’t share the information over a video call, so she’ll have to come to him.

Ship Counsellor’s Note: Kira is a Bajoran, and was previously a member of the Bajoran resistance against the Occupation. Bringing in “one of Kira’s old resistance buddies” is one of the writer’s favourite ways to start up a plot for her. 

The station’s security officer Odo shows up for a scene where he’s giving Kira a security report, but her mind’s clearly elsewhere. Odo asks her what’s wrong, and Kira asks whether he thinks she should go after the Ravinok. He tells her it doesn’t matter, as he knows she’s going to go anyway, so all he’ll say is “good luck”.

Usually, there’s some hand wringing over whether or not Sisko will send one of his officers on these personal missions, but here we skip right to Kira packing for her trip, only for Sisko to give her the unpleasant news that the Cardassian government wants in on the search too. See, the Ravinok was a Cardassian ship transporting Bajoran prisoners when it was mysteriously lost.

Kira’s come a long way in her feelings towards Cardassians since the start of the show, so she does (huffily) agree to delay her departure by 52 hours to allow a Cardassian delegate to join her.

Science Officer’s Note: Bajor, and by extension DS9, has a 26 hour day. This is one of those little writerly worldbuilding details that stays consistent, and really helps sell the idea of Bajor being its own place. Take note, aspiring writers!

It’s b-plot time! Sisko has been dating a freighter captain by the name of Kasidy Yates. Jadzia Dax, the Science officer, teases Sikso that things are getting serious, which Sisko denies. Kasidy then shows up to say she’s got an interview to sign up as a freighter captain for the Bajoran government. She’d be around all the time, she could even have quarters on the station! Sisko is clearly scared by the idea, but Jadzia is having way too much fun encouraging Kasidy to care. She’s a cad.

Back at Ops (the command centre), the Cardassian delegate arrives - it’s Dukat! Dun dun dun! Ad break!

Tactical Officer’s Note: Dukat (whose first name is never confirmed in the show, but some of the novels name him Skrain) is a major recurring character on the show. Sometimes an ally, often an opponent, but never liked by the crew. He was the officer in charge of the Occupation of Bajor during its final stages, with the rank of Gul. At this point in the show, he’s recently been promoted to Legate.

On their way to rendezvous with Razka, Dukat, galaxy brained individual that he is, decides to debate Kira on the merits of the Cardassian Occupation. When Kira pushes back on this, he says “I have to desire to debate the merits of the Occupation with you”. Charming guy.

We do get Kira’s motivation here, which is that the Ravinok was transporting a prisoner by the name of Lorit Akrem. He was the man who inducted Kira into the resistance, and one of the many friends and mentors she gained during that time.

Back on the station, Kasidy is telling Sisko over dinner that she got the job and how excited she is. All he can say is “it’s a big step”, and before long Kasidy gets sick of this and storms out.

Razka’s come through though, in his new role as a scrap metal merchant. He’s gotten his hands on a piece of the Ravinok’s hull. Kira and Dukat are able to use it to track the Ravinok to the Dozaria system, which conveniently has one (1) habitable planet.

Arriving at the planet, the pair are unable to determine much more than the wreckage’s rough location and decide to land their ship and explore on foot.

Chief Engineer’s Note: Star Trek is famous for its “technobabble”, made up science-y sounding phrases designed to create and solve problems. Due to the “ionic interference”, neither scanning for lifesigns or using their transporters to beam directly to the surface are possible. Ionic interference is a favourite of the writers, great for when you want to make sure a problem can’t be solved too quickly or easily.

Sisko is busy commiserating the situation with Jadzia and the station’s Chief Medical Officer Julian Bashir. They’re no help as Julian is also having entirely too much fun with this. Quark, the owner of the local bar, which is basically a space Dave & Busters, pipes in with his own two cents. Given that Quark is a Ferengi, and Ferengi culture is so misogynistic they make your average MRA look like a feminist ally, it’s not much help.

The Ravinok is found in short order, along with a series of 13 graves. Dukat sets about identifying the remains, and refuses to let Kira help. He claims that Cardassian funeral rites are very strict, and non-Cardassians must not view the remains. Hell, he even quotes a Bajoran religious leader to justify why she shouldn’t concern herself with the bodies of her fellow Bajorans. Luckily, Bajorans all wear earrings unique to their family line, so Kira can identify the bodies from those after Dukat excavates them.

Medical Officer’s Note: they’ve landed in a scorching desert, which Dukat loves. Cardassians are lizard-like and prefer hot environments. This was a major plot point in the season 2 episode The Wire. The desert shots were filmed in Soledad Canyon, California!

A little while later, Kira emerges from the ship’s wreckage with a passenger manifest to discover Dukat lost in thought as he stares at a piece of jewellery that she identifies as a Bajoran pledge bracelet. Dukat admits that he had an ulterior motive for coming on this trip, as he hoped to find a Bajoran woman by the name of Tora Naprem. She was his mistress, and he claims that the two were in love.

Not buying that last part. Also, Dukat absolutely has a thing for Bajoran women. It keeps showing up throughout the show. He even hits on Kira every now and then.

Anyway, Kira’s able to use an old resistance trick to track the survivors.

Later that night, as they make camp in a cave, Dukat manages to get a giant stone spike impaled in his ass. The sight of him hopping around in pain as he rubs a medical doohickey of the wound prompts Kira to burst out laughing, and Dukat even joins in. It’s not really a bonding moment, but there is a certain energy to it. An abatement of hostility, perhaps.

Whatever it is, it gives Kira the courage to ask about Tora Ziyal, the name of a civilian she found on the ship’s manifest. Dukat admits the truth, Ziyal is his and Naprem’s daughter. Dukat’ sensing the Occupation was coming to an end, planned to quietly ship them off to a neutral planet to live out their lives in peace, as neither Cardassia or Bajor would accept them.  Kira, naturally, assumes he’s come to rescue Ziyal. Dukat says he’s come to kill her. Dramatic music sting. Ad break.

First Officer’s Note: Bajoran names follow Eastern naming order, meaning that Kira and Tora are family names. Also, Star Trek loves doing things in caves because they can build a new set out of the same few prop walls they have. It’s a fun detail to notice as you watch these shows.

The next day, Kira & Dukat are arguing as they pick up the trail. Dukat claims that he has too many political enemies, and a bastard child, let alone a half-Bajoran one, would give them ammunition to go after him. Kira accuses him of just being out for himself, but Dukat insists that he can only protect his family if he remains in power.

Are you getting a good feel for the kind of bastard Dukat is by this point?

This is all a bit much, how about another comic relief break in the b-plot? Sisko and his son Jake are having breakfast, and Jake mentions that he (and his friend Nog) spoke to Kasidy. As Sisko’s getting ready to give Jake a talk about the hard facts of life, Jake (having talked things through with his friend Nog) correctly diagnoses the problem as a fear of commitment. Sikso’s a widow, see, and it was his career that got Jennifer killed.

Sisko is rather bemused by this, but he can’t deny that Jake’s spot on. He asks if Jake said any of this to Kasidy. Jake says that he (and his friend Nog) considered it, but ultimately decided that Sisko should speak to Kasidy himself.

But now, at long last, we find the survivors. They’ve been taken captive by a mysterious alien race called the Breen, and are being forced to mine Dilithium ore from the planet. Presumably, it’s quite easy to do, as there’s only a few dozen survivors and no signs of heavy industry. There’s a young girl there too, presumably Ziyal.

Kira tells Dukat to go back to DS9 for reinforcements. Dukat refuses, and Kira’s obviously not going to leave Dukat with a chance to kill his daughter. Instead, they decided to mount a two person raid on the mines, which goes out without a hitch.

Well, except for the fact that Lorit died two years ago and a brief firefight gives Dukat a chance to slip away and find Ziyal. She instantly guesses who he is, having held out hope for the last six years that he’d come rescue her. Kira catches up to Dukat and threatens him at gunpoint to drop his rifle. 

It’s ultimately Ziyal’s words that sway him, and Dukat can’t find it within himself to mow down his own child in cold blood.

Back on DS9, Sisko apologises to Kasidy, who accepts, and Dukat says he’s going to take Ziyal back to Cardassia to live with him. Aww, maybe he’s not such a bad guy after all.

First Officer’s Note: Yes, he is.

This is a pretty great episode. It was directed by LeVar Burton, who had been a main cast member on The Next Generation, and is remembered by many as the long running host of Reading Rainbow. He did especially well with the location shoots, making the narrow Soledad Canyon look like an expansive desert. Marc Alaimo as Dukat shows yet again why the writers kept bringing him back. He’s smarmy, oozy, hypocritical, but still retains a certain charm.

Though he only gets two short scenes, Roy Brocksmith does great as Kira’s old friend Razka. He was a jobbing character actor in the 80’s-90’s and if you’ve seen American tv from that era, chances are you’ve seen him in something.

The b-plot is a needed reprieve from the heavy nature of the main plot, but smartly it’s not played for broad comedy. Instead it’s more subdued, more grounded and relatable. Luckily, Kasidy sticks around and has a sweet relationship with Sisko, built on a genuine chemistry between the two actors.

Would I recommend this as your first Star Trek episode? Conventional wisdom would say no, it’s too steeped in the lore of DS9 and the relationships of these characters, it’s the start or mid point of so many character journeys. Sod that for a game of soldiers, I say. This is a great little story, and even without context for everything you can pick up what’s going on well enough to understand the emotional stakes. That’s far more important than knowing all the lore and linking plot points.

So, what’s next? Time to spin the wheel, I guess!

Oh boy, we're doing Voyager!

[bandarrrrr]

bhai dekh mujhe bilkul hesitance nahi hai anon off karne me, par again I don't think we're close enough for me to come here tujhe gyaan dene kelie. Meri konsi zindagi boht he amazing hai ki me raah chalte unlogo ko gyaan du jinhone maanga bhi nahi. And I actually agree with that one person who posted something along the lines of healing after me. I can't quote them correctly of course but they're absolutely right dude. You were in a relationship, and you were neck deep in it. And I understand that. You were honest, you were or maybe still are in love and that's the truth. Nobody can deny that. Teri age nahi decide kar skti ki ye pyaar Sacha tha ki nahi. Bilkul sachha tha, abb tu 17 ho ya 27. Aur tera blog hai, tu bilkul idhar express kar. It's like your own personal journal, you get to decide what you wanna post. Uske liye me kya, jo tujhse close ho vo bhi tujhe naa tok paaye. Par try, TRY to hold onto your curiosity and optimism for life. Teri personal life ki maa behn ho rakhi, uske toh hum sab he audience the, PAR never ever lose hope for your life. Ho skta hai cheeze abhi buri ho, par ye hope kabhi mat chodna ki shayd tu kabhi khush bhi ho. Ki shayad kabhi subah uthna itna mushkil naa ho. Kabhi tere aaju baaju vo dost ho jo tujhe appreciate kare, shayd ek din ye sab theek hojaaye. Hope will always be your strongest comrade when it comes to healing. I don't even know me tujhe itna gyaan de kyu Rahi hu tbh, ho sakta hai tujhe ye cheeze already pta bhi ho, yaa tujhe sunni bhi naa ho. Aur bhai bilkul, tujhe itna free ka gyaan nahi chahiye toh tu isse bilkul ignore kardena, mujhe bakwaas karne ka shauk hai, tu mat sunna bhai. Par I just wish you good and that's all I'd hope for you, happiness. Okay?

I am understanding whatever you are saying and no I am not taking it as faaltu ka gyan, I'd love to know you better because you think this much about me

[khaoala]

I saw anon discussing the new role. I don't understand what's wrong with playing the rich brat role. Like in "The glory" which is very popular had multiple rich brats as antagonists and they were entertaining despite not much going on other than them being rich brats and being power hungry and preying on the weak. It's kind of similar to how First's character read to me. He didn't read as incompetent cause it was mentioned he was intelligent but more as someone who thinks he should get everything because he has money. And the jealousy and inferiority complex are valid emotions. Unpopular opinion but I actually do enjoy rich brats. And thai jimmysea fans are so hyped for first playing that role , like I have never seen such a hype for support role so they are seeing the potential and seems to love the character despite being antagonist. We have not read the novel so I don't think we would know the full potential. Also novel and series could be different. We shouldn't except more screen time though since he is only support. Alan in MLC had no background or anything except his relationship with Wen but was still a really compelling character. So I do think getting this antagonist role is good for First

there are very few character stereotypes i don't enjoy tbh, so i don't have a problem with the rich kids or the bullies or jealous characters either as long as they are portrayed well, after all that's their role within the narrative. and i said this in the tags of that post that i also don't think karn is incompetent, but thap (jimmy's character) is just better and more fit for the job. he might be rich but he can't get grades better than thap, he can't get the job bc of thap, thap gets the person he was interested, too, he's always coming second, so at least the jealousy is not ungrounded.

as we said before, too, it's just too early for us to make assumptions of how it'll all go. even jimmy talked about this in his event today, that he didn't know first and junior would be working on mmp and he only found out on fitting day and doesn't know who's playing who. so honestly, i think we can allow ourselves to be excited for this new project and this new role and just wait and hope they know what they are doing.

the one valid criticism i saw on the tags of my post was his ending/punishment to which i agree, i do hope that bit is changed in the series.

[yanderes-galore]

I felt I wanted to show I write for Locust for Gears because... hey... creatures are cool? To make this work and for some lore on Darling: Darling is assumed to be either related to Myrrah in a way or is a human prisoner Myrrah happens to like/has taken in as her own (as a baby or young child).

Unedited, pure brainrot of you being Myrrah's kid adopted or not with the Leaders being obsessive about you that no one asked for.

General Ideas on Locust Leaders being Yanderes over Myrrah's Kid

(RAAM, Skorge, Karn, Sraak)

Pairing: Romantic/Platonic

Possible Trigger Warnings: Gender-Neutral Darling, Obsession, Protective behavior, Deception, Manipulation, Violence, Murder, Blood, Myrrah essentially sees you as her kid in this, Possessive behavior, Delusional behavior on Skorge's part, Drug use mention kinda, Worship yandere mention, Dubious companionship, Mentions of "mate" in RAAM's part.

Uzil RAAM

RAAM is one of the strongest and most intelligent Locust Generals in the series.

I feel how he meets you would be after his promotion to Uzil, removing Sraak from being Myrrah and your defender.

He doesn't tolerate disobedience and doesn't mind punishing other Locusts through death if he has to.

Humans and Lambent especially are not spared and are slayed by him brutally.

He was the one who suggested invading the surface and is shown as manipulative in his origin comic.

He fought to gain Myrrah's favor, he holds a bond of brotherhood with Skorge, and maintains a partnership with Karn.

He's successful which wins him the position of protecting you.

No matter your origins, RAAM takes the job of protecting you.

Myrrah has trusted him to do such a thing and he'll follow things through.

RAAM is strong but not as tall as Sraak.

Despite this he is fully capable of keeping his position and defending you.

If he sees you in a platonic sense, RAAM just accepts being a guard for you like most of the Locust Leaders in this.

You may fear him and even look to Myrrah for reassurance, but RAAM keeps quiet and tries to be less menacing around you.

He doesn't want you scared of him.

If RAAM sees you in a romantic sense, he's patient with it.

He wants to first lead his armies onto the surface, then he'll think of being yours.

He wants to pave the way for you and Myrrah to thrive on the surface.

He wants to win your favor as not only your protector, but mate if possible.

Only if his Queen allows it.

RAAM is certainly not the best with affection.

He isn't sure how to display it or process it due to being a creature of war.

He understands if you don't wish to show him any.

Yet he would live off your praise internally.

He isn't very emotive so it's hard to tell what he's thinking.

Myrrah can tell what he's thinking at times due to the Hivemind link, yet she tries to monitor it to keep you safe.

Out of anyone, Myrrah may allow RAAM to be so close to you.

Yet she cares for you and doesn't allow RAAM to force anything under her watch.

RAAM knows he shouldn't but he thinks of bringin you to see the surface.

Myrrah would never allow it yet he still wonders if you'd praise him for showing you such sights.

He wonders if you'll praise him for his slaughter and conquest....

RAAM would be manipulative but that's because he's so intimidating.

He'd easily frighten you, which may make you listen to him more.

RAAM, platonic or romantic, could probably carry/hold you if he wished.

He likes your warmth and hopes to be rewarded with it for his achievements.

You don't like it as he holds you so far off the ground.

RAAM would slaughter anything for you.

Humans, Lambent, Locust if they said anything bad about you or the Queen.

He lives to serve you because the Queen says he must.

Plus, he has his own feelings about you.

Out of any Locust... RAAM thinks he'd be the best suited for you due to his strength and accomplishments.

Sure his Queen will agree and allow him to be yours, yes?

Skorge

Skorge was originally a priest for The Trinity of Worms, the Locust religion.

However, he was kicked from the position due to his visions being seen a blasphemous.

This made him join the Locust military, where he met and became good friends with RAAM.

Ketor is the title of Locust Priest.

Although he was later stripped of the title when going into the military, but RAAM said he was to take the title of Uzil if he ever died.

In terms of how you'd meet Skorge, I could see two ways.

Maybe you met him when he was a Ketor still.

That or you met him when he was in the military but not quite Uzil, as that would occur after the death of RAAM.

Skorge often has visions due to inhaling Imulsion fumes.

Which I guess counts as Locust religious drug use?

Skorge tends to use this visions as predictions or ways to read into fate.

It was one of the reasons he was thrown out of being a priest.

Despite the fact the vision that got him thrown out was actually true....

When it comes to Skorge I think he'd hold a great deal of respect for you due to you being so close to Myrrah.

As a priest or a soldier... he often bows to you as Myrrah commands.

He often tries to share his visions with you whenever he sees you, be them warnings or things to look forward to.

In fact, Skorge may be a delusional who is manipulative.

He'd try to get you and Myrrah to believe his visions, especially you to gain his trust.

Then he'd use them to manipulate you.

If platonic, he tries to tell his Queen that he needs to protect you.

He promises to look after you because his visions warned him if he doesn't, disaster will happen to you.

If romantic, Skorge would try to use his visions to convince you and Myrrah that he is meant to be your partner.

Skorge may also be a bit of a worship yandere, often praising you as the Queen's "kin".

Skorge, like most Locust leaders, is incredibly loyal to you.

If Myrrah had to choose a Locust to be close to you in any way, it would be RAAM or Skorge.

Such a position would be accepted by Skorge rather quickly as he'd be close and by your side.

Skorge, due to being a Kantus (a variant of Locust), is agile and rather strong.

He may not be bulky but he utilizes his abilities as a Kantus well.

Skorge would try to be beside you whenever he can, he isn't as tall as Sraak or RAAM, but he still towers over you.

You probably find Skorge's company oppressive due to his attempts to keep you safe and impress you.

He always bombards you with visions, all drug fueled delusions about you and him.

How he's meant to defend you until his death... how he'd happily die if it meant he'd keep you safe...

Regardless on how you feel about the situation it disturbs you.

He means it in an endearing way.

Yet Myrrah scolds him for scaring you.

I feel Skorge would only get more intense after the death of RAAM.

His visions were true... he must protect you and the Queen.

You may not like it but Skorge never leaves your side after Myrrah makes him Uzil due to RAAM's wishes.

Part of him fears losing you due to fact the humans have managed to take down RAAM.

He doesn't want any harm to come to you or Myrrah.

Especially if he has romantic feelings towards you, or even that of a guardian.

Skorge is more than willing to have blood on his hands in your name.

He'll brutally cut down the humans who try to kill you or even take you away.

They'll be nothing but chunks of flesh when he's done with them.

It's all to protect you, for the Queen and Horde.

He tries to show you affection if he feels you need it.

Again, he probably learns it from Myrrah like Sraak.

He tries to hold you, stroking the top of your head while hissing praises.

It isn't all that comforting but he's trying to be affectionate.

I feel Skorge certainly tries to nudge you into trusting him due to his visions coming true.

After all, his visions have been proven true before...

Surely this means if he says you're meant to be for him, Myrrah will believe him, right?

Zamil Karn

Karn was never known for great might or strength.

He was born as a malformed Drone, leading to his Locust brethren ignoring or disassociating from him.

He was more known for his mind and was actually rather lonely.

His only really companion was a mutated Corpser named Shibboleth, as he had seen himself in it.

With his mind and ability to command, Karn had become a Vold, or Locust Lieutenant.

Karn could never lead as well as RAAM, however.

RAAM has a tendency to strike fear into his Drones to control them.

Karn, with his deformities, doesn't really have that effect.

Despite this his intellect and tactical attitude allowed him to be promoted to Zamil, Locust General, by RAAM.

Now, this is how I imagine Karn gets close to you.

You're allowed by Myrrah to roam The Hollow as long as you stay out of restricted areas.

This would have to be after you're completely obedient to Myrrah if she took you in, or right away if you're related to her.

You usually use this time to feel at least a little freedom.

This would be how you meet Karn, the socially isolated Vold/Zamil.

At first Karn panics when he sees you approaching him.

You... the one Myrrah is so fond of, coming to him?

What did he do?

Turns out, nothing.

You just happen to be checking in while on one of your walks.

Myrrah doesn't mind that you speak to Karn.

Although she doesn't really understand why you gravitate towards him, either.

Maybe it's because you're both rather isolated, Myrrah doesn't like letting you out of the Royal Palace anyways.

Either way, talking to Karn you can see he's a bit awkward.

He's fearful he'll say something wrong then your "mom" will cull him or something, he's also trying to bow and make himself look small.

Even though he seems hesitant you manage to befriend him, a feat baffling to him, Myrrah, and other Locust.

Queen Myrrah even asks you about it and you simply say you feel bad for him or found him interesting.

She takes it as you pitying him and allows you to speak with the Locust whenever you wish.

Karn begins to feel honored that you care about him somewhat compared to others.

He's never seen surface dwellers as his Queen has never told him she's human or any of the Horde that.

Plus Myrrah would never spill your origins if she kidnapped you or actually raised you, only Sraak knows that.

So Karn just assumes you are like his Queen, being her "kin" after all.

If platonic, Karn vows to defend you and follows you around.

Even through Theron Guards or Uzil's should do such a thing, he insists.

Myrrah finds it strange that you have such an effect on Karn.

However, it only shows you have an influence on others like her.

She knew you'd show potential.

If romantic, Karn scolds himself for having such feelings towards the Queen's "kin".

He tries to hide it but still finds himself following you around.

You're his only other source of companionship other than Shibboleth.

Speaking of which, he'd try and offer you rides on his beloved companion to bond.

Karn is just happy someone of such power other than RAAM sees his potential.

Like most other Locusts of power, he'd show possessive tendencies.

Karn swears his life to you and would do just about anything to have your praise.

He often finds himself asking for permission to enter the Royal Palace, other Locust look at him in disgust but he just says he's close with you.

Karn is probably the most needy of the leaders if I'm being honest.

He requires your praise and tries to impress you with war plans he's come up with.

Myrrah would only step in if Karn was stepping out of line.

For example of Karn slipped up and expressed some sort of attraction to you, she's preparing punishment for him.

As a result, Karn tries to keep such a thing quiet.

He just wants to be your companion and wants to live off your praise.

If you ordered him to kill, he'll do it.

If your ordered him to do mostly anything, he'll most likely listen to stay in your favor.

Karn may not be physically strong enough to impress you in that way...

But he could command armies to level cities your name if it meant you'd praise him.

Uzil Sraak (Before being Demoted)

Sraak was one of the first Locust ever created.

He is one of the most devote Locust leaders to Myrrah.

He came before RAAM and originally had the title of Uzil, a High General, before RAAM.

Sraak is primarily brawn more than brain, he has extreme strength and is incredibly tall (12 feet or 365.76 cm).

If we are to assume Darling is close with Myrrah in some way to make things easier, being a child of hers or a prisoner she's taken in, Sraak would probably be one to quickly take to you if Myrrah allows it.

Sraak accepts you because Myrrah does.

He doesn't care if you are biologically related to her like her lost daughter Reyna or if you're some human she likes for whatever reason.

If the Queen likes you, he isn't going to complain.

Due to his size and strength it's easy to be frightened by Sraak.

He isn't a planner like RAAM and often lies to his Queen to keep her happy.

Like on Rise of RAAM where he pretends they're winning the Lambent War when in reality RAAM is trying to tell Myrrah they aren't.

Due to this I can see Sraak lying to you, too.

If Sraak felt platonic towards you he'd act like a loyal guard.

Regardless of your origin Myrrah sees you as her child due to Reyna's father taking her daughter away.

Which means Sraak would die protecting you and the Queen.

He's capable of violence, excels in it actually.

If something threatened you he'd squish it mercilessly.

Even if he liked you in a strange romantic sense he'd be similar, very protective if not possessive.

Myrrah is certainly one who is on edge of allowing her subjects to feel... romantic intentions towards you.

Sraak may or may not bring it up with her when he feels such a way.

That or Myrrah can tell by the look in her Uzil's eyes that he is rather... animalistic about you?

Sraak is loyal but she worries you'll get hurt if he tries anything.

Either way, it certainly surprises you that the tall giant of a Locust looks at you like... that.

That's if he is a romantic yandere, when platonic he's more like a protective guard.

In terms of affection it isn't a very common sight for Locust.

Sraak probably notices how Myrrah treats you and mirrors it at times.

Most of the time he's a creature of war, often showing his "affection" by dueling in your name.

Sraak feels gaining your respect and adoration is by covering himself in the blood of his enemies for you.

Be them human or Locust.

Sraak would love to kill RAAM in your name for defying his orders.

Plus, the thought of allowing RAAM to take his position makes his blood boil.

If he was demoted, RAAM would spend all his time with you.

Something that Sraak can't allow to happen.

Honestly, if Sraak was obsessive about you and he gets demoted to Vold like in the comic, it becomes a goal to kill RAAM and Skorge.

Mostly RAAM.

Sraak likes his title, it keeps him close to the Queen and her child.

Which is why he's willing to slaughter many Locust and humans to make his way back to you.

Surely that will show his Queen that he's worthy for you?

Sraak will win back his title and prove himself worthy of being yours...

Even if it requires killing RAAM and all who support him.

[supervisormeero]

Syril Karn Has Impeccable Ken-ergy

For legal purposes, this is a joke. Also, I'm giving @hegodamask co-author credit on this, because some of these ideas are hers! Anyway, beware of Barbie spoilers:

"Barbie has a good day every day. But Ken only has a good day when Barbie looks at him." Huh, who does that sound like?

Ken's commitment to fashion -> Syril's commitment to tailoring his uniform and suits

I get that the vibe of these scenes is very different, but in the most general, unserious sense: Ken popping up in the back of Barbie's car and begging her to let him go on the adventure with her = Syril showing up at the ISB and begging Dedra to listen to him

That whole scene where Barbie gets annoyed with him and tells him to go for a walk, and he walks away, still staring at her, with the saddest and most forlorn look. Syril energy

Ken going to all those random places and demanding to be given a job despite having no qualifications -> Syril wanting to get into the ISB, despite having little to no actual Imperial work experience (no one at that level is going to count Preox-Morlana)

The whole girlfriend-boyfriend conversation. "I was thinking I could stay over tonight." "Why?" "Because we're girlfriend and boyfriend." "To do what?" "...I'm actually not sure."

"SUBLIME!!!!!!!!!!!!!!!!!!" - this is exactly how Syril would react if Dedra agreed to go on a date with him. Either that, or he'd start crying

The whole "I only exist when you see me" thing, because you know Syril only thinks he's really living when Dedra's looking at him

The fact that Season 2 Syril is apparently going to "find out who he is" away from his mother and Dedra, which I'm assuming won't be completely dissimilar to Ken discovering patriarchy and then immediately making everything, including himself, 100000000x worse

If Syril had the confidence, he would absolutely pull out a guitar and serenade Dedra in her office with whatever the Star Wars version of "Push" by Matchbox Twenty is, and now I need someone to draw this please, please, please

[theprogrockbstheorist]

Theprogrockbstheorist’s Guidelines to Conceptuality in Prog

Concept Albums:

This is probably going to be an important definition for many of the essays that I will eventually do, so I’m more writing this an a reference point for what I define as a concept album. 

A concept album is an album that is in some way, shape, or form based around an idea. That’s it. This can be as loose as a thematic or musical concept that all the songs on the album share, or as intense as a rock opera. Musical concepts aren’t limited to the composition of the songs as well: they can be as broad as “How crazy can we make the production on this album?” or “Let’s make all the songs loop into each other!”. For the purposes of my essays, I will be separating concept albums into levels: 

A non-concept album is an album that has neither a thematic concept nor a musical concept. 

A Level One Concept Album is a concept album that has either a broad thematic concept but no musical concept, or a broad musical concept without a thematic concept.  A ton of albums probably fall under this category, so a “level one concept album” doesn’t really hold much significance. 

A Level Two Concept Album is a concept album that has both a thematic concept and a musical concept. The thematic concept can be as broad as simply “urbanization” or “mental health”, but for it to be a level 2 concept album, all the songs must have a musical concept as well. This musical concept can be as simple as reoccurring melodies or chord progressions. 

A Level Three Concept Album is a rock opera, essentially. You’re moving beyond simple concepts here, and plotting out a story line and characters. These are pretty much guaranteed to have recurring musical ideas and motifs, which can signal characters like in an actual opera. 

Conceptual Songs: 

Now, of course, sometimes concepts are limited to just one song, or, if part of a larger concept album, may be focusing on one aspect of that concept. These too can have levels similar to concept albums; just the majority of the time, they are shorter (side-eyeing Thick as a Brick, which can be counted as both a concept song and album). 

These songs usually are more specific than concept album, and tend to cap out around 20 minutes due to vinyl limitations in heydays of prog. There are some notable exceptions, but those are exceptions. Here a few types of conceptual songs: 

The Suite is a song of unspecified length that tells some sort of story or has some sort of concept underlying it. For the purpose of this blog, the main difference between an epic and a suite is the length: suites can be any length, epics are going to be defined as being 15 minutes or longer or taking up an entire side of vinyl. 

The Epic is a song that is based around a concept that takes up an entire side of vinyl. The whole album is not typically based around the concepts presented in the epic, however it does take up at least one side ("Karn Evil 9" takes up all of Side B and then a bit of Side A as well). 

Both of these types of songs will follow an adjustment of the levels system presented above, because typically these songs contain both a thematic and musical concept. 

So, a Level One prog suite/epic is a song that has both a thematic message and a musical concept. This thematic message can be incredibly vague, but it needs to be present. Otherwise, it’s not really a suite nor an epic. 

A Level Two prog suite/epic is similar to the rock opera in that it has named several characters and a defined story. You won’t really see suites as I’ve defined them do this, so this is also kinda an epic-exclusive level, however “The Necromancer” by Rush clocks in under 15 minutes, and has named characters and a plotline, so this isn’t really a hard rule. 

Oh, and btw, you don’t have to agree with my definitions!! If you think I should revise any of them, let me know!/gen. I just feel this is important to get out of the way for when I enter the “Is X album a concept album?” debates.