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delivermytuneo6 · 18 days ago

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The Evolution of Music: From Classics to Today’s Hits

Music is a dynamic art form that evolves with each generation, adapting to new styles, cultures, and technologies. Yet, its essence remains the same: the power to evoke emotion and bring people together. From enchanting children with playful melodies to serenading lovers with timeless ballads, music has a unique way of reflecting life’s diverse moments. Today, let’s explore the rich tapestry of music—spanning kids’ songs, classic romantic hits, harmonious duets, and the latest trends in India.

Kids Songs: Timeless Tunes for Little Ears

Music is often a child’s first introduction to rhythm and rhyme, and kids songs play a vital role in their early development. These songs aren’t just entertaining—they’re educational too. Nursery rhymes and playful melodies teach children basic concepts like numbers, the alphabet, and moral values. Songs such as “Twinkle, Twinkle, Little Star” or “The Wheels on the Bus” have endured through generations, proving the universal appeal of music for young listeners.

Modern kids’ music has evolved to incorporate upbeat tempos and fun lyrics that make learning even more engaging. Today, platforms like YouTube and streaming apps provide a treasure trove of catchy tunes tailored for children, ensuring that parents and educators can easily find tracks that resonate with little ones. Whether it’s an animated song teaching good manners or a silly tune that inspires giggles, kids’ songs remain an indispensable part of childhood.

Romantic Songs That Touch the Heart

The essence of love is beautifully captured through music, making romantic songs an evergreen genre. The best romantic songs ever create an atmosphere of passion and tenderness, resonating deeply with listeners. These tracks can transport you to a different time and place, reminding you of special moments with your loved ones.

Whether it’s the soulful lyrics of “My Heart Will Go On” or the dreamy chords of “Perfect” by Ed Sheeran, romantic songs have a way of connecting hearts. They’re ideal for weddings, anniversaries, or simply a quiet evening spent reminiscing. For every couple, there’s a song that feels like it was written just for them—a musical representation of their unique love story.

Unforgettable Love Songs of All Time

Some songs transcend eras, earning their place in the pantheon of musical classics. The best romantic songs of all time are timeless treasures that capture the universal themes of love, longing, and devotion. Tracks like “Endless Love” by Lionel Richie and Diana Ross or “Unchained Melody” by The Righteous Brothers continue to enchant audiences, even decades after their release.

These iconic songs often feature poetic lyrics paired with hauntingly beautiful melodies that linger in the mind long after the music stops. They’ve become synonymous with the very idea of romance, played at countless proposals, first dances, and romantic getaways. Their enduring appeal proves that no matter how much music changes, the emotions of love remain constant.

Harmony in Duets: Voices in Perfect Synchrony

Few musical formats are as captivating as duet songs. A duet is a celebration of collaboration, with two voices coming together to create something greater than the sum of their parts. These songs often depict a conversation or a shared emotional journey, making them deeply relatable to listeners.

Classic duets like “Islands in the Stream” by Kenny Rogers and Dolly Parton or “Shallow” by Lady Gaga and Bradley Cooper exemplify the magic of two voices blending seamlessly. In the realm of romantic duets, the chemistry between singers often mirrors the emotions conveyed in the lyrics, adding an extra layer of authenticity to the performance.

Duet songs aren’t limited to love ballads, either. They span genres, from pop to rock to classical, proving that this format is as versatile as it is beloved.

Trending Now in Indian Music

India’s music scene is as diverse as its culture, and its trends are ever-changing. The top trending songs in India reflect the vibrant mix of traditional influences and modern sounds that define the nation’s musical identity. Bollywood, with its blend of storytelling and music, continues to be a dominant force. Chart-toppers often feature catchy beats, heartfelt lyrics, and innovative arrangements that cater to a wide audience.

In recent years, the rise of independent artists has added a new dimension to India’s music landscape. Genres like rap, indie pop, and electronic music are gaining popularity, especially among younger listeners. Social media platforms and streaming services have played a significant role in amplifying these voices, making it easier than ever for talented musicians to reach a global audience.

The Timeless Appeal of Music

Whether it’s a nostalgic kids’ song, a romantic ballad, a harmonious duet, or a trending Indian hit, music has a timeless quality that continues to captivate us. Each track serves as a snapshot of the era it belongs to, offering listeners a chance to relive memories or create new ones.

Conclusion

Music is an ever-evolving journey, reflecting the emotions and experiences of humanity. From the innocence of childhood melodies to the depth of timeless romantic classics, there’s a song for every moment and mood. So, whether you’re discovering new favorites or revisiting old ones, let music be your constant companion. What’s your go-to song that perfectly captures the spirit of your life? Share your favorites in the comments below!

#Music

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artemis-entreri · 5 years ago

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[[ This post contains Part 7 of my review/analysis of the Forgotten Realms/Drizzt novel, Boundless, by R. A. Salvatore. As such, the entirety of this post’s content is OOC. ]]

Genre: Fantasy

Series: Generations: Book 2 | Legend of Drizzt #35 (#32 if not counting The Sellswords)

Publisher: Harper Collins (September 10, 2019)

My Rating: 2 out of 5 stars

Additional Information: Artwork for the cover of Boundless and used above is originally done by Aleks Melnik. This post CONTAINS SPOILERS. Furthermore, this discussion concerns topics that I am very passionate about, and as such, at times I do use strong language. Read and expand the cut at your own discretion.

Contents:

Introduction

I. Positives I.1 Pure Positives I.2 Muddled Positives

II. Mediocre Writing Style II.1 Bad Descriptions II.2 Salvatorisms II.3 Laborious “Action”

III. Poor Characterization III.1 “Maestro” III.2 Lieutenant III.3 Barbarian III.4 “Hero” III.5 Mother

IV. World Breaks IV.1 Blinders Against the Greater World IV.2 Befuddlement of Earth and Toril IV.3 Self-Inconsistency IV.4 Dungeon Amateur IV.5 Utter Nonsense

V. Ego Stroking V.1 The Ineffable Companions of the Hall V.2 Me, Myself, and I

VI. Problematic Themes VI.1 No Homo VI.2 Disrespect of Women VI.3 Social-normalization VI.4 Eugenics

VII. What’s Next (you are here) VII.1 Drizzt Ascends to Godhood VII.2 Profane Redemption VII.3 Passing the Torch VII.4 Don’t Notice Me Senpai

Note: This was written before the unveiling of the final book’s title. As such, the predictions are outdated.

What’s Next

While Timeless inspired confidence I haven't had in Salvatore for a long while and made me hopeful for the future, overall, Boundless hammered my heart back down into my stomach. Whereas Timeless felt like Salvatore actually had some degree of emotional attachment to what he was writing rather than making a bid to have his characters stick out in Forgotten Realms lore, Boundless backpedaled from this quite a bit. He has some solid turns of phrases in Boundless, but unlike the ones in Timeless, I wouldn't have remembered them if I hadn't specifically noted them down during my reading. In Timeless, we explored more than the constantly-revisited areas of Menzoberranzan, Gauntylgrym, Luskan and others, delving into Ched Nasad. In Boundless, we're back to Menzoberranzan, and furthermore, with most of the action happening in the same area of Menzoberranzan, specifically, in and around The Oozing Myconid tavern. This is reminiscent of how basically all of the action in the city of Helioglabalus during The Sellswords trilogy is condensed to one area, around the cul-de-sac Wall Way. The small but interesting bits of detail that we were treated to in Timeless about characters that we're so familiar with already, such as Jarlaxle, Malice, and the rest of the Do'Urden family, did not continue in Boundless. Gone too is the Realmsian feel that Timeless achieved, for Boundless feels very much like a standard Salvatore insular and tweaked Forgotten Realms. Boundless hammers the lore-rich and location-rich Waterdeep into something with fewer dimensions than Salvatore's current timeline Luskan. While the scenes from the past are still more interesting than the ones set in the present in Boundless, they don't hold a candle to their counterparts in Timeless. There was heart in Jarlaxle and Zaknafein's past in Timeless, and it felt as though it was something that Salvatore had thought about for a long time. By contrast, in Boundless, those scenes feel rote and rehashed, cobbled together from half-formed ideas. Those scenes only manage to not be sleep-inducing because they don't focus on the Companions of the Hall. While Timeless seemed to take a break from the disagreeable conclusions made in the novel preceding it, Boundless is right back on that track again.

All of the above is pretty bad, but things may even get worse. There are in fact many indicators that suggest some of my darkest fears concerning this franchise will come to pass, and I sincerely hope that's not the case. That said, much of what I say in this section about what might come in the future are speculatory. They are extrapolations based on what I've learned from reading almost all of the over three hundred novels published for the Forgotten Realms, D&D sourcebooks through the editions, and talking with Ed Greenwood and other creatives who have officially worked on the setting.

Drizzt Ascends to Godhood

Boundless still doesn't tell us where Zaknafein's soul had been. It isn't specifically stated, but I think it's fair to say that it definitely wasn't with Lolth, otherwise, she wouldn't send one of the two souped-up version of the Retriever after him. One could argue that Lolth might've done so because she is fickle and chaotic, but there's fickle, and then there's impractical. Bringing something as powerful as Salvatore's Retriever is supposed to be would tax her no small amount, and even a goddess of chaos, especially one whose resources are already spread thin warring with other demon lords, would not do something that's simply foolish. So, Lolth didn't return Zaknafein, and Yvonnel knows that she isn't getting spells from Lolth but she doesn't know who is granting them to her. If Salvatore weren't obsessed with erasing Eilistraee, the obvious answer would be that the Dark Maiden is looking after Yvonnel. That would be the most logical in-universe explanation, but as far as Salvatore is concerned, Eilistraee doesn't exist unless using her as the subject of ridicule and denigration. Eilistraee's brother Vhaeraun is similarly ignored, but at least is spared the dismissal that Salvatore places upon Eilistraee. It's possible that Yvonnel is getting her spells from someone in the elven pantheon, for aside from Eilistraee and Vhaeraun, the drow pantheon doesn't have any other non-evil members. While some of the Dark Seldarine might want to help Yvonnel simply out of spite for Lolth, that's also unlikely, because it's been clearly stated that Zaknafein was in a good place, and in the realm of one of those evil deities would not constitute a good place. But, it seems unlikely to me that someone from the elven pantheon is granting Yvonnel spells, for while Salvatore doesn't erase their existence, he doesn't acknowledge them either. A person who only reads the Drizzt books wouldn't know the existence of even Corellon Larethian, the patron god of all elves, including at one point the dark elves who were turned into drow.

So who, then, is granting Yvonnel cleric spells? It might very well be left as a mystery forever, but what I suspect and fear is a rather convoluted scenario. Specifically: Drizzt, the god of goodly drow in the future, is granting the spells to Yvonnel in the present. Sounds crazy, right? I totally agree, but sadly, despite how many D&D creators warn about how bad of an idea time travel is in D&D, it's not implausible, and in fact, many things hint at the possibility, especially in Boundless. First, there's Drizzt's strange disappearing act at the end of novel that I discussed earlier. This could very well be him ascending to godhood. Second, it's been building up throughout the novels that Drizzt has become a beacon to all male drow, including a maverick like Jarlaxle. In the Realms, the power of belief is what grants gods power, and it is so strong such that races like the kuo-toa have believed gods into existence without there even being an individual to elevate with that belief. Drizzt, as represented by Salvatore, certainly would have enough "followers" to elevate him into demi-god status at the very least. Furthermore, Salvatore has demonstrated an eagerness to do everything possible to his golden boy, and while Drizzt himself, if he were true to his character, wouldn't want to be a god, making him into an actual god is getting pretty near the only good thing that Salvatore hasn't done to Drizzt yet.

What has me the most suspicious that this is where Salvatore is going is the talk between Quenthel and Sos'Umptu about a "spark", one that "resided in Zaknafein before Drizzt". The word "spark" is often used in Realms material when referencing godly essence, for instance, Chosens are imbued with the sparks of their gods, mortals ascend to godhood when a divine spark is passed onto them, etc. The mention of the spark that father passed to son happens amidst a discussion between two very powerful priestesses of what was pre-fated and the intervention of higher powers. It feels very much like the Child of Prophecy scenario in the Naruto franchise, with Zaknafein being the parallel of Nagato and Minato in that his superiority marked him as a potential candidate to fulfill a great prophecy, but ultimately he failed to do so and the responsibility is passed onto the next worthy candidate, in this case, Drizzt. I'm not fond of this possibility because it's completely unnecessary and uncharacteristic. The only reason for Salvatore to elevate Drizzt to godhood is to further erase Eilistraee, to write his own name over the tapestry some more, and I suppose to garner more money from unthinking sycophantic fans who lack the ability to critically examine anything. Drizzt as a god would also be superfluous, for what he'd stand for is already covered by Eilistraee, with what she doesn't cover instead handled by Vhaeraun's portfolio. It isn't uncommon for gods' portfolios to overlap, but those overlaps are more like the intersection between circles of a venn diagram rather than a nigh-total eclipse. I suppose Drizzt could be the patron god of sanctimony, melodrama, preachiness and self-congratulation, but those traits hardly deserve a patron god. Realistically, if Drizzt is to be wedged into the drow pantheon, what would happen is that he would weaken the already goodly forces there. People of the Realms are polytheistic, but many have a main god that they worship, and with that taken away from existent gods, so, too, is the power they get from their followers' belief. At least it's consistent with how Drizzt is written, if not how he is supposed to be, for him to, yet again, be a damaging force to true good.

Profane Redemption

Salvatore seems to have this notion that Artemis Entreri needs to be "redeemed", and his definition of redemption is to become similar to Drizzt and the Companions of the Hall. It's as though he only knows how to write one character archetype, and seeing how he forces all of his characters down the same path, I honestly don't know if Salvatore simply can't write other archetypes, or doesn't feel like he should out of some sense that there is only one "correct" way for people to be. The idea that Entreri needs to be "redeemed" at all is questionable. What, exactly, does Entreri need to be redeemed for? For killing many people? Certainly, this is a sin, but Drizzt and the Companions of the Hall have killed many more, and yet they are celebrated heroes whose every action is unquestionably right. One could argue that Drizzt and the Companions only killed the "bad guys", but by whose definition are "bad guys"? Salvatore's definition of good versus evil is as inconsistent as his work is with itself, and comes from a position of privilege. We're told that Entreri never killed anyone unnecessarily, so really, is he deserving of the same fate as the old lecher, who at best was a child trafficker, and at worst, a child molester? Salvatore apparently believes so, with how the adjudicator "demon" possessing Sharon subjects the two to the same fate. I'm not arguing that Entreri did nothing wrong. He was absolutely a villain. Whatever his reasons might be, he did murder people. He did kill innocents for his personal gain, for instance stealing the life force from passed out drunks in alleyways to heal himself. He does have sins to atone for. However, what troubles me is Salvatore's stated reason for the need to redeem Entreri in an interview during the release of Timeless:

Artemis Entreri surprised me quite a bit in the Sellswords trilogy, in Road of the Patriarch. That was supposed to be the end of Artemis Entreri. Road of the Patriarch was the perfect redemption, that redemptive moment where you could have hoped that Artemis Entreri ended on the right track. But after I wrote the book I got so many letters from people who had gone through similar traumas that Entreri had gone through when he was kid. They said, “You can’t end it here. We have to see him redeemed.” I got dozens of letters from people saying, “Please continue this character. This is personal to me.” And I was like, well, maybe I’ll learn something by continuing with this character. And I did. That’s a good thing.

What I came to realize about Artemis Entreri is that a driving force in him was why he couldn’t look at himself in the mirror without self-loathing: it was guilt. And it was guilt over things that had been done to him, not things that he had done. I don’t think I ever understood that until after I put him on the road of redemption.

I am honestly not sure what to think regarding Salvatore's claim that people who had gone through similar traumas as Entreri wants to see Entreri "redeemed". Young victims of physical abuse, sexual assault, parental neglect and betrayal have not done anything wrong, and while Salvatore is right about people that go through such horrors carrying guilt over what happened to them, I'm skeptical about whether Salvatore correctly understood his fans. My own background falls into that category, and I've interacted with others like me as we desperately tried to make sense of why the universe apparently deemed we deserved what happened to us. With the internet bringing greater connectivity between people, I found countless others like me, and have managed to arrive at a point in which I at least logically believe that what happened to me wasn't deserved. What I know from my own experiences and what I've learned from others differ so much and so consistently from Salvatore's recount that I can't help but wonder if some words got crossed with him. With people like me, "redemption" isn't what we fundamentally want. We want our scars to heal and we want to do it at our own pace, in our own way, to feel valid even though we have trouble fitting societal norms. Trauma victims are often misunderstood and dismissed because they are different, and really, all they want is for that to not happen. Salvatore's "redemption" of Entreri is to make him more like the very social-normative Drizzt, which is the opposite of what a trauma victim would want. In reality, a trauma victim who is being pressured to conform to another's perceived notions of normalcy, like what Drizzt does to Entreri, would react very badly to it. Furthermore, traumas, especially childhood ones, don't simply go away through the performance of some deeds, or even a great amount of deeds like helping others, which those privileged enough to have never experienced abuse at the hands of another seem to believe is the key to salvation. Traumas go away only with the passage of time, and the presence of people in one's life who understand the individual and accept them for who they are, who try to help them be the best version of themselves rather than the best societal model of a person. It's only normal for victims of trauma at the hands of others to resent and distrust people as a whole, and their traumas tend to be exacerbated by being told that they won't recover unless they help others, which often translates into, "I need to help those who will hurt me" in a trauma brain. Salvatore represents Entreri as having gotten past his childhood traumas because he received some degree of fulfillment from helping the people of Port Llast. Furthermore, Salvatore makes it appear that Drizzt's influence in Entreri's life is what led him down the path of "redemption", but realistically, what Drizzt has done is push Entreri to be like him. The reality of what should be happening is actually very damaging to Entreri. If Entreri isn't self-aware enough of what he truly wants, which is the case for a lot of trauma victims, he might be going along with Drizzt, even earnestly, because he's led to believe it'll help him feel better. The thing is, each person's recovery from trauma is unique, and has to come from within; following someone else's path more often than not leads to more damage, especially when it's the path that someone who doesn't bother to understand them lays out for them, as is the case for Drizzt with Entreri. If Entreri is self-aware enough, he should be resisting Drizzt, but he doesn't, which suggests it's the previous example, and that in turn has a lot of dark and problematic undertones, with one standing out in particular: Drizzt's behavior is abusive towards Entreri.

While many were unhappy with the way that Road of the Patriarch concluded, especially back when it seemed to be the last that we'd see of Entreri, it was, in so many ways, a much kinder treatment of him than what's being done in continuing his saga. Over seven decades of enslavement by the Netherese would've deepened his trauma and made them more difficult to dislodge, but Salvatore doesn't seem to understand this at all. It would be less cheap and contrived, not to mention less invalidating, if Salvatore had Entreri's issues cured via magic or psionics. By espousing the belief that anyone can be "fixed" through a set approach, or needs to be "fixed" at all, Salvatore damages more than his own character, he helps spread an idea that will further hurt and invalidate real trauma victims. Sadly, things don't seem like they will get better. The artificial "development" forced onto Entreri in Hero was so depressing to me that it made it hard for me to read anything for almost two years. Timeless was a break from that, and indeed seemed like Salvatore was abandoning that tack, but Boundless dashed those hopes thoroughly. Entreri gets caught as a result of putting others before himself, and while it's conceivable that he'd save Dahlia before trying to escape, him doing the same for Regis without a second thought is a Drizzt characteristic, not his. Furthermore, he'd saved Regis before saving Dahlia. Without intending it, the events that Salvatore creates are actually an accurate metaphor for what happens to a damaged individual who is made to believe that another's path is their own: they unsuccessfully see it to completion, and get themselves mired in greater suffering.

What appears to await Entreri in the future, as suggested by Boundless, is pretty disheartening, to say the least. As we see in the case of the old lecher, "Sharon"'s cocoon, in addition to killing its victims, apparently ensnares the victims' soul and damns it to an eternity of suffering. Furthermore, that cocoon apparently also informs the victims the reason why they are thusly damned. I can't help but feel that the cocoon is more than an analogy, I suspect that Salvatore is employing it as yet another cheap and lazy character development device. By the end of Boundless, Entreri has realized that his agony will be an eternal one, and is due to his many victims. I suspect in the final book, Entreri will be saved from the cocoon, but he'll emerge as a redeemed butterfly, changing the last of his non-conforming ways and becoming another boring good guy Drizzt clone. His reasons for doing so might be due to his realization in the cocoon that he'd have suffered for eternity unless he changes, which Salvatore could pretend is more in line with Entreri's character. However, the entire thing is incredibly artificial. Whatever "demon" possessing Sharon is doesn't exist in FR lore and was made up solely to use as a cheap plot device. Furthermore, the "demon" just randomly finds Entreri and Dahlia. Its own affiliation with the Margaster plot is that it happens to possess a Margaster child, but otherwise, it wasn't an obstacle to a specific goal. It was just sort of there. If there was a situation in which the conflict of judging good versus evil was relevant, then the creature could've been a meaningful obstacle. For example, if Entreri or any other character on a path to "redemption" exposes how the kind of judgment the creature passes is flawed and arbitrary, and then manages to make a step towards overcoming that internal conflict, that would make Salvatore's definition of "redemption" more palatable. As it is, it's just really random and being shoved down our throats. The fact that Entreri doesn't casually toss about the word "friend" like he does in Timeless is little consolation if Salvatore is indeed using the cocoon how I suspect he is using it. Entreri the redeemed butterfly would be truly a tragic and terrible closure for his character, or any character for that matter.

Passing the Torch

The title of the next book hasn't been revealed yet, but I've got a feeling that it will be "Endless". Thus far, "Timeless" and "Boundless" both suggest something without constraint, and "Endless" would fit this as well as following the -less format. I'd like the Drizzt books to end with the Generations trilogy, but it seems unlikely with the name of the trilogy, and even more so if the title of the last book is indeed "Endless". I do wonder if perhaps there's more truth to Salvatore's words that the legend of Drizzt is over and that a new era has begun. He might not have been successful with that in Timeless, nor was he with the endless amounts of tedious recaps in Boundless, but the allusions to the Stone of Tymora series, as well as "Generations" for the trilogy title, makes me wonder if he intends to pass his legacy to his son, Geno. Catti-brie is very pregnant and will give birth soon, so perhaps Salvatore means to pass the torch down to his next generation as his characters do the same. Geno's writing style as displayed in Stone of Tymora wasn't anything to brag about, but there was at least a refreshing quality to it. Furthermore, Geno has shown himself to be what his father isn't, a true ally to LGBT+ folks, through actions such as posting publicly in defense of fans who ship same-sex characters of the Drizzt series. While Entreri doesn't need to be redeemed, the Drizzt books certainly do, and perhaps Geno is the one who will bring that redemption. I certainly hope so, for as it is, I'm back to dreading a reality in which the Drizzt books are the only Forgotten Realms novels that we'll get forever.

Don't Notice Me Senpai

I've been very critical of Salvatore, but I don't hate him. What I'd really like is to respect him, but as his work currently is, I'm unable to do that. In my review of Timeless, I wrote, "I suppose it wouldn’t be fair to Salvatore to completely attribute all of Timeless’ writing improvements to his editor(s). He had to be willing to listen, to accept that what he’d written could be improved". Boundless did backpedal quite a bit, but perhaps he did listen. My significant other has long suspected that Salvatore reads my long ramblings that I doubt anyone reads, for there have been some really startling coincidences between how his writing changes and the stuff I point out in my reviews. I'm not exactly nice about Salvatore, so I wouldn't be surprised if he didn't read my criticisms of him, as he's always seemed really thin-skinned. Still, it is a bit scary how things line up, and really, he doesn't have to like me, he can even hate my guts, but if he did indeed decide to even read one of my articles about him and his work and took some of it to heart, I'd completely redo my evaluation of him. To give a few examples of the coincidences, in the past, I'd mock him quite a bit for how often he'd use "six hundred pounds of panther". This has wholly disappeared. I'd criticize him harshly for gratuitous lesbian sex scenes, which have also disappeared. I pointed out that he'd failed at making Timeless an appropriate starting or restarting point due to how much it ties into so many past events that aren't explained, and Boundless took explaining the past to a ridiculous level. I criticized Salvatore for how "magnificent" is used in Timeless, and it's greatly improved in Boundless. I'd chastised his weird use of "fashioned", and it doesn't appear at all in Boundless. These are just some of the many coincidences, and ultimately, I do think they are coincidences, even if the amount of them and how well they line up freak me out more than a little.

On a final note, since I'd berated Timeless' cover art, I wanted to note that the cover art for Boundless is an improvement. The artist has changed, Aleksi Briclot did the covers for the Homecoming Trilogy as well as Timeless, but the artist credited with Boundless' cover is "Aleks Melnik/Shutterstock". I can't help but wonder what happened. Boundless' cover seems to have abandoned the attempt at Sumi-E, which I described as, "if you're going to appropriate my culture, at least do it justice". There's still a wispy and abstract feel to the cover of Boundless, but there's no longer that pseudo brushstroke work. I don't personally care for the art style, but I have no strong feelings about it either. I'm not too worried about my brutal honesty having had any affect on Briclot. While I felt the cover for Timeless was only slightly less of a travesty than the novel preceding it, I have a great deal of respect for Briclot as an artist. His technical skill is solid and his attention to detail is superb. Briclot's Artstation portfolio shows pieces from major franchises like Thor: Ragnarok after his work for Timeless, so most likely, he's too busy with higher visibility projects to bother with Drizzt anymore.

If you've made it to the end, congratulations and thank you for tuning in! As always, I'm happy to discuss your thoughts and feelings about these books, but fair warning: in case you haven't garnered from this piece, I'm far from an unconditional Salvatore fan. I care deeply about the world as a whole, and would love to share with you its beauty. I care deeply about doing justice to the characters, but am not above goofing off with them. My views are my own. I am not affiliated in any way with Wizards of the Coast or HarperCollins.

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syzygyzip · 7 years ago

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The Myth and Meaning of MissingNo

A few notes about this essay: first, I have removed the period from the name “MissingNo.” for ease of transcription. I also refer to MissingNo’s sibling as Bar ‘M Bar or [][][][] ‘M [][][][] because its real name is irreproducible in Unicode:

Also, for the purposes of this essay it is helpful to think of Pokémon less as animals and more as a gamut of spectral entities: yokai, devas, fairies, sprites, genies, elemental intelligences, ghosts, servitors, unincorporated astral matter, etc. All those strange and elusive beings who populate world mythology and the collective imagination. In contrast to our world, however, people in Kanto are universally aware of these entities and their relation to ourselves. Much more can be said on this subject, but allow the basic premise to inform your reading when it feels appropriate. The subject before us is liminal by its nature.

Myths, Stories, and Suspicions

When we encounter a glitch in a game the temptation is to say that it broke our immersion. Maybe it’s because children are more easily entranced, but as a child my experience with MissingNo did not feel particularly incongruous with the narrative. The encounter, though strange, didn’t contradict the world of the game -- it expanded it in a psychedelic direction. When I met MissingNo, the battle played out more or less as normal. It was only the image of the creature, the arcane initiation, and the haunting after-effects that were atypical.

As soon as Pokémon Red & Blue came out, one fact of life became very clear: Kids love to spread tall tales about Pokémon. It was quite common to hear about Mew hiding under a truck or Togepi skulking around in the inaccessible wilderness behind Bill’s house. But the purported apparition of something called “MissingNo” or “Bar ‘M Bar” held an especially uncanny sway, because everyone believed it to be true. The basic story was that you talk to an old man, and then fly to an island where you meet bizarre and game-glitching Pokémon – but the many accounts which peppered the playground and Internet each held idiosyncratic details. Some said Mewtwo would turn up on the island, others said they found Pokémon native to the Safari Zone, or rogue trainers, or that you could multiply your items by 100. When I finally initiated what came to be known as the “Old Man Glitch”, I performed it in the prescribed manner:

Talk to the Old Man in the North of Viridian City. He will show you how to catch a Weedle.

As soon as the Old Man is finished, fly to Cinnabar Island.

On the island, walk over to the eastern edge and use Surf.

Surf the very edge of the water, moving up and down.

And sure enough, there appeared a fuzzy Tetris-looking rando named [][][][] ‘M [][][][]. Armed with a little background research, I succeeded in slaying this entity, and came away with 128 rare candies, a glitched out Hall of Fame record, and a whole lot of questions. The experience was so simple and tidy, and the performance of the glitch was just dreamlike enough that my young mind felt the thin silver light of meaning shining dimly from behind the supposedly arbitrary method of contact.

MissingNo and its glitch siblings became well known in the Pokémon community as reliable and functional game exploits, and stuck in the imagination for the peculiarity of their presentation. The programming quirks behind MissingNo’s operations are well understood, and the character has wormed its way into a sizable number of fan theories and creepypastas. Something about this strange little block of static resonates with players, and it seems to have surrounded itself with cryptic clues as to its true nature.

The Method of Contact

The first step to understanding a mysterious aberration in a game is to consider the events that lead up to it. What must the player do in order to find MissingNo? The trip begins by talking to an old man in Viridian City who shows the player how to catch Pokémon by snagging a wild Weedle in a brief scripted encounter. This is an interesting motif right off the bat, because we are meeting a teacher figure who shows us how to catch the worm. In dreams and in myth, the worm is often a symbolic representation of the Kundalini serpent, the principal driving force of life itself which coils at the base of the spine. The Old Man is found near the beginning of the game, and he will show you this tutorial as many times as you like. After all, he is teaching an essential lesson: catch the Pokémon around you to expand your team; or more abstractly: integrate the aspects of nature which complete you.

Viridian city itself is a special place, in that we begin and end our Pokémon journey there. It is the first town we come to after leaving home, and it is also host to the final gym and provides a road to the Pokémon League – the culmination of a trainer’s journey. The next step to MissingNo is to fly to volcanic Cinnabar Island, which is incidentally the last town a trainer discovers. So we have leapt from the site of our first lesson to the final city. Here on Cinnabar we walk straight east to the beach, and use surf to ride a Pokemon up and down the edge of the water. If we venture further out to sea, the ritual is forfeit and we must restart. So we glide up and down and up. Here along the crashing waves, apparitions greet us according to our name. The letters in the player’s name are the values that determine which Pokémon appear – and what form MissingNo takes. With this, contact is made. So let’s take a look at this setting. The island is a classic symbol of self-conception: a crystallization of identity emergent from the undifferentiated ocean. There happens to be a volcano on this island, which is also a timeless symbol: that of the eruption of unconscious content; hidden energy and power which has formerly lain dormant and unknown. We encounter MissingNo in a rather narrow area: a single column of tiles representing the edge of an island. We move up and down this coast attempting to trigger the event, swimming/surfing/pacing along the seashore. This is an incredibly profound detail, because the shore of the ocean signifies the mediation between the mundane terrestrial (the land) and the vast realm of the unconscious (the ocean). The fact that it is the Eastern coast is a bonus, as that is the place where the sun rises in its most prolonged glow, and gives birth to the new day. The island itself is named Cinnabar, home to a research facility that serves a major role in the game’s plot. As we discover through research notes littered about, Cinnabar Mansion was the site of a series of experiments to re-create Mew, which is thought to be a primordial Pokémon. Famously, this resulted in the creation of Mewtwo, an anthropomorphic “clone” of Mew who lacks the originator’s genetic purity (Mewtwo cannot learn any TM, as Mew can), but appears to have gained a humanlike awareness, a trait lengthily elaborated in the first Pokémon movie. Mew as Prima Materia

So what does Mew symbolize? It is known to resemble an embryo, and believed to be the ancestor of all other Pokémon. It is a light pink, which is interesting given that the alchemical prima materia – the formless substance that composes the primeval material of the universe – is said to be dually white and red. In the original games it is only attainable through the metatextual experience of an IRL promotional event, and was allegedly inserted into the game secretly. Mew is clearly meant to be a transcendent being, notoriously elusive and often depicted in space.

Mew is the only pokemon that learns Transform, except of course for Ditto. This has spawned a highly popular fan theory that Dittos are failed clones of Mew. There are some supporting reasons for this idea: they share the same coloration (in both common and shiny iterations), the same weight, the same stats, and Ditto is present at locations relevant to Mew’s story (notably the Pokémon Mansion and the Cerulean Cave, where Mewtwo is found). Unlike Mew, which cannot breed in game, Ditto can successfully mate with any non-Legendary Pokémon. But Mew, critically, is a psychic type. Ditto is “normal.” It is as though the scientists succeeded in recreating the prima materia, but only in a purely physicalist sense. Ditto contains the genetic potential of all current life, but it does not generate new forms. It does not even learn new moves by itself, it must be taught. Science has apparently replicated the form and fertility of immemorial cosmic life, but not its potentiating vitality, its breath of life, its pneuma. I wonder where that pneuma went. Mewtwo, though not having begat novel lifeforms of its own, nevertheless expresses the pneuma in its thoughts and deeds. But maybe pneuma, as a formless concept, could only be expressed allegorically to the player as the enigmatic and varying being known as MissingNo. Revealingly, MissingNo is a Bird/Normal type Pokémon, birds being classical symbols of the spirit. Its cry upon encounter is the default “blank cry”: an unaffected cry of the male Nidoran (the only gendered Pokémon in the original release). But when MissingNo is viewed in the Pokédex, it makes the sound of a Rhydon, the first Pokémon ever designed; we could interpret this therefore as a reference to the voice of creative impulse. There is a caveat to discovering this: the player can only view the Pokedex entry if they have not seen a Cubone. This is another mythic peculiarity, as Cubone’s defining characteristic is its knowledge of loneliness, and its desire for reconciliation with its ancestors. If this sense of separation has never been known, only then can we “read” Missingno’s information, understand its primal utterance, and order it in our Pokédex-pantheon (as #000)

Curiously, Cubone is also host to a popular fan theory: that its missing mother is Kangaskhan. This is believed mainly because Cubone always pines for its perpetually absent mother, and Kangaskhans bear their young in their pouch, but the young are never seen independently. It is therefore supposed that when Kangaskhans die, their young don the skulls of their mothers and become Cubone. I have no strong opinion about this story, but MissingNo closes the circuit thematically. Just as MissingNo has ties to Cubone, its sibling Bar ‘M Bar mysteriously evolves into Kanghaskhan. Additionally, one of the appearances MissingNo can take is the “Ghost” sprite. In the main game, this sprite is only used for the ghost of Cubone’s mother in a unique encounter. Until a special item is used, this ghost isn’t affected by the player; with this guise MissingNo tells us it cannot be grasped.

4 Visions of MissingNo

In addition to the L-shaped white noise and the ghost, MissingNo can appear in two more ways. It can take the form of the fossils glimpsed in the Pewter Museum: a skeleton of Kabutops or a skeleton of Aerodactyl. These constellations of bones further suggest that MissingNo is an ancestral spirit. Kabutops is a water dwelling primordial life-form, whose development name meant “Atlantis,” and who symbolizes the origin of physical life from the first primal waters. Aerodactyl resembles a dragon or wyvern, an intermediary of heaven and earth. These two beasts, like the ghost, are no longer embodied. Though all 3 are potential symbols of the dead, they embody that sentiment differently. Kabutops comes from the water, Aerodactyl from the sky, and the ghost, as a veiled Marowak, would be terrestrial, but its image taken independently refers to the realm of the etheric.

To see these alternative forms, the player must have a certain letter in the 5th, 7th, or 9th slot of their character name: W for Kabutops, X for Aerodactyl, and Y for the ghost. The natural form of MissingNo gives us 4 forms, an apparently timeless property of visionary and mystic experience, from Ezekiel to mandala art and the platonic elements. In fact, there are over 150 such amplifications found in Carl Jung’s General Index, so it’s rather difficult to catch them all. Like many mythological quaternaries, 1 among the 4 is qualitatively exceptional. In this case, of course, that is the so-called “Normal” form, the fuzzy L-block which appears as a result of a much greater variety of player names. Though this natural form is less definite in criteria and appearance, it is actually more definite in its character. The other three forms take their base stats and moves from the last Pokémon in the party (a dittolike effect!); and their sprites, when viewed from the back, are taken from whichever Pokémon’s data was most recently accessed. So when these entities are in use by the player, they resemble something else entirely; they are phenomenologically reordered to resemble a known quantity. The natural form however, has a constant square-shaped sprite when viewed from the back. Though this form is exceptional among the 4, it is reductive to say that this is its “true” image: each of the 4 is a different capitulation of the same idea which itself is formless. Though there is one more peculiarity about the natural form! MissingNo. and Its Twin MissingNo’s natural form is identical with Bar ‘M Bar, as is its Pokédex number, leading many to believe that they were the same creature. However, there are many differences between them. Their height, weight, and stats are different, and they learn slightly different moves. Bar ‘M Bar does not cry like a male Nidoran, but instead sings a pitched-up version of the Zapdos call. This sound resembles birdsong with a background buzz indicating electricity. This pitch-shifted voice tells us that Bar M’ Bar resides even higher in the heavens than the sky-streaking legendary bird of thunder. Its “height” is also coincidentally tied in value with that of Rayquaza, a sacred serpent whose name means “firmament” and is the canonical lord of the skies. Another difference previously mentioned is Bar ‘M Bar’s unique ability to evolve into Kangaskhan. This happens at level 0, but if you glitch it to level 128, it can also evolve into Clefairy. Clefairy is a symbolically rich Pokémon as well; it was the main character of the original manga, and originally slated to be the main character of the anime. It is strongly indicated to be of extraterrestrial origin and is also plainly representative of the fairy kingdom, as indicated by its name and type. Additionally, it happens to be the Pokémon that Bill, a famous internet architect, accidentally transforms into as he is playing with time and space in order to construct a teleporter. We therefore can surmise that Clefairy relates to that which is alien: the alienation of the creature from the franchise, the alien origin of the species within the narrative, and the truly alien experience of inhabiting another body. This changing of bodies is perhaps what Bar ‘M Bar does when pushed past the realm of possibility, into level 128. There is of course a practical programming reason for the number 128, but it also happens to be double the number of possible codons in DNA. The “clef” in Clefairy means “musical key,” or in French simply “key.” Clefairy’s trademark move is metronome, which replicates most other Pokémon moves through the magic of synchronization. What would the world be like if this memetic sprite succeeded in its role as mascot of Pokémon? Would the world be all the more entranced?

When it comes to seeking an audience, Bar ‘M Bar is even wider in its accommodation than its sibling MissingNo. It can be encountered with any name at all – besides the preset options! Bar ‘M Bar’s own actual name, [][][][]M’[][][][] is certainly its most obvious difference. The bars on either side of the ‘M are determined by the actions of the player – Bulbapedia sums it up nicely:

It is most commonly known as 'M, since these are the only typographical characters in its name—its real name is impossible to produce with text, and some tiles in its name are not constant. It is also called 'M Block due to either the glitchy blocks next to its name or the Pokémon's boxy shape.

The first two tiles in [][][][] ‘M [][][][][]'s name depend on which sprite is occupying the spot where the player's Pokémon appears. In battle, the tiles on the left of its name will copy part of the sprite in the bottom-left corner of the screen (the player's Pokémon), while the block on the right will copy part of the sprite in the upper-right corner of the screen (the opponent's Pokémon). Out of battle, the blocks in its name will change depending on the player's location.

We know that MissingNo’s name is constant, and its form is undefined, a result of the player’s bestowed name. On the other hand, Bar ‘M Bar is a definite outcome for any bestowed name, but its own name is defined by the player! Yet it always retains the ‘M in the middle, which is tempting to interpret as the conjunction n’ (and). It looks as though Bar ‘M Bar’s name is something like “This n’ That.” And indeed, that’s what the sprites which comprise the bars draw from: the player’s Pokémon and the opponent’s Pokémon. The fact that these two glitchy blocks are separated by something close to “and” is a beautiful detail. It takes these two oppositional beings and phrases them both, but does so with the separation intact. If it lacked the ‘M between the two samples it would give a different impression. It is the difference between hendiadys (good and ready) and a modified adjective (well ready). It acknowledges that the two things are distinct and in concert, yet they are termed by Bar ‘M Bar in a single body. There is an endless mystery surrounding the mythological motif of 2-in-1, but it is often explored in alchemy and Jungian psychology through the image of the coniunctio, the holy marriage, the reconciliation of opposites.

Can we even say that Bar ‘M Bar is a single entity? It certainly has the strong dual aspect of its twin, MissingNo. Are these two glitch Pokémon the same or not? In the coding of the game, they are not. None of MissingNo’s forms share the constitution of Bar ‘M Bar. Yet they are defined in the Pokédex – the pantheon of the player’s understanding – in the same place, #000, and therein utter the same cry (Rhydon’s). They share an identical sprite and learn nearly identical moves. They cause the same glitch effects to occur in game. The strongest evidence for seeing them as representations of the same essence is in popular conception: Bar ‘M Bar is frequently referred to as MissingNo, and was the first of many other glitch Pokémon subsumed under the generic description of “MissingNo.” It is almost technical trivia to separate them. And most tellingly for the sake of this investigation, they complete each other’s symbolism. So, they are discrete entities AND they aren’t. The mystery of the coniunctio is thus further embodied in this dual being. The Lingering Presence Now that we’ve outlined the taxonomy of MissingNo+, we can begin to look at the consequences. The two most well-known effects of meeting MissingNo are the Item Duplication Glitch and the Hall of Fame glitch. Item duplication occurs after any encounter with MissingNo or Bar ‘M Bar, regardless of whether the player has fled, caught the creature, or knocked it out. When examining the bag after the battle, the player will find that the 6th item in their inventory has been increased by 128 (although this does not occur if the value is already over 128). Given that a player can reorder their inventory at will, this was a famous exploit for getting hundreds of Rare Candies in order to quickly max out any Pokémon’s level, or generating 128 Master Balls ensuring the capture of any creature you meet from then on. Indeed, this is the most common reason for performing the old man glitch, and likely the critical factor in MissingNo’s renown. And what fuel for the legend: a bizarre seaside vision that grants a wish. Another popular exploit is duplicated fossils, normally given only once per game, so that you could resurrect 100 Kabuto, Omanyte, or Aerodactyl. But any item is fair game: you could effectively wish for infinite wealth, health, lives, moves, defense, speed, power, whatever. You hooked the magic fish, what you do with it is up to you.

The experience also corrupts your Hall of Fame data, replacing some of the images with blocks of static, and scrambling names and values of your champion Pokémon. This is a largely inconsequential effect, but it has symbolic weight. Each Pokémon that exists is a symbol of some kind, representing an attitude, or an attribute, and as you go along meeting them and incorporating them into yourself, they accumulate further personal meanings. So consciously or unconsciously, the Pokémon that accompany you to your final battle are in some sense a mirror of the player: they represent your priorities, values, and appreciations. These are the ones canonized by the game in the Hall of Fame. MissingNo then transforms this composite irreparably. This act can be seen a psychic realignment of the player-character.

Summary

Let’s imagine the story of meeting MissingNo as a fairly tale. The protagonist, Red, talks to an Old Man at the edge of town who shows him how to catch a worm. Next, Red flies through the skies to a volcanic island. There on the Eastern shore of the island, he swims the coast. Attracted by his name, some number of foreign beasts appear before him, culminating in the appearance of a totally unexpected entity which defies easy categorization (though there are partial physical descriptions in some versions of the story). He then defeats, captures, or flees from the apparition. Then looking in his bag, he finds some object or capacity of his has been magnified to a superhuman extent. Finally, we find that some of his major psychic precepts have been mysteriously and radically altered for evermore.

So what then what was the encounter? An alien? A deity or holy ghost? The pneuma which animates life? Is it an unconscious complex made manifest? A psychotic break? The disorienting eruption of the Real? Is it a highly coherent and synchronous glitch-experience, or a pareidoliac imprint in static? I don’t believe that any of these answers satisfy in themselves. Like the images of MissingNo, the interpretations are interdependent, forming points along the circumference of a subject whose middle cannot be approached by the intellect. What is easier to parse is the influence of MissingNo on the fanbase. MissingNo is so famous as a glitch that it has become the common shorthand for any glitch Pokémon throughout the series. MissingNo and Bar ‘M Bar have inspired not only countless tall tales, but tons of fiction, fanart, merch, and a featured article on Bulbapedia. Using our imagination, it is rather easy to place MissingNo into the narrative context of the game, conceptualizing it any of the above ways. As much as this being seems keen to disrupt our in-game immersion, it seems equally willing to stride across our imagination, as though it were walking a bridge leading into the world of Pokémon, or our own reality, or wherever its place of origin.

#pokemon #pokemon rgb #pokemon gen 1 #missingno #glitch pokemon #pokemon psychology #alchemy #prima materia #pneuma #old man glitch #pokemon myth #pokemon creepypasta #creepypasta #spooky #pokemon theory #mew

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parviocula · 7 years ago

Text

A New Age.

“Volaan Strunmah! I’ve finally reached it.” the old nord had been traveling abroad in his makeshift wooden boat for days, maybe even weeks for this mysterious island. His parents would tell him about it all the time before he went to bed, the ancient land of Nords. Atmora They called it. The Nord slung over his shoulders 3 boiled hide bags and wrapped a small strip of mammoth cloth around his waist. He sat first upon the foggy island and scanned his surroundings. “The air is heavy here, how odd.” he spoke to himself as he traversed the dense fog aimlessly, he had no reason to go back anymore. Not after the destruction of his homeland and the war. He once wished upon the stars and to the gods to see this island, so timeless and frozen. Yet as she stood here on its sandy beach it breathed.

As his boat disappeared in the background he felt a strange tinge down his spine, something else was here with him, watching and waiting to strike at any moment. He gripped a hold of his bags and took a deep breath. “Well, come on out! You beasts.” he yelled into the timeless fog, but all was turned dark when he felt the hard sting of the hilt of a sword against the back of his head.

A cultist has snuck up behind him and knocked him out, another Cultist - Older than the other, came from the fog as well and seemed rather irritated with the younger man.

“Jud Saraan. She wishes to see this old man, Brendon. But in health not pain!” The older Cultist picked up the Nords belongings and shoved them into the younger cultist hands. “Take them to the hut”. The Younger Cultist huffed and jogged off down into the fog. The older man slugged the Nord on his shoulders and he too retreated into the fog.

“Hmmm” The old nord opened his eyes slowly. He was greeted with the warmth of the sun and cool breeze, sounds of faint beating in the background. “Wings?” he thought to himself. As he laid there and scanned his surroundings he was in a stone hut, too small for his liking but it would do. He pushed himself up and rubbed the back of his head, bruised to hell and maybe a crack or two. “Nothing to stop me, now to get out of here” he once again spoke aloud, “Not without your belongings.” An unfamiliar voice rouse from behind him, the old man startled and made a whimper. The Old Cultist handed him his bags and mammoth skin. “No need to thank me. My youngest apprentice whacked you over the head.” The old Nord could tell he was smiling under that masked helmet of his. “Thanks You.. I guess. Who are you? Is this The Island?” The Old Nord started to get excited, this was what he was looking for, albeit maybe in a different way. “That is a question more suited to our Queen.” He grasped the Nords shoulder, “Follow me and do not leave my presence.” As they left the hut the Nord was struck with amazement and wonder. The Island flourished with life. The hills and mountains rose tall and grand, the grass was green and lush with many types of Flora and Fauna. Water streams and waterfalls hugged the ground and around the mountains. “This is not even all of it. Enjoy what you see for it is the heart of our Queen.” They traversed beautiful hills and gardens and villages filled with what seemed like normal folk. He however did notice the Dragon Statues littered about. And the old pantheon gods.

“Breathtaking!” The Nord cried out. He had reached Volaan Strunmah, the heart of the Island. But fear took a hold on him when he noticed the giants that glided in the sky. Dragons. A many of them littered the Fortress. “These are our Lords. Beautiful are they not? They give us life.” The Cultist patted the man's back. “You will get to speak to one soon as well! A true blessing!” his voice was filled with emotion. The old Nord knew something was awry.

“Go through these gates and traverse up until you reach a platform. You will not be alone for long.” And so he and the Cultist began to part ways, until the Old Nord called out. “What’s your name?”, the Cultist paused and tilted his head. “Grohiik.” and waved him goodbye.

The old Nord rubbed his achy knees as he made it halfway through the staircases, wishing to himself that he had a spare of his self-made oils to calm the fire in his joints. Still his bags felt heavier than before as the leather rubbed against his bare shoulders, “I may have bit off more than I could chew.” the thought bounced around in his stubborn mind, “No bags of splendor are going to stop me.” he fought back. The place felt so timeless after all and the sun seemed to stay up for eternity; the beating of waves refused to stop. “How these folk bare the sun in all its glory, why I can’t fathom staying outside for too long.” he muttered to himself. He finally reached the giant platform the Cultist had told him. Before him, in the horizon he saw again the waterfalls and great mountains and hills, Dragons in the distance stretching their magnificent wings to feel the breath of the wind. He sat his bags down by one of the many great stone pillars and so he set off to examine the platform.

It was wide enough for two dragons and long enough to get a good breeze under one's wings or feet, the stone was rough and coarse in texture but still kept its beautiful grey colors, each pillar casted a beautiful shadow that synced with the one in front of it, the pillars were engraved with various circles and faces. He laid a hand out to them and they were cool to the touch; they hummed with power as well much to his surprise. He began to relax a bit more after studying his surroundings, but he still sat his eyes every now and then to the small stairs that lead up to a great door, the main door into the Fortress perhaps? Much to his surprise not many stopped him from his travels, even the Dragons seemed uninterested in his presence. He questioned to himself that maybe coming here was a bad idea, after all this ancient island was suppose to be dead and forgotten. But it beat now with a new heart.

He sat down by his bags and leaned against one of the pillars and felt himself starting to give in to sleep, until the cracking of doors startled him. A woman of stature size appeared from within them, she wore a beautiful golden robe adorned with with a scalish appearance. What laid upon her head was that of a serpent, ouroboros maybe? He couldn't quite tell with his weary eyes. Either way she gleamed with beauty and power. “High Priestess?”

As she approached him he noticed her face was clean besides a few rather nasty scars; her face was worn with age and knowledge. He could tell she had been through many battles and wars within her lifetime. He sat himself up.

“Greetings, wuth gien. Many spotted thy boat traversing to find my Island when you hit the waves of time.” She seemed somewhat irritated at the old man yet curious at the same time, he felt a tremble of fear as a wave of power and anger washed over him, her eyes were terrifying to look at. “Y-Yes my father told me about this Island. That it was once swallowed by time. He said none could find it. But as a cub I swore I would.” The Nords voice was stammered with excitement and nervousness, and that made the woman smile. “Determination. I enjoy a spirit like that and welcome one with such to my Home.” but her smile faded quickly into a scowl. “Do you know what I am little one?” She tilted her head slightly to the side, her eyes burned into his with hatred. “I meant no harm My Lady, I did not think such an island was thriving with life again..”, “You cannot leave this place now. You do realize this?” Her tone was much more serious. What was a pleasant moment began a somewhat rather horrifying experience instantly.

“My I get carried away dont I?” she blurted out a guttural laugh. “I am Signia, The Vith of Alduin and what some may say, A Slave to the Dragons. But I serve them in all ways without question nor doubt. Just as you will.” She smiled and placed each hand on his face. “I don’t understand, I am too old to be of any service.” he stared into her eyes - they were mesmerizing, like she was clawing into his mind. “Come old one. I allowed you here because all are of use to me. You know how to build boats and ships do you not? I could use a man with that knowledge to teach my people.” her smiled did not fade this time and he felt himself fading away inside. “I could do that yes bu-.” he was cut off with a thumb to his lips. “In exchange I will give you shelter and food and all here may be your family just as you always wished. All I ask is you obey me and my Lords. Can you do that?”, The old nord smiled and nodded his head. The woman leaned in and kissed his forehead. “A smart man. You are familiar with Grohiik, Yes? He will show you your way.”

And so the Old Nord taught the people of The Island his ways and his desire to impress his queen with all the mighty ships he made grew stronger, until his knees were bent to the Dragons for their power to improve his craftsmanship. His old clothes soon were traded into robes to match his families attire. And he was wrapped in pride of his Boats and Ships, and the Dragons and his Family. They gave him a new name; A family always gives their child a name. “Veysun!” Grohiik called out, “The Ship you made is mighty and strong and withheld the greatest of waves!” He patted the back of the Nords shoulder. And so his faith grew in the Dragons. And the Queen stood a top of the platform with a devilishly grin, With an old friend at her side she turned to him, “My homeland thrives again.”

#C:Signia #Priest Stories #Man I had so much fun with this #At least this point im just doing what I want

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