#less on mythology and symbolism

[chloefraazers]

horizon + animorphs dossier [ battle morph || bird of prey || personal ]

— Horizon Forbidden West PC | part 1

[puppyeared]

fuck it. plaguesona

[becausegoodheroesdeservekidneys]

The thing with the Mari Lwyd, though, is that it's being... I don't know, 'appropriated' is the wrong word, but certainly turned into something it isn't.

Thing is, this is a folk tradition in the Welsh language, and that's the most important aspect of it. I feel partly responsible for this, because I accidentally became a bit of an expert on the topic of the Mari Lwyd in a post that escaped Tumblr containment, and I clearly didn't stress it strongly enough there (in my defence, I wrote that post for ten likes and some attention); but this is a Welsh language tradition, conducted in Welsh, using Welsh language poetic forms that are older than the entire English language, and also a very specific sung melody (with a very specific first verse; that's Cân y Fari). It is not actually a 'rap battle'. It's not a recited poem. It is not any old rhyme scheme however you want.

It is not in English.

Given the extensive and frankly ongoing attempts by England to wipe out Welsh, and its attendant cultural traditions, the Mari is being revived across Wales as an act of linguistic-cultural defiance. She's a symbol of Welsh language culture, specifically; an icon to remind that we are a distinct people, with our own culture and traditions, and in spite of everyone and everything, we're still here. Separating her from that by removing the Welsh is, to put it mildly, wildly disrespectful.

...but it IS what I'm increasingly seeing, both online and in real world Mari Lwyd festivals. She's gained enormous pop-culture popularity in recent years, which is fantastic; but she's also been reduced from the tradition to just an aesthetic now.

So many people are talking/drawing about her as though she's a cryptid or a mythological figure, rather than the folk practice of shoving a skull on a stick and pretending to be a naughty horse for cheese and drunken larks. And I get it! It's an intriguing visual! Some of the artwork is great! But this is not what she is. She's not a Krampus equivalent for your Dark Christmas aesthetic.

I see people writing their own version of the pwnco (though never called the pwnco; almost always called some variant on 'Mari Lwyd rap battle'), and as fun as these are, they are never even written in the meter and poetic rules of Cân y Fari, much less in Welsh, and they never conclude with the promise to behave before letting the Mari into the house. The pwnco is the central part to the tradition; this is the Welsh language part, the bit that's important and matters.

Mari Lwyd festivals are increasingly just English wassail festivals with a Mari or two present. The Swansea one last weekend didn't even include a Mari trying to break into a building (insert Shrek meme); there was no pwnco at all. Even in the Chepstow ones, they didn't do actual Cân y Fari; just a couple of recited verses. Instead, the Maris are just an aesthetic, a way to make it look a bit more Welsh, without having to commit to the unfashionable inconvenience of actually including Welsh.

And I don't really know what the answers are to these. I can tell you what I'd like - I'd like art to include the Welsh somewhere, maybe incorporating the first line of Cân y Fari like this one did, to keep it connected to the actual Welsh tradition (or other Welsh, if other phrases are preferred). I'd like people who want to write their version of the pwnco to respect the actual tradition of it by using Cân y Fari's meter and rhyme scheme, finishing with the promise to behave, and actually calling it the pwnco rather than a rap battle (and preferably in Welsh, though I do understand that's not always possible lol). I'd like to see the festivals actually observe the tradition, and include a link on the booking website to an audio clip of Cân y Fari and the words to the first verse, so attendees who want to can learn it ahead of time. I don't know how feasible any of that is, of course! But that's what I'd like to see.

I don't know. This is rambly. But it's something I've been thinking about - and increasingly nettled by - for a while. There's was something so affirming and wonderful at first about seeing the Mari's climb into international recognition, but it's very much turned to dismay by now, because she's important to my endangered culture and yet that's the part that everyone apparently wants to drop for being too awkward and ruining the aesthetic. It's very frustrating.

[ddejavvu]

Could you do a criminal minds x reader where reader is viewed as super sweet and dresses brighter and stuff like Penelope but one day they have to come in like super late/by surprise so everyone is in their normal clothes and the bau sees that reader has a big ass, super cool tattoo? And they’re all surprised and stuff

You're looking less-than professional in your backless halter top when you take your seat at the round table, but no one bats an eye until you stand from the chair to leave. Hotch's call of 'Wheels up in 20' means that the room clears as everyone hunts for their gobags, and the second you turn your back to your coworkers a litany of reactions fill the space.

Of course, the most dramatic is from Garcia, but you hear enough to count all of your coworkers, except one. Hotch's brows are raised when you turn back to see them, though - apparently he's not above being startled.

"Woah, hot stuff," Prentiss calls, a grin spreading over her face, "You've got some nice ink back there!"

"I didn't know you had tattoos," JJ muses, staring at you with curious amusement like she's recalculating your image in her mind, "That's really intricate. I like it."

"Oh, it's-" You reach a hand up to stroke awkwardly over the inked skin, "I kind of forgot you'd never seen it before."

"Turn around again!" Garcia gushes, "I wanna look at it."

You spin on command, and Hotch and Rossi are kind enough not to gawp with the others, passing you on their way to the door.

"You've got guts, kid," Rossi grimaces, "I've been in a lot of pain before, but I don't know if I'd willingly sit there for all of that."

"I wouldn't," Hotch shakes his head with a good-natured smile, "Haley and I got small, matching ones in college, and I had a hard time with that one."

"Is that based off of Norse mythology?" Spencer pokes his head around your shoulder to stare bright-eyed at you, "Some of the symbols remind me of-"

"It's just a sick-ass tattoo, Reid." Morgan shoves at his shoulder. peering avidly at the art, "Don't ruin this for everyone."

Reid takes the shove like a champion, smiling kindly, albeit awkwardly at you as he moves for the door himself, "I like it."

"Thanks, Reid," You call, flinching slightly as a hand traces one of the symbols on your back.

"Ooh! Sorry, pumpkin," Garcia calls, the hand drawn away in a flash, "I got too grabby. I just think it's really cool," she takes your hand, leading you towards the door while the others follow to continue staring at your tattoo, "I'd show you my own body art, but it's not really in a spot that I can display in the workplace."

"Well this I've gotta see," Morgan teases, "Let's all huddle in the bathroom on the jet, babygirl, and see what you're hiding."

"It is not for your eyes, Derek Morgan," She huffs, though she's grinning at his attempt. The look in her eyes suggests that the tattoo is not for his eyes because it's something to do with him, and you're eager to giggle over whatever part of her body she's tatted 'babygirl' over later.

For now, though, you rifle through your gobag and shrug on a cardigan, effectively covering your back and its ink.

"It is a crying shame to cover up that artwork," Prentiss laments, "I bet it looks awesome peeking over tank tops."

"You'll see it again at the hotel," You laugh, "I have plans to use the jacuzzi before we leave."

"A jacuzzi sounds fantastic," JJ sighs, "But let's all of us agree that Morgan isn't invited - I wanna see Garcia's tattoo."

[headspace-hotel]

some times i look at terf blogs just curious about wtf kind of Drama is going on cause "radfem" tumblr is constantly exploding when one of their buddies turns out to be a horrible person.............in a way that affects them personally

Like last time there was a whole thing over a woman needing funds for an abortion and getting harassed by other "radfems" over it because "she chose to have sex with a man"

now some person is saying that although all men are bad, white men are inherently safer and less violent than men of color, and a bunch of people are defending them and its a total shit show

There is nothing i could say about this that would communicate more than just the posts themselves

That's Racism. You Just Described Racism. It Does Not Stop Being Racism because you believe there are real differences between how violent different ethnicities are. That Is The Racism

Miscellaneous other rancid takes within a few reblog chain links of the above

this person had another post like "why are we funding ozempic when you can just lose weight by replacing all the fast food in your diet with vegetables? it's easy!"

zero people were burned at the stake at salem.

...

okay but how do I even BEGIN to extract the infected ingrown toenail of stupid that this post nauseatingly embodies. Terfs have this whole genre of post that mourns every devastating historical evil as an atrocity "men" perpetrated, caused by "patriarchy/male violence."

Sure. Whatever. Slavery in Britain and the southeastern USA, (the only places slavery existed), the Holocaust, that was "male violence," caused by men, because men are violent and violence is male. Women are definitionally incapable of violence and have never ever ever abused power over others and the world is made of pudding.

Out of the 19 people executed at Salem, by hanging, 5 of them were men. This doesn't matter because facts don't matter, what matters is that the Salem witch trials are the example of violence prompted by alleged "witchcraft" that you can remember without googling it, and in the deeply symbolic mythology of your ass backwards brain, violence against alleged "witchcraft" is always ACTUALLY patriarchal retaliation against Women's Knowledge, which is always ACTUALLY an ancient genocide of women that transcends culture, which by the way is what you're experiencing when people are mean to you online.

Therefore the Salem witch trials, an event with fewer casualties than the Boston molasses flood, is similar in significance to the Holocaust.

Wow. Such biological reality. Very scientific facts.

[ladycharles]

Occasionally JK Rowling says or does something so offensive to my sensibilities that I must speak. Sadly, today is one of those days.

This post, and the "male" she is referring to is a cis woman boxer from Algeria. There is an unconfirmed report that she might have an intersex condition in which one's chromosomes are XY. She may not even have this condition, but even if she does, it does not mean anything but that she has an unusual DNA quirk. We do not call Tom Cruise a woman for having an extra X chromosome, for example (nor would I expect Rowling to accept it if he decided to compete as a woman in the Olympics).

Now Rowling, upon being pointed out that she essentially pulled the twitter equivalent of Austin Powers punching that old lady because she "looks rather mannish", moves the goalpost. She claims, against evidence, that she an unfair advantage, going so far as to imply that simply by competing with a rare condition this woman has cheated.

This might seem bizarre coming from a self professed FEMINIST. It is the contention of anti trans "feminists" like Rowling that womanhood is being erased and destroyed by "trans ideology"; Yet here a cis woman achieves a olympic victory and they accuse her of being a man, of cheating. They erase her achievement, they erase her womanhood.

The subtext is racist and misogynistic - a strong Algerian woman with features that do not reflect Western beauty standards is being denied the very womanhood that TERFs claim to protect. She has lost to women before, she has no clear advantage... Yet by virtue of her looks and a possible rare genetic condition, she is now a "man" and a fraud.

This doesn't surprise me, and I suspect that anyone who has had to deal with TERFs will agree. But in case anyone is shocked here's my take:

TERFism has always been a reactionary movement. While it draws from second and third wave feminists and has an ideology on paper, any space with TERFs will tend to feature mad crusades accusing cis women of being trans on looks, attacks against sex workers that are harsher than those on the men who make that industry dangerous, few towards actual men, and a sense of outrage that trumps any real ideology.

It is feminism much like how "National Socialism" was socialist. And like the Nazis did with socialism, it uses the idea of feminism to legitimize attacks on perceived enemies while preserving the status quo. For TERFs that's traditional gender roles, which they have twisted into something that protects women rather than subjugates them. (This is not to say TERFs are Nazis, but it is a decent comparison because fascism is the ultimate reactionary ideology; full of symbolism and mythology yet devoid of any substance but machismo and hate.)

In a nuanced, good faith society, we might discuss trans women in sports using science to determine whether there are unfair advantages, and consult stakeholders and experts in sport and biology. We might study if chromosomes do impart an advantage, and weigh that against the other myriad genetic advantages like long reach or faster muscle gain to determine if there is any problem with current regulations. We might not do these things too, considering we have gone the entire history of sport without a single women's league collapsing from secret "male" invasion.

In Rowling's world, we first attack the winning woman as a "man in disguise" and rail against her without evidence. We have people replying "just look at HIM, he is clearly male". We have people writing violent revenge fantasies in which the Algerian woman gets beaten by a man or a gang of women to "teach her a lesson"... and JK does not once jump in to say any of it is inappropriate or hurtful to women who happen to have androgynous features, like some less fanatic people sharing the story have done.

When this is how their "ideology" reacts to an apparently "male looking" woman winning, we have to ask whether the liberation of women was ever the goal.

And the one thing that makes it all make sense, IMO, is that it's the lashing out that's the point. These people seem to enjoy calling a cis woman a man in much the same way they enjoy calling a trans woman a man. They enjoy the feeling of power as together they act cruel towards a woman who had the audacity to beat a white European. They seem to relish the ability to present themselves as feminists in one breath while brutally harrassing and demeaning women. Unlike ordinary bigots, they constantly bring up their crusade, as if they're growing dependent on the thrill. The cruelty, as they say, seems to be the point.

The danger of these ideologies is really becoming obvious ahead of the US election. Years of social media bubbles and astroturfing have made people like Rowling convinced that they are a silent majority, ironic for people who can't shut up.

Times like this I think are important reminders of where this can really lead. They may spin about being gender critical or concerned about women when the pressure is on; This is what these people do when they think they can get away with it.

This is the dark heart of their movement, beating loud enough to hear.

[youremyheaven]

A Basic Guide to Vedic Astrology

I think many of you are new to Vedic astrology, so I thought I'd give a little intro to some of the concepts, terminology etc

First and foremost, Vedic astrology dates back to 5000 BC - 10,000BC, which means it only takes into account Sun, Moon, Mercury, Venus, Mars, Jupiter, Saturn and the 2 nodes of the Moon, Rahu & Ketu along with your Ascendant. Outer planets like Uranus, Neptune, Pluto along with asteroids are NOT calculated as most of them were discovered only in the last 2-3 centuries.

A conjunction takes place when two planets are placed in the same nakshatra within 5 degrees of each other. Even if they are placed more than 5 degrees apart, so long as they are in the same nakshatra, they can to some extent be considered as conjunct (the effect will be less potent than an exact conjunction basically) BUT if you have Sun in Ashwini and Venus in Bharani, you DO NOT have Sun conjunct Venus in Aries, that is NOT how it works. Those two nakshatras have entirely different themes, mythologies, purposes, deities, planetary influences and lessons, how on earth can they be considered "conjunct"???

That said, wherever you have a conjunction in your chart will have a major influence on you. It is a very potent energy. Dont ask me if having Saturn conjunct Ketu in Ashwini makes you a Saturnian or a Ketuvian because that's not the point, its that those two planets have a specific relationship with each other in your context and to understand the functioning of one, you must look at the other (along with its placement, aspects etc etc)

There are 12 rashis, corresponding to zodiac signs and each rashi is divided into 2 or more lunar mansions called "nakshatras". If you've wondered why say Arieses all act so different, its because they're either UBPs or Revatis in their Vedic chart, contributing to vastly different personalities.

In Vedic astrology, we have the concept of 7 charakarakas all of which indicate a different purpose:

Atmakaraka aka the soul indicator. it is the planet at the highest degree and represents your soul/being. its your compass and points towards the calling of your soul

2. Amatyakaraka, it typically points to your career/profession and works alongside your atmakaraka. it is the planet at the second highest degree

3. Bhratrukaraka (planet at 3rd highest degree) points to relationships with siblings

4. Matrukaraka ( planet at fourth-highest degree in your chart) signifies your relationship with your mother or maternal figures. It represents the nurturing qualities within you and helps illuminate your connection to your mother or motherly figures in your life.

5. Putrakaraka (planet with the fifth-highest degree in your chart) reveals your approach to parenting and your potential for creativity. It provides insights into your connection with your children and your capacity for artistic expression.

6. Gnatikaraka (the planet with the sixth-highest degree in your chart) indicates obstacles and adversaries in your life. It reflects your ability to overcome challenges and confrontations, making it a valuable guide for navigating life’s hurdles.

7. Darakaraka (the planet at the lowest degree) it is associated with your spouse and romantic relationships. It uncovers the qualities you seek in a partner and offers insights into how you relate to your significant other. Understanding the Darakaraka can provide clarity on your love life and partnerships.

HOW TO STUDY NAKSHATRAS:

Read about the mythology behind your nakshatras. This helps shed light on its nature.

Look at your nakshatra's yoni consort. Read about what the yoni animal symbolically represents

Similarly, read about your nakshatra's deity, ruling planet, other naks under the same planetary influence etc

There are 4 purusharthas (aka motivations) in vedic astrology according to which nakshatras are classified. understanding the different classifications behind each nak helps us understand its nature better

similarly naks can also be classified by their ganas which describe the nature of these naks:

Deva = godly, Manushya = humane, Rakshasa = demonic

if you have a rakshasa gana nak, it does not mean you're a demon. it just points towards traits like selfishness, lack of generosity etc AND the person you are is sum of your whole chart, not just the gana of one nak, so don't beat yourself up

Naks are also classified on the basis of their qualities of which there are 7

they can also be classified on the basis of caste:

(all tables, pyramid etc by me so any mistake is mine oopsies)

4. Chart Ruler

The ruling planet of your ascendant sign is your lagna lord. If you're Mrigashira Rising, then your lagna lord is Mercury/Venus (based on whether your nak falls into the Taurus portion or the Gemini portion).

5. Navamsa or D9 chart

Look at your D9 after you've studied your D1 otherwise it'll feel like too much info you don't fully understand. Navamsa is consulted along with your D1/Birth chart. you can think of it as D1 promises certain things and D9 is if/how those things materialise. its like part 1 and part 2 of a story

I can't think of anything else that should be covered🤡but if you have doubts you can ask!!

I hope this was helpful!!

[writer-ace]

I watched the asexual and aromantic communities get eaten away at by exclusionists and proto-TERFs and queer people making fun of microlabels and people who talked about how they just wanted all of us to stop dividing ourselves so much and people who decided that the concept of the Split Attraction Model was homophobic and people who flooded the ace and aro tags with porn and--

Well, you get the point.

But now a lot of people on this site don't know about ace culture and modern history, so here's some stuff you should know about:

The Asexuality Visibility and Education Network (AVEN) was started in 2001 by asexuality activist David Jay as a forum and educational space about asexuality.

A Carnival of Aces, which is a monthly blogging carnival on ace topics, has been taking place since May 2011 and has included such topics as coming out, non-traditional relationships styles and polyamory, asexual education (which I hosted), and labels and microlabels.

The Split Attraction Model is one model for talking about sexual and romantic orientation that splits out those two orientations, allowing individuals to describe sexual attraction/orientation as distinct from romantic orientation (e.g., aromantic bisexual, heteroromantic grey-asexual). While this model is primarily used by people on the ace and aro spectrums, it can be used by anyone who wants to discuss or describe sexual orientation as being separate from romantic orientation.

The AVEN triangle (or asexuality triangle) is a black and white or greyscale triangle that originated from taking the Kinsey scale and extending it down into another axis to address/acknowledge the range of attraction between what's on the Kinsey scale (allosexuality) and no sexual attraction (asexuality). It's generally presented as white at the horizontal line at the top and then black at the point at the bottom, often with a gradation of shades of grey down to the bottom.

Microlabels are specific (sometimes very narrow) labels for sexualities, romantic orientations, and genders. While these are not aro- or ace-specific, they were often associated with those communities because there was a culture of having nuanced conversations about narrow definitions, often by people couldn't find something that fit their experience in the standard L, G, B, or T lexicon. Demiromantic/demisexual, cupioromantic/cupiosexual, and quoiromantic/quoisexual are all examples of micro-labels.

The ace ring, a black ring worn on the middle finger of the right hand (generally) is a symbol of asexuality that some ace people wear. It originated on AVEN in 2005 when people were looking for a symbol that was rather covert.

Cake has also been an ace symbol, mostly from the idea that ace people agree that cake is better than sex. It used to be common to see a drawing of a cake with the ace flag colors.

The ace of (heart/spades/clubs/diamonds) has at times been used as a symbol for different ace spectrum/aro spectrum combinations. Ace of hearts is generally agreed on as alloromantic asexual and ace of spades as aromantic asexual (aroace or aro/ace). Ace of clubs is sometimes for grey-romantic asexual and ace of diamonds sometimes for demiromantic asexual, but those are less common.

Dragons were also associated with the ace community, at least on Tumblr. I'm less certain where this one came from (theories include that they're mythological creatures the way ace people are seen to be or that it's because there were headcanons that Charlie Weasley was ace).

[tuurverheydepoetryandprose]

I don’t know if it’s cultural/latent Christianity or just standard media illiteracy, but people need to seriously read up on the nature of mythology in ancient cultures. Like seriously.

So many people treat myths as factual accounts of events. I have never seen any literary scholar, anthropologist or historian make the claim that this was the way the ancients viewed their myths. It’s metaphor. It’s allegory. It’s symbolism. It’s a narrativised ritual. It’s artistic social, political, cultural commentary, instruction or expression. The claim that a myth should be interpreted literally is never made by serious researchers, because it

1) is inherently unprovable and unarguable, which renders it scientifically irrelevant.

2) it blocks off many more salient interpretations that can co-exist with other contradictory non-literal interpretations.

3) it does not seem consistent with the way myth was treated by storytellers and scholars of the time.

Myth is an inherently flexible medium. It’s beautiful and elegant in its manifold meanings. Stop trying to make it a literal account. It isn’t. Never has been. Do your research about the culture, the medium and the traditions you discuss, before making wild statements, before writing ahistorical retellings, or trying to cancel gods or the people who follow them, based on texts that were written (and before that orally handed down) thousands of years ago in a cultural tradition entirely different than ours.

STOP PROJECTING YOUR OWN LITERALISM AND REJECTION OF COMPLEXITY ON OTHER CULTURES.

It’s ignorant, it’s incurious, it’s incorrect and frankly disrespectful, racist and colonialist to insert your misunderstood notion of mythology in a culture that you have barely researched.

Some people need to be a bit less concerned with being seen as perfect paragons of moral righteousness, and a bit more with not spreading misinformation, cultural ignorance and media illiteracy.

[a-s-fischer]

One of the things I hear a lot from Gentile witches and neo-pagans who want to work with Lilith or claim to work with Lilith, is that she is actually a Mesopotamian goddess, usually either Ishtar/Inanna or Erishkigal, and that it was the Jews, with their horrible patriarchy juice, who slandered her and cast her down, and so the Jews do not deserve to say what happens to her and it isn't antisemitism to work with her, or to completely ignore what the Jews say about what she is in a Jewish context.

Lilith is not Ishtar or Erishkigal. However, there is a Mesopotamian figure that is pretty stinking analogous to Lilith, and is probably her folkloric ancestor, by which I mean the idea of Lilith probably comes from this Mesopotamian figure. In fact, Lilith almost certainly is either a Jewish version of this figure, or, they are both descended from the same Near Eastern and Mediterranean basin folkloric figure. That figure is Lamashtu.

Lamashtu is, much like Lilith, the supernatural embodiment of maternal and infant mortality, a figure of power and terror, who functions as a way to embody and cope with the profound dangers that are pregnancy, childbirth, and infancy without effective medical care. the Mesopotamians never worshiped Lamashtu, but they did seek to appease her, including making symbolic gifts to her, to keep her from visiting them, and killing them or their children.

An interesting side note is that there is also a Mesopotamian figure who specifically opposes Lamashtu and functions as the protector of pregnant women and infants, and that figure is Pazuzu, a wind spirit, who ruled over other wind spirits, including ones called the Iilu in the Akkadian language. Akkadian is a Semitic language, related to Hebrew, and this word is probably a cognate of Lilith, but the Iilu probably have no relationship to the figure of Lilith except her name. You might know Pazuzu as the demon featured in the movie, The Exorcist, and ironic fate for a mythological protector of women and children.

Anyway, if you'll remember, I implied above that the Lamashtu/Lilith figure, was present in various guises throughout the Mediterranean basin and the Near East, so there are of course figures analogous to both of them throughout the region, such as Lamia of Greece, and the Strix of Rome.

So if you really really want to work with a figure who functions as the supernatural embodiment of maternal and infant mortality, Lamashtu, Lamia, or the strix would all be excellent options that don't come from an extant closed religious practice. All the baby killing, none of the antisemitism and cultural appropriation.

While all three figures are almost certainly descended from the same folkloric root, they're all subtly different, because as stories and characters travel, they change. as such, they all have particular good points about them as figures of veneration.

Lanashtu is the OG bad bitch, who commanded fear, respect, and offerings, like a mythological mafiosa, collecting protection money.

Lamia has attached to her the story that she was one of Zeus's dubiously willing lovers, who was screwed over first by Zeus, the embodiment of patriarchical rule, then by a jealous Hera, the embodiment of patriarchal marriage, so if what attracted you to Lilith was the story from the Alphabet of Ben Sira, about a victim of the patriarchy getting her own back through violent vengeance, Lamia might be the girl for you. With her however, the emphasis is less on her murder of children, then on her seducing and eating men, though she does also get strongly associated with killing children, especially boys.

And the strix is particularly interesting, because the word comes down to us in the modern Italian word for witch, striga. Indeed, one of the theories as to where the witch figure came from in Early Medieval, and then Early Modern Christianity, was as the strix demon made human. This might explain the close association between Early Modern Witchcraft and infant mortality, including Italian stories of witches causing infants to die seemingly natural deaths, so that they could dig them up and eat them after their funerals, something that ties these human supposed witches very closely to demonic folkloric antecedents. If you are looking for a figure of unfairly maligned female power, the strix and her close association with later human witches, might be the one for you.

All three of these figures, much like Lilith herself, are reflections, both of the power women wielded even within patriarchal societies, over the process of pregnancy, birth, and childrearing, and also the powers of death and loss that everyone was subject to. There is something powerful, transgressive, and even healthy in acknowledging the fears and dangers presented by this death and loss,and for some people, that might take the form in venerating the underlying powers. If this is something that would be spiritually meaning for you, and you wish to work with such a figure, and you are not Jewish, please respect the fact that Lilith is part of a closed religious practice, and remember that Lilith has sisters, in other parts of the Mediterranean basin and the Near East, who are not from extant closed cultures, and who might serve your needs better anyway.

[silverbirching]

So as some of you may know, I am... let's say an armchair-level amateur scholar of classical studies. @qqueenofhades can tell you how often she has to talk me down off the ledge of enrolling in an MFA program.

Like some of you, I was an insufferable twelve-year-old when Disney's Hercules came out, and all of my critiques of that film were down to "it doesn't do the mythology right".

Well, I've reached the point where I don't care about that shit anymore. Go nuts. Have fun with it. There are, however, some... History Tik-tok tumblr Bad Takes about Greek mythology that I have very little patience for. #Girlboss Persephone, for instance, or basically anything that insists on treating the Greek gods like people, whose behavior can be judged as more or less Problematic, rather than... symbols, archetypes, divinities.

I am happy to say that Kaos, while it obviously plays fast and loose with basically every element, captures the vibes of Olympus. The feels. Jeff Goldblum's intense, eccentric and fucking terrifying performance as Zeus, the flawless Janet McTeer as Hera, Cliff Curtis as Middle-Aged Jaded Slutty Maori Fuckboy Poseidon, David Thewlis' exhausted, depressive turn as Hades... all of it is GOLD. It has instantly become one of my new favorite adaptations. Like all good adaptations, it captures the flavor, the vibes, the FEEL of the original works.

Here's some of my other faves!

Gods Behaving Badly, by Marie Phillips - a goofy, fun little romp about the past-it and aging Gods of Olympus living together in a shitty house in London. A comedy, but it very accurately captures the essence of the vain, fickle, and usually stupid Greek Gods.

Circe, by Madeline Miller - I mean, I hope to God everyone has already read this one, Jesus Christ. Told from the first-person perspective of the Goddess-witch Circe, this book is an amazing re-imagining of one of the most maligned and studied characters in the Odyssey.

Hades 1 & 2. by Supergiant Games - I could write several thousand words about how much I love these games, which both revolve around the challenges of an immortal family that you literally cannot get away from -- and the way cycles of violence perpetuate themselves, even if the people involved CAN'T DIE. The depths of the scholarship on display there are frankly staggering, and they go DEEP into the esoterica -- Zagreus teasing Orpheus that he and Dionysus are the same person (which they almost certainly are, don't get me started on Orphism) springs to mind. Hell, the second game's protagonist is literally Melinoe. Also, Scylla is a boss fight and is the lead singer of a bratty girl group and sings a diss track about how your hair is a disaster. What's not to love.

... I do wish they hadn't made Kronos the God of Time. That shit drives me nuts. The words are cognate but not--he was an agricultural--ANYWAY.

Kaos is intense as hell, but it's fucking GREAT. And literally every frame is filled with Gays and people with different bodies and body types and various flavors of gender fuckery. It's great. Watch it.

[transmascutena]

Bird Symbolism in Revolutionary Girl Utena

There is quite a large amount of bird and bird-related imagery, symbolism, allegories and metaphors in Revolutionary Girl Utena, and i think all of them are very interesting. Here is a ~2000 word essay about the topic.

The Birdcage Garden: Anthy and Ohtori Academy

This is perhaps the most obvious of the bird symbols in Utena. It is literally Anthy's cage. It is where she, as the Rose Bride, is supposed to spend her time watering the flowers. Touga talks about never letting her out of it once he wins her, and calls her a "lovely little bird." And doesn't that just sum up what so many people's idealized version of her is like? A pretty thing to be admired, only in captivity.

I think the birdcage can also be seen as a sort of microcosm of Ohtori Academy as a whole. Akio does call the school "a garden where people will never become adults," after all, and Anthy is not the only person trapped there, nor is she the only character associated with birds.

According to this analysis, "Ohtori" as a word can mean "big bird" in japanese, and is also a Japanese term for the Fenghuang bird in Chinese mythology, said to be "beautiful, immortal and rules over all birds." Sounds a lot like a certain someone in charge of this place, doesn't it? Which would make every person in Ohtori a bird, symbolically speaking, trapped in the cage that is the academy and ruled by Akio (who, despite being the biggest, and the one with the most control, is also a caged bird.)

Additionally, the statue on the gate to the dueling arena is in the shape of a bird, before it transforms into a rose when opened. I am not sure exactly what this means, but I assume it is in some way symbolic of Akio, Anthy and Ohtori.

The Bird and the Window: Shiori and Juri

The bird that flies into the window during Shiori and Juri's conversation in episode 17 is a Java Sparrow. Despite its name, it is a part of the Estrildid Finch family, but I think the symbolism for sparrows fits the context more, as they can represent love, devotion and compainionship, all of which are very relevant for Juri and Shiori.

The bird is also the symbolic item for Shiori's black rose duel, which means we should associate the bird mainly with her. What, exactly, is the window, then? I think it is symbolic of Shiori's feelings for Juri, Juri's feelings for Shiori, or most likely both. The bird hits the window directly after Juri says "Is that all you have to say to me?" and turns to leave. The bird hits something it could not see in its flight, just as Shiori hits against something that hurts her, even if she doesn't understand it, in her conversation with Juri. The bird is shown to be lying still, presumably dead, after Juri reveals that she was never in love with the boy Shiori "stole" from her.

The bird is shown again after Juri throws her locket in the lake, and before Shiori finds it in her dorm. I've heard it discussed that this implies the bird retrieved the locket (probably through Anthy-as-Mamiya), and if the bird is symbolic of Shiori and the locket is symbolic of Juri's feelings for her, it would mean Shiori is the one to bring them back after Juri tries to rid herself of them. This makes sense.

The Bird Nest: Kozue and Miki

The bird nest that Kozue rescues from the tree that is going to be cut down is symbolic of her and Miki. Or, at least they are symbolic of how Kozue views the two of them. The comparison is pretty straightforward; Kozue projects her and Miki's feelings of abandonment onto these baby chicks, who have been left behind by their parents, just like the two of them were when their parents divorced. I think she projects her protectiveness over her brother moreso than her own feelings about the whole thing, as Kozue likes to think of herself as very independent ("a wild animal") and very unaffected by it all. As seen by her attempt to save the birds in the first place, she is very willing to put herself at risk, and is less concerned with her own feelings/safety.

Now, I don't want to get too much into speculation, but I have to wonder if there was more going on in the Kaoru family than just the divorce and the too-high expectations for the "twin prodigies." Miki's uncharacteristic cynicism in saying "adults who tell you something is for your own good can never be trusted," as well as Kozue's total disregard for authority and her tendency to use her sexuality as a tool both concern me. Although Miki and Kozue's parents are not explicitly shown to be abusive, I do not think it is a stretch to say that there is a possibility that they were. It explains some of Kozue's behaviour in regards to Miki as well. It's not just posesiveness but protectiveness. She has needed to protect him before, and she feels she needs to protect him still (pushing the predatory teacher down the stairs, saving the birds she sees his innocence in.)

Interestingly enough, Anthy interacts with these chicks as well. She advices Miki on how to feed and take care of them. Utena even comments on how unusually straight forward she's being about the whole thing. This might just be another instance of characterizing Anthy as a person who is fond of animals, and that is certainly part of it, but i think there is more to it as well. If these baby birds are symbolic of (Miki and Kozue's, but also a general) feeling of abandonment by parents/adults, as well as their potential abuse, what does that mean for Anthy not only knowing how to take care of them, but being eager to talk about it? Could it perhaps be that she, like Kozue, sees herself in them? Like Kozue, Anthy herself is symbolically a bird, but a caged one in contrast to Kozue's claims of being a wild animal. Could it be that Anthy has had to become an expert in taking care of those (herself) that have been abandoned or failed or abused by the adults in their lives? Rememeber that this is the same episode where she says that Akio is more like a father to her than a brother. A parallel is indirectly being drawn between him and the Kaoru parents.

If Miki and Kozue's parents were abusive, this might be a rare moment of Anthy empathising with other victims, telling them through metaphor how to take care of themselves. Although, it doesn't keep her from continuing to manipulate them, as she goes on to say her line about returning the chicks to their mother, which is what sets Kozue off. Anthy also says that she's never actually raised chicks before. Maybe she's not very good at taking care of them (herself) after all.

There's also what looks like two caged parakeets in Miki's flashback of their childhood. I assume this has similar meaning to Anthy's birdcage, as a feeling of being trapped, in this case by their parents' expectations for them. Kozue used to be a caged bird, but now claims to be a wild one, despite still being inside the birdcage that is Ohtori.

Brood Parasitism: Nanami and Touga (and Utena)

The Kaoru's are not the only sibling pair in Utena to be compared to birds. In Episode 31, Her Tragedy, a pretty unique shadow play is put on in the Chairman's Tower about a cuckoo leaving its egg in another bird's nest, a phenomenon known as brood parasitism. It also references the fairy tale The Ugly Duckling by Hans Christian Andersen. Perhaps the most interesting part of this play is that it's done in the style of the ones in the black rose arc, with C-Ko playing all the roles, the return of the monkey-catching robot, and Utena's fourth-wall breaking commentary at the end. I won't get into what this means, as it doesn't have anything to do with the bird metaphor, but maybe in another post.

This shadow play is about how Nanami and Touga were adopted, and specifically about Nanami's feelings on the matter. Of course adopted children are not parasites, but it makes sense for Nanami to think along those lines, considering her fear of being compared to animals or aliens, and of being ostracized by the society she lives in. Nanami doesn't actually know that she is adopted, only that Touga is, which muddies that interpretation a little. Perhaps it is about Nanami blaming Touga's birth parents for "leaving him in another nest"? Something about her resentment of Touga at this point in time, thinking of him as a parasite in their family? Or simply her fear of what not being his blood-relative means.

I'm more confident about the Ugly Duckling reference, and it being symbolic of Nanami's worry of not fitting in among her peers. Nanami mainly copes with this by thinking that the reason she doesn't fit in, is because she is actually better than everybody else, because she's related to Touga (being a beautiful swan among the common ducks.) The play ends with the cuckoo insisting that it will become a swan one day, when really it can't. It will never be a duck that fits in, either. It will always just be what it is, a parasite (a space-alien. A girl who lays eggs.) This reflects Nanami's despair at the idea that she's "just another fly in the swarm" after her duel in the next episode.

And like all the shadow plays this one can be interpreted as being about Utena as well. She is an orphan who is now being raised in Akio and Anthy's "nest". Although she wasn't placed there by anyone but Akio himself, so it's more about her insecurities about feeling like an outsider in their family. And like the Ugly Duckling/cuckoo, she is also out of place among the rest of the students, and dreams of growing up to be something she can't actually become, in this case a prince. (credits to this analysis on the shadow plays for helping me piece together my thoughts on that. Always cite your sources!)

Cuckoos can also be symbolic of one-sided love, and is the origin of the word cuckoldry. Make of that what you will.

I should mention that Nanami also lays an egg of her own a few episodes prior. ...Or does she?

Her nightmare sequences show her fears of being compared to a chicken, a turtle, a frog, and of course, a space alien, but it is quite obviously a bird egg. And since we are later shown that Anthy has a chicken named Nanami, much like the cow with the same name, it can be assumed that the egg comes from there, and that Anthy brought it to Nanami's bed, perhaps via Chu-Chu. Could this relate to the brood parasitism of the cuckoo in some way? Is this not one bird (Anthy) laying its egg in another bird's (Nanami's) nest (bed) and getting them to raise it? is this what Anthy means when she tells Miki she has never personally raised chicks? Are all of these metaphors connected??? There's also the fan-theory that Nanami's egg hatched a reincarnated Chu-Chu, and in that case would he be the baby cuckoo while Anthy is the mother and Nanami is the duck? I'll be honest I'm not really sure what to make of it at this point. Draw whatever conclusion you want!

Last and probably least interesting is the third of Nanami associated bird imagery: the crow in episode 10. Crows can be symbolic of death, and it feels safe to say that this one is just here to set the mood of the scene, and as visual confirmation that the kitten did indeed die. Not too much to say there.

The Chicken and the Egg: The Student Council

I'd be remiss if i didn't mention the student council's chicken and egg speech in this post as well, even if it has been analyzed to hell and back by hundreds of people before me. It is a reference to Hermann Hesse's book Demian. It is about breaking out of childhood and into adulthood. It is about escaping Ohtori, which is both the egg and the cage (and interestingly enough, during the speech birds can be seen flying by outside the cage of the elevator.) In Nanami's version of the egg speech she mentions "the cage of freedom" and how it cares for the chick. This something that ideally should be true for schools. A place that limits children, but in a way that prepares them for the adult world. Of course, Ohtori as a system has no interest in this, as it is a cage in its most literal sense: a place to keep people trapped. Trapped in their harmful behaviours, in their lack of growth, in their idealized memories of the past, and most of all, in childhood.

And with that, we have come full circle back to Anthy's birdcage as a symbol for all of Ohtori. Thanks for reading :)

[runerapier]

If you don't mind me asking, what makes you interpret Angeal as anything other than a straight man? He's the least gay character I've ever seen and he doesn't act gay either.

I'm going to assume this isn't sent in bad faith but this is pretty on point with the definition of stereotyping. I mean if you’re defining being gay by how someone looks or acts that is your first problem. Angeal has very outwardly masculine actions and appearance, I’m not really a fan of the insinuation that masculine men don’t “look” gay enough. Angeal isn’t even a hyper masculine or toxic masculine character, he is almost always described in a way that is seen as nurturing or caring. His own fan club compared his hobby of cooking to that of a wife. Things like gardening are often seen as more a “feminine hobby.” This isn’t to say Angeal breaks insane boundaries but Angeal isn’t this rigid masculine character in the first place. Besides my personal headcanons, Angeal and Genesis' stories take quite a bit from The Fall of Mankind (and religious and mythological symbolism in general but I'm going to try to stay on track). They purposely made two male characters represent Adam and Eve, and this isn't the first time they have done something like this in a final fantasy game. For example: while they are more developed than Genesis and Angeal, characters like Fang and Vanille are based on the Nordic myth of Ragnarok. There is a lot of information that couldn't be included in the final game of Crisis Core but is still intended canon, I'm going to be using a lot of that as a reference point. The full explanation is pretty extensive and I'm also not an expert on The Book of Genesis. I tried my best to do research for this, but it is possible I am still missing things and that this can still be expanded upon.

I'm going to start off by giving a deeper explanation on how Angeal represents Adam and how Genesis represents Eve. Genesis already has a very strong connection to The Book of Genesis because of his name. Rhapsodos comes from rhapsody, his full name is literally "genesis reciter". Genesis and Angeal were the first two attempts at an artificial “cetra” created by Shina representative of Adam and Eve being the first humans created by god. (While there is some debate if the first woman is Lilith, she is often been seen as a demoness.) The kanji for Shinra already is a direct reference to god, and is symbolism for how they like to play god themselves. The image below has a great explanation that is much better than what I can do, but to keep it short 神 (shin) literally means god or divine and 羅 (ra) is derived from 網羅 (mōra) which means "encompassing".

The fruit of knowledge is typically portrayed as an apple, which connects with banora whites. It represents temptation, Genesis offers the apple to others when talking about truth and revelation. Instances like in Nibelheim, Genesis offers the fruit to Sephiroth after telling him the truth of his origins. Sephiroth rejecting the fruit is a sign of him rejecting the truth, and we see he continues to go along with a story he is happier with. Sephiroth decides to believe misinformation that is less painful, the rejection of knowledge is indication he is not Adam or Eve.

Banora is heavily connected to the flow of the lifestream, which is what makes Banora whites grow any time of year. The lifestream is said to contain knowledge of the planet and its people, that being what powers the fruit further reinforces the idea that they represent the fruit of knowledge. Banora being the source for what is essentially miracle fruits powered by the planet, it is clear Banora is meant to be Eden.

Minerva is said to be sleeping in the caves of Banora, she represents the will of the lifestream. Though Minerva is connected more to Roman Myth and Sophia from Gnostic belief, I would still say she emphasizes the holiness of Banora's land.

Angeal has a story about not stealing to reflect Adam trusting god and not taking from the garden. God's words to Adam were "You are free to eat from any tree in the garden; but you must not eat from the Tree of the Knowledge of Good and Evil, for when you eat from it, you will certainly die." (Genesis 2:17) Angeal stole from other trees besides the big one that had the most delicious fruit. While it can be argued Angeal didn't steal from Genesis in general, Angeal's story focuses solely on the biggest tree with the most tempting fruit, that tree represents the tree of good and evil. At the end of the game, Zack eats an apple under this same tree with Genesis, protagonist and antagonist sharing from the same tree. Shortly after eating the apple Zack learns the truth about how long it's been and leaves to meet his fate.

Hollander approached Genesis with the truth of his origins, convincing Genesis to help him with his plans in exchange for a cure that Hollander never had. Eve was afraid of eating the fruit and dying because of what God told her, but the serpent convinced her she would live. “You will not surely die. For God knows that when you eat of it your eyes will be opened, and you will be like God, knowing good and evil.” (Genesis 3:4-5). Both being deceived, they were convinced that they would live if they defied God, and become the catalysts for knowing the truth. Eve did not want to be alone in her defiance so she looked to Adam, much like how Genesis approaches Angeal to persuade him to take revenge against Shinra.

Besides Eve being referred to as Adam's wife, Adam also placed his trust in Eve above god. He decides to listen to her and trust her despite his creator telling him he will die. Angeal places his trust in Genesis above Shinra when he decides to defect, believing he can rationalize with him despite this being high treason.

This has happened before already, Angeal placed his trust in Genesis above Gillian and defies his mother to join Shinra. Gillian didn't want her family to be connected to Shinra and despite how highly Angeal respects his mother he still defied her wishes for the sake of following a dream with Genesis.

This leads into the next part, less about how they parallel The Book of Genesis and more about how they parallel other characters in the narrative. This makes me a little nervous to talk about so I’m going to put a small disclaimer that I am not arguing for any canonicity of ships because I think it is a waste of time. However, I think discussing characters' feelings that push their motivations is important.

In the narrative, Angeal also greatly parallels Cloud, I feel like this isn’t something that is talked about enough in general. They share a great deal of small parallels like both enjoying landscape photography, being associated with wolves, and elementally representing lightning. Besides surface level things, both Angeal and Cloud have a guilt complex and feel responsible for the people around them. The main parallel that’s important to this conversation is their childhood friend from the same countryside town.

Cloud was inspired by Sephiroth and his desire to protect people he loved like his childhood friend, Tifa, to join soldier. This is similar to Angeal joining to be with Genesis; their childhood friends are motivators for both of them.

This is something that’s pointed out in DFFOO as well, Angeal hears about Tifa and immediately draws the connection.

Both Cloud and Angeal feel responsible for protecting and looking after their loved ones, Angeal is seen as a caretaker type for this reason. Both Cloud and Angeal want to help fulfill the dream of their childhood friend, Tifa's was being saved by a hero and Genesis' being to share an apple with his hero Sephiroth. We see this when Cloud berates himself for not being the hero Tifa wanted and Genesis telling "Angeal" the dream has been fulfilled implying it has been something he knew about and wanted to help him achieve. Angeal's will in Lazard only fades away after Genesis said the dream came true, like there was a sense of fulfillment and that he could finally pass on after holding on for so long.

I find it interesting they intentionally draw parallels between Genesis & Angeal and Cloud & Tifa, people who have more explicit romantic feelings. I think Angeal and Genesis are supposed to represent a more “genuine” version of Cloud and Tifa’s relationship. Angeal represents the story cloud wanted to have throughout ffvii, having a childhood friend who never grew apart, who stayed together, and who followed a dream together. Angeal genuinely made soldier, and for a time he felt like he was in control of protecting others unlike Cloud. This contrast stays until the end, Cloud and Tifa learn to repair their relationship while Angeal and Genesis fall apart. Despite having everything Cloud wanted, it was not enough to sustain. This contrast is important in emphasizing that it is not about your background or your past, it is about what you do now and having people to fall back on. None of this is meant to be used as proof Genesis and Angeal are canon, but rather talk about Angeal's strong devotion and feelings for him since he was at least a teenager. They do not perfectly replicate the fall of mankind but it is interesting nonetheless. Here's to hoping we get to see more of how they interact in ever crisis.

[girlkisser13]

zeus cabin headcanons

children of zeus

• over time, they develop lightning scars on their body from the sheer amount of electricity that passes through them whenever they summon lightning.

• the mortals call these "stretch marks".

• they have a hard time holding their breath for longer than a minute due to their father’s air-based nature.

• eventually, someone sets up a tent inside to make it feel less empty and uncomfortable.

• they have an intrinsic understanding of the law wherever they are and could pass a bar exam with no preparation.

• they can play electric guitars and basses without using an amp.

• they give off little shocks when they're happy.

• they have a natural charisma that draws others to them, coupled with an authoritative aura that commands respect.

• they are immune to static electricity.

• their personalities are intense, mirroring their father’s own mood swings. they are passionate and driven, but are also prone to sudden bursts of anger if things don't go their way.

• when chiron decided that the electricity bill was getting too expensive, he had the hephaestus cabin set up underground wires so they could extract electricity from their cabin.

• due to their strong personalities, they have a complex relationship with authority figures, sometimes clashing with them or struggling to fit into conventional roles.

• they’re extremely impulsive and quick to act, especially when they sense injustice or danger. their actions are often driven by a strong sense of urgency.

• a lot of them grow up to become pilots or meteorologists.

• the statue of zeus is constantly covered with blankets to prevent anyone from seeing his "hippie" face glaring down at them.

• they can move lightning-fast over short distances, becoming electricity in the process.

cabin exterior

• the cabin resembles a large, imposing greek temple. it is made of solid white marble, giving it a regal and timeless appearance. the building has a rectangular shape with a peaked roof, and it's elevated slightly above the ground, with steps leading up to the entrance, similar to ancient greek temples.

• the front of the cabin is lined with impressive, thick columns that support a triangular pediment. these columns are doric in style, which are simple yet strong, symbolizing zeus's power and authority.

• the triangular pediment above the entrance often has carvings depicting scenes associated with zeus. these include lightning bolts, eagles, and scenes of zeus sitting on his throne. the frieze running along the top of the cabin is decorated with intricate designs of mythological scenes involving zeus.

• the roof is tiled with golden shingles that catch the light, making the cabin gleam and stand out, even from a distance. it has a weather vane shaped like a lightning bolt at the top.

cabin interior

• the doorway of the their cabin is grand and imposing, with a large wooden door inlaid with lightning bolt designs. it has a high, arched entrance that makes every camper feel small as they walk in.

• the ceiling is a high dome with a large skylight in the center. the skylight is magically enchanted to always show the sky outside, whether it's day or night. during thunderstorms, the skylight shows the storm directly above, with lightning occasionally flashing across it.

• lightning bolt patterns are carved into the walls and furniture. the bedposts, chairs, and even the table have intricate designs that resemble streaks of lightning. these designs occasionally glow with a faint blue or gold light, especially during storms.

• the interior is primarily made of white marble and stone, giving the cabin a clean, powerful, and timeless feel. the floors are polished marble, and the walls have stone columns reminiscent of ancient greek temples.

• the cabin is never completely silent. there is a low, almost imperceptible rumble of thunder that can be heard, especially during quiet moments. it feels like the power of the sky is always present.

• the cabin is illuminated by electric lanterns that mimic the look of ancient greek torches. these lanterns have a bluish-white flame that flickers like lightning. they provide a soft, but sufficient light for the entire cabin.

• each bed has dark blue bedding, with gold trim and embroidery. the pillows are soft, and the headboards are engraved with thundercloud patterns. each bed is spacious and sturdy, resembling a king's bed, giving a sense of royalty.

cabin traditions

• whenever something bad happens to one of them, they kick the statue of zeus in the balls.

• to start each day with energy, the head counselor has a morning routine where they produce a loud clap of thunder to wake everyone up. it eventually becomes a competition to see who can make the loudest or most impressive thunderclap each morning.

• they take it upon themselves to predict the weather for the day, using their natural instincts and connection to the sky. they could even post a daily weather forecast outside their cabin door, which would often be surprisingly accurate and trusted by other campers..

• on the nights when the sky is clear, they hold a tradition called "sky bridge," where they create a makeshift bridge with ropes and wooden planks, connecting the cabin to a nearby high tree or structure. they use this bridge to sit and stargaze, feeling as if they're closer to the heavens.

divider by @plutism

[cabyang]

okay guys its a very common theory/hc that the ii and bfdi universes are connected and if that's the case what the fuck does this temple mean

unlike most objects, which probably have non sentient counterparts in universe with little to no implications, this has lots of implications because of the existiance of yinyang from ii

now as lollipop calls this a shrine, we know that this building is explicitly for religious purposes, as that's kinda what a shrine is, and that's really weird as everything else in canon points to the bfdi world being atheistic, with all mentions to god being replaced with the objects origins.

did yinyang come after the yinyang symbol? if that's the case, that means object china or atleast an equivalent had to exist at some point, to create the yinyang symbol and taoism. This, combined with the fact this is a shrine means at some point, in the bfdi world, the yinyang ended up being venerated like a god or atleast became a big part of the mythology.

This has big implications for yinyang as he was introduced way before this episode came out. In the bfdi canon the timeline is very linear with the exception of the new bfdia episodes, which means it's likely that yinyang was born before this temple existed or was discovered by four and company. Since there was no mention of any gods or temples before this very moment, either religion as a whole died out or this temple is recent.

Starting with the first scenario, if religion was well and burried and the yinyang had become a religious symbol, how could yinyang BE a yinyang? well the most obvious answer is that he was born when religion was around. This has some pretty serious implications as these are very clearly Roman/Greek inspired, and if you didnt know, ancient Roman times were a long time ago. This would mean yinyang could potentially be immortal, somehow stumbling from these ruins to where ever the fuck mephone was hiring.

The second scenario has way more implications with it as there are another two possible scenarios. Either yinyang was just a child in this recent religion, or he may be of divine origin (no seriously hear me out)

If yinyang was just born in this religion, does that mean there are little cross objects running around? is there a holy grail in a preschool playground somewhere?

it would align alot closer with the zero information we have on the object reproduction process if yinyang was just the god of this religion (or some sort of other divinity like a demigod), although it make alot less sense with everything else. Like how he got a head injury in iii 14, did he just let that happen or is he like in some mortal disguise? why did a random ass god/demigod choose to compete in possibly the worst run reality show ever?

so yeah that has been the end of my yapping session yinyang god HC is extremely funny to me send post

[alneedssleep]

Headcannons about Apollo pt.1 

PSA: This is mythology Apollo stuff but most of this applies to Percy Jackson Apollo as well. 

Apollo loves no sibling more than Artemis, but he is closer to Athena. They bonded over being the favourite siblings, gods of knowledge/wisdom and the fact Athena was somewhat in charge of teaching/raising him when he first came to Olympus. 

Apollo is the only other god besides Zeus to have the epithet ‘Moiragetes’ meaning ‘Leader of the Fates’. There are also only two moments of fate being averted in the entire mythos – once when Zeus swallows Metis and then again when Apollo tricks/convinces the Fates to extend Admetus’s lifespan. I imagine this means they are both capable of altering fate, it is just usually not worth the trouble. 

Adding on to the previous hc, I also imagine Apollo has pure white eyes. As in, no pupils or irises. This is a trait I imagine the Fates share as well. Zeus would as well if he had gift of prophecy, but he doesn’t. 

Apollo has the epithet ‘Lycegenes’ meaning ‘born of wolf’ or ‘born of Lycia’. Both work since his mother spent some time in a form of a wolf while pregnant in some versions and she is also a prominent goddess in Lycia. Lycia is in modern day Turkey, so I imagine Leto, Apollo and Artemis have some Turkish features. Specifically, they all have an aquiline nose (though you also see that in Greece), darker skin and (in the PJ universe aka the modern day) all three occasionally wear head scarfs. Not hijabs obviously since those are religious, but sheer fabric with a bunch of different designs relating to their sacred symbols wrapped around their head and hair. 

Apollo was less of an older brother and more of a parent to Hermes, Dionysus and even Hebe when they were young. It was only once they were much older that Apollo started treating than more like siblings but will occasionally fall back into old habits. 

Hera and Apollo have a better relationship than expected. They, along with Athena, mostly bonded over their shared woes of dealing with Zeus (who is not as bad as PJ Zeus but is still, you know, a king. And kings are rarely great.) 

Apollo is the most all-knowing of the non-primordial gods. He has the domains of truth, prophecy and knowledge and, once he gains the sun in roman times, can also see anything that happens during the day. This makes him stupidly well informed. Even his cousin Hecate, Aunt Asteria, Grandmother Phoebe and Grandfather Koios are not as well informed since they only have the domain of prophecy and, even then, only have a specific kind while Apollo, seemingly, has access to every kind of prophecy. 

Apollo (and Artemis) are Gods of Youth and, in Apollo’s case, he even has an epithet explicitly denoting him as an eternal child: ‘Acersecomes’ meaning one with unshorn hair. Boys in ancient Greece grew out their hair and generally cut and dedicated their hair to Apollo after reaching adulthood. As a result, Apollo not only has long curly golden hair, but is also unable to age any older than 15 since 16 was the age of adulthood back then. I imagine this would be the same for Artemis as well. (If we are including the PJ universe here, then they would be able to age up to 17).