#muninns post

[felassan]

this post is under a cut in case anyone would consider it to be DA:D spoilers, as the things it mentions came from the leak a year ago (spoiler warning for link) that included screenshots and a gif of the game. (the things this post mentions are therefore not new information and this does not reference a new leak)

I'm just thinking again about Rook (which seems to be the PC's name or title) and the imagery conjured by the name. ◕‿◕ this post is just speculation and overanalyzing for fun. also this post is a now-finished draft from my draft section from a while back.

I think it would work as a surname (like "Hawke") or a codename (think Leliana's spies and contacts such as "Butler", "Farrier", "Butcher", "Charter", etc although these are all professions that end in "-er" or "or" iirc). it could also be a title (like Warden, Hero, Champion, Inquisitor, Herald) or a nickname - like maybe it's short for "Rookie", it's a Varric-assigned nickname and it references how the DA:D PC is the newest member of the team after he recruits them?

I think it sounds catchy, and cool - it's snappy and short, Hawke-like in this way. and it sounds like the kind of name a spy or secret agent might have in a fantasy, superhero or sci-fi-type setting.

a rook is a black bird, Corvus frugilegus, a member of the corvid family. rooks have been perceived as vermin and nuisances by people in the past, and persecuted due to this. they bear a resemblance to their crow and raven relatives, both birds which have a large cultural footprint and lots of symbolism in areas such as folklore and art. Hawke obviously also had a bird motif going on from their surname and associated art pieces. corvids also bring to mind the Antivan Crows (assassins, thieves, & spies), reminding of the stuff about how in this game the PC may be trying to operate under the radar, and the reporting on a previous iteration of DA:D which had the game concept as being focused on spies and heists. rook plumage is inky black, bringing to mind darkness and shadow.

from the bird angle, a "rook" sounds neat opposite a "wolf" imo. wolves are obviously another animal that have large footprints in culture, myth and folklore. in the natural world there is symbiosis sometimes between wolves and corvids when hunting/feeding. there are lots of photos of wolves and corvids together.

a colony of rooks is called a rookery. of course, the fortress of Skyhold has a rookery. it's from there that Inquisition Spymaster Leliana operates (operated) sending her black birds on missions with letters and messages to her many agents and spies throughout Thedas. what if Rook is one of Leliana's... "rooks"? a spy or agent of the remnants of the Inquisition.

A rook is also defined as "A cheat or swindler; someone who betrays" [noun], "mist, fog" [noun] and "to cheat or swindle" [verb]. it's also a type of trick-taking card game. these sorts of things bring to mind a rogueish, stealthy aspect, and the shady, shadowy dealings and card-game played in Minrathous Shadows.

a rook is also a chess piece. they're castle-like (since "rook" can also mean a castle or fortification) and usually have their top in the shape of a battlement. they can move in any direction along a rank or file on a chessboard on which they stand (horizontal/vertical, not diagonal). they can also do the "castling" move. in history, rooks have also been called towers, castles, rectors and marquesses. in chess, each player starts the game with two rooks at opposite ends of the first rank. chess itself is a game of strategy and tactics. "the chessmaster" as a trope is a character type who manipulates events, tugging on strings and moving 'pieces' into place on a metaphorical chessboard. [Solas' DA:I dialogue about his past, like the one he has with Sera about cells of spies/agents, hark to this]

in the castling move,

"Castling is a move in chess. It consists of moving the king two squares toward a rook on the same rank and then moving the rook to the square that the king passed over. Castling is permitted only if neither the king nor the rook has previously moved; the squares between the king and the rook are vacant; and the king does not leave, cross over, or finish on a square attacked by an enemy piece. Castling is the only move in chess in which two pieces are moved at once."

castling rules often cause confusion, even occasionally among high-level players. historically the move has its roots in the "king's leap", of which there were two forms and which arose in part it seems due to increasing importance of king safety as other pieces were given increased powers through time as the game developed. "the king would move once like a knight, or the king would move two squares on its first move. The knight move might be used early in the game to get the king to safety or later in the game to escape a threat." basically it moves the king away to safety and the rook to a more active position. there is also kingside castling and queenside castling. I wonder, symbolically.. is Rook more the king's rook, or the queen's rook? (reminds me of the Left Hand and Right Hands of the Divine hh). who or what is the king in this hypothetical analogy? the World of Thedas itself? as a castle or fortress.. Rook is the bulwark against what's to come? [over-thinking ik ik, tis just for fun hh].

by now we're all familiar with the chess game Solas plays in banter dialogue with Iron Bull during DA:I. in the in-world chess game, rooks are called towers. Solas moves his right-hand tower once. at a later point in the game, Iron Bull's "Arishok" piece takes Solas' left-hand tower, getting a check and leaving him feeling triumphant. Bull asks Solas wth he is doing as Bull takes Solas' remaining tower. "Your last tower, by the way". Bull, a spy and liar himself, bears down on Solas' pieces "with his full army", thinking a win is in sight. Undeterred, Solas executes a few moves in a sneaky plan and entraps Bull in a checkmate, winning the game after sacrificing various pieces to enact his plan.

rook also brings to mind the Tower tarot card and its meanings. it's associated with sudden, disruptive revelation and potentially destructive change. it connotes danger, crisis, sudden change, destruction, higher learning, and liberation, as well as adversity, calamity, deception, ruin and unforeseen catastrophe. reversed, it connotes things such as negligence, carelessness, apathy and vanity (vanity.. pride). in this depiction of the Tower tarot, lightning strikes from the sky, striking a crown (hubris) off the top of a tower and setting it alight as people fall from the tower to their doom. this imagery and the upright meanings of the card bring to mind the sudden massive change Solas seeks to bring about (destroying the Veil), the revelations and liberation for some that it might bring, his identity as Fen'Harel Lord of Tricksters (deception) as well as the destruction he seems to think the Veil destroying action will cause ("as the world burns in the raw chaos"...). the 'Tower scene' has also already played out once before in Thedosian history, when Solas created the Veil and sealed the Evanuris away, leading to the fall of Arlathan and its wonders. in modern Thedas, Morrigan and Flemeth (as well as possibly some side 'prophecy' type things) both allude to a big change coming to the world.

in DA:I, the Tower tarot card is ofc none other than Solas' ending card, if he is not romanced. in the DA:I version of the card, we see Solas, cloaked in a dark robe and holding a mage staff under a half-moon or eclipse. darkness seeps from his shadow, stark against the orange sky, and blends with the giant black Dread Wolf, looming ominously and open-mouthed above him with its many eyes. (the Tower tarot card Solas scene is later referenced in DA:D promotional art and DA:D-era in-world murals). it makes sense to have assigned this to Solas given the above discussed meanings of the Tower tarot card, but it's a verrry inchresting choice imo to then give "Rook" as a name/title for the DA:D PC.

and most inchrestingly, there's the symbol from the front of Mark Darrah's mysterious Red Book. this mysterious red book shows "a flaming rook" on the cover. the book was an internal guide for developer and publisher eyes only that summarized the vision for DA:D, in its Joplin iteration. we know that the Joplin project has since been revised to an extent that it was the newly codenamed Morrison instead, but the red book is known to still contain plenty of ideas likely to appear in DA:D. most pages of the book remain highly classified. it's the symbol on the front that's of most interest to us though for the purposes of this post. there is a castle, tower, or rook, like a fortress or the chess piece. above the tower, a fire burns, reminding us of the burning tower from the Tower tarot card imagery and what that symbolizes, as well as Solas' "world burning in the raw chaos" line from Trespasser. inside the fire is a wolf, the Dread Wolf, in a now very-familiar and repeated motif in DA:D art, merch, murals, teasers etc. whatever else "rook" may connote, it feels like it's not an accident at all that the PC's name is apparently "Rook", given this depiction of a fiery rook and the Dread Wolf together.

what do you think? ^^

[artemisblackwing]

My raven ate my wallet. Why did I leave Munin in the car with my wallet on my seat? Good question. The bank had the same question. I had to explain that my credit card was not exactly stolen.... Awkward. Thank you for making my life interesting, Munin. I appreciate that.

(Munin is my African raven. She is cute-evil.)

[baskeigh-ball]

Being a Nexus champion, Raph must have fangirls, right?

Like father, like son lol

Yep! He's pretty popular in the Hidden City and (during his time at the Battle Nexus) rarely goes out without running into a fan, lol

Having to go around with constant security turned into too much of a hassle for him tho, so his outings to the city ended up becoming few and far between

of course, that only means he's even more sought after the few times he does make public appearances. :]

[thor-the-mighty]

𝔏𝔬𝔳𝔢 𝔦𝔰 𝔞𝔩𝔴𝔞𝔶𝔰 𝔪𝔢𝔰𝔰𝔞𝔤𝔦𝔫𝔤 𝔣𝔯𝔦𝔢𝔫𝔡𝔰 𝔬𝔫 𝔥𝔢𝔯 𝔭𝔥𝔬𝔫𝔢. ℭ𝔥𝔦𝔩𝔡𝔯𝔢𝔫 𝔱𝔥𝔢𝔰𝔢 𝔡𝔞𝔶𝔰 𝔧𝔲𝔰𝔱 𝔡𝔬 𝔫𝔬𝔱 𝔲𝔫𝔡𝔢𝔯𝔰𝔱𝔞𝔫𝔡 𝔱𝔥𝔢 𝔧𝔬𝔶𝔰 𝔬𝔣 𝔲𝔰𝔦𝔫𝔤 𝔯𝔞𝔳𝔢𝔫𝔰.

[untitled-tmnt-blog]

Rise August Art Challenge

-- Day 4: Yokai --

Day four of @sariphantom's Rise August Art Challenge! I imagine this is a photo that April took (and Mikey decorated) while hanging out with some Yokai friends down in the Hidden City.

Sunita is obviously good friends with April, and I bet she'd get along well with Mikey, too!

Donnie may still be banned from Witch Town, but Gentry (the girl April befriended in that episode) is bringing a little bit of Witch Town to him!

(April has a much better track record of befriending Yokai than the boys, doesn't she?)

Leo and Raph are talking to Huginn and Muninn... does anyone else wonder what happened to those guys? If the resume they gave Meat Sweats is any indication, their chances of being hired again as minions is, um... debatable.

I imagine Leo could warm up to them faster than he did with Draxum, given that they never seemed truly evil (and weren't present during the whole "throwing him off a roof" thing). Plus, they spent thirteen years with Draxum, so Leo could probably fish for some embarrassing stories that he'd use to annoy the poor guy later.

Rise August 2023 Masterpost

[bambiraptorx]

Back in this poll I did, Wall of Handprints and gargoyle lore tied for an infodump. The Wall of Handprints info is here (it's basically a communal art piece in the Hidden City that's been continued for several centuries), now on to the gargoyle lore. (Gonna be completely honest, I forgot which of the seven different phone documents I use for writing fic stuff I originally wrote this in, so it took a while to find.)

Huginn and Muninn's species (which I've named pygmy gargoyles due to the fact that all other gargoyles we see are HUGE compared to them) live in large groups, called warrens or hives, usually anywhere between 50-200 members. As a species they reproduce asexually, basically through enchanting rocks to create a sentient lifeform, not unlike a homunculus. In fact, certain parts of the scientific community argue that pygmy gargoyles should be considered homunculi, but since classification as homunculi would seriously mess up their legal status as something of an independent colony not directly governed by the Council of Heads, most pygmy gargoyles don't like the term.

Doing the enchantments to create new gargoyles is actually a very intensive and complicated process, usually involving the whole warren, because enchanting rocks to bring them to life takes a lot of mystic energy (and since gargoyles are maintained as living beings purely through mystic energy, they don't have much to spare). They tend to do these enchantments in batches for the sake of energy efficiency, so the vast majority of gargoyles are automatically born with same age peers that they call hatchmates. Usually these groups are of about 4-7 new goyles at once, but they occasionally are larger for warrens that do the enchantments less frequently (usually ones that have a larger population).

After the goyles are 'born', a small handful of adults will take responsibility for raising them (this is determined before the enchantment is started so that only gargoyles interested in becoming parents will become parents). You have easily three to six direct caretakers--parents--and the rest of the community steps in as needed, something like uncles/aunts, grandparents, or cousins. Gargoyles are not born able to fly, and not all of them develop that ability. For the most part, though, it's a marker of development similar to puberty that they develop around their adolescent years. As a result, gargoyle children are most often called walklings, then flightlings as they start learning how to fly and gradually get better at it.

Pygmy gargoyles, as a rule, address the adults most involved in their upbringing with parental terms, and other less involved adults with familial terms. However, the exact titles are up to the individual kids. One might call someone 'Mama' and one of their hatch mates might call that same person 'Aunt'. Also, it's not uncommon for a kid to switch the terms the use for a given caretaker, so someone might be "Dad" one day, and "Uncle" another. Again, there's no biological connection, so the exact title isn't super important, but more or less indicates a level of closeness.

When gargoyles reach adulthood, they have a coming-of-age ceremony where they pick a new name for themselves. Hatchmates do not always have this ceremony together, as 'adulthood' is defined fairly nebulously based on several factors (flying strength/skill, educational level, social skills, etc), and in fact it's more common for them to have individual ceremonies over the course of several months or years. This ceremony is usually attended by a gargoyle's parents, hatchmates, and close friends. Huginn and Muninn had theirs together, so they picked matching names.

Some random facts: as inorganic beings, gargoyles don't have all the needs as organic ones. Yes, they can eat, but they don't need to. They also aren't capable of truly sleeping; it's more like napping, zoning out, or purposely ignoring the world around them. Most of them have a very good sense of direction (usually as a result of some magnetic material like magnetite or hematite being included during their creation). Also, they do have their own flight-based language, but this post is already massive so I won't go into that right now.

[saltandpine]

My altar to Odin, which I am inclined to keep neat and simple.

[cray-cray-anime]

No joke, like why isn't there meatsweats specific tags

Like this dude could be so villainous

1. He tried to eat them, and almost did w donnie

2. Tried to poison his competition

3. Tricked mikey into thinking they're friends before betraying him

4. He was going to eat Huggin and munnin who were coming to him for a job

He just has like alot of potential to be downright evil like both manipulative and messed up

[froggy-puddles]

I have gotten an idea for a Rottmnt Au where Mikey is raised by Draxum, but instead of being trained to be Baron's soldier he recognises the social skills and compassion our turtle has

So Mikey kinda becomes a face man/spokesman for his cause

It probably has been already done and I don't have a strong concept yet but I still want to draw at least a small one-page comic or sth

The problem is that Mikey is the only turtle I have trouble drawing xD

So now I'll be spending most of my time trying to learn to draw our guy

Also I think that Michelangelo wouldn't have mystic powers in this AU (at lest not at the start) as he doesn't have that connection with his brothers

(He believes they died when a human named Lou Jitsu destroyed the lab)

[roquog]

Look at this weird bird

[ask-the-layers]

To Helg, how would you react to meeting your alternate universe brother (he's somehow a seal and has a son-)

"Well, Heimdall will always be my brother no matter if he's from another universe. I'd love to meet him! If he has a son I wonder if he would get along with my own-"

"....Hugin you okay buddy?"

[ioannemos]

muninn: what do you have?

me: a picrew!

muninn:

NO!!!

[artemisblackwing]

Hugin and Munin are cute...

I woke up early this morning, was trying to get back to sleep, and heard Hugin and Munin making sweet little noises to each other in the dawn. It was very comforting. For once, I didn't mind how long it took to get back to sleep. It is so nice listening to other people when they are happy.

(Hugin and Munin are my African ravens. They are not helping me sleep, but that's OK.)

[frameacloud]

Therianthropy Day is Friday, November 15, 2024

Therianthropy Day is held every year on the first full moon of November. This year, in 2024, that falls on Friday the 15th. According to NASA, this also happens to be a supermoon, which means it’s slightly brighter than usual.

Why that date, and what is the history of that holiday? 

Therianthropy Day commemorates the first Howl, which was held 30 years ago in November 1994. A Howl is when therians meet up together in person. That was a year after the first therians started to meet up together online in November 1993. Therians first proposed commemorating it as a holiday on that date in 1996, in a conversation thread you can still see here. Based on that history, in 2016, Muninn the Raven proposed observing it as Therianthropy Day, though the first posts and community poll about it attracted little attention. I think the holiday finally really caught on in 2021, when I first saw many therians posting on social media about fun things they were doing for it.

What are therians, anyway?

If therianthropy is a new idea to you, or you want to explain it to others who are unfamiliar with it, this essay is a quick and easy to understand introduction to it. It’s available in several languages already, and more translations would be great.

Learn more about the history of the therian community by reading the Timeline of the Therian Community written by @liongoatsnake

What can we do for Therianthropy Day?

I’ve seen therians celebrate it by wearing gear (for example, a necklace with the therian symbol, or clothes with pictures of their species), meeting up with their therian friends, and howling at the moon.

Enjoy some indie games and zines about therianthropy from this hand-curated itch.io collection. Some therian highlights from that: SlumberDragon’s zine of self-care tips for animal folk, @who-is-page’s therianthropy-inspired solo journaling game Wolf In Man’s Clothing, puppygirlbelly’s interactive story I Am Dog(s), and Digital Freegans’s zines THERIANARCHY and BEAST PUNKS.

Are there days for other sorts of alterhumans too?

There are. Alterhuman Day commemorates when Lio of the Crossroads System coined that word on September 26, 2014. Otherkin Day is on July 9, commemorating when the word was coined in 1990, though Arethinn has found that the word’s origin is a little more complicated than that. Plural Events says that Plural Pride Day is the third Saturday of July, and Plural Acceptance Week is that week.

[thor-the-mighty]

Love keeps asking me for a phone. I am worried she is too young, but I also do not know what is wrong with the ravens.

[skaldish]

Alright folks. Here it is, my theory of what Ragnarok actually represents. It is very messy and I'm not sure I'm going to be able to actually convey my understanding clearly like I try with most things, because genuinely this is shit I would write a doctorate-level thesis on.

But we're going to try anyway.

So. After doing a lot to try to replicate animistic thinking, as well as taking a VERY deep read of the Norse myths, my theory is that Ragnarok is specifically allegory for societal collapse—the "end of the world" imagery and such is meant to convey what this feels like.

Recall what Odin says in Grimnismal. It goes something like this, since I can't be arsed to find the exact quote:

Huginn and Muninn fly over the world every day; while I fear Huginn ("thought") may not return, I fear Muninn's ("memory's") absence most.

When a society collapses, so does it's memory. It loses its technology, its methodologies, its paradigms, and everything it has learned about the world up to that point. Gone. Entire chapters of history erased.

What causes societal collapse is not always a conquering force, but is oftentimes the result of circumstances that a society orchestrates for itself. Think Rome.

People who have gone through societal collapse will probably develop an invested interest in figuring out how to prevent it entirely, so they don't have to start society all over again.

It's one thing to preserve the memory of "things collapsed and here's why" using a story. But it's another thing to do what apparently the Norse people did, which is cultivate a methodology for cognitively hardening their own society against collapse, using stories as a way to do it.

Like...I'm not kidding when I say they legitimately knew how the human mind works, and then built an entire system of stories and narratives that intentionally support the mind's freedom, cultivation, and agency. I can only convey a fraction of how this works in this post because the rest requires a deep-dive into behavioral psychology and neurological development.

All the tales leading to Ragnarok demonstrate various instances where the gods choose to follow their own agendas at the expense of the real people and forces in the world. All of these little things contribute to the magnitude of the event that is Ragnarok.

The tales represent these transgressions using allegories rather than literal events. This is because these stories were designed for children, who don't process information through a prefrontal cortex like we do as adults. They don't have them yet. But this gives kids an intuitive understanding for how circumstances of collapse feel, so they can recognize them in all their forms.

Loki is an allegory for the mischief we feel as children, and for the behaviors we demonstrate before we get to the age where we start valuing cooperation. In the myths, every time Loki causes mischief in ways that creates problems, the gods get mad at him and threaten Loki's life until he fixes his mess. Loki eventually becomes vindictive, kills Baldr in a jealous fit, and then is punished by being bound and buried beneath the ground, only to fight against the gods in Ragnarok.

The surface-level takeaway is a lesson in parenting: If we punish kids for their mischief, they're going to become vindictive adults, and these adults are going to have it out for the rest of society because they've been disenfranchised.

But it doesn't just end here. Consider how we punish ourselves for our own sense of mischief, beating ourselves up for having "problematic" thoughts and trying to bind and bury those thoughts in the depths of our mind.

These thoughts come from a place our mind known as the limbic system, which is focused on avoiding pain and seeking pleasure, and—most importantly—does not understand the world or make decisions using logic and reason, but in terms of what feels enjoyable and what doesn't.

We tend to call this system our inner child.

When we punish our inner child, that child starts doing exactly what Loki does and resorts to malicious and petty tricks. We can hold this behavior at bay until something causes us to "snap" (like Jörmungandr's tail does) and out comes the malice of the disenfranchised inner child, which creates a terrible cascade of social consequences for us.

Now, if we were to listen to these stories as kids, we would naturally be very upset whenever Loki was threatened of punished, because we think out of the limbic system at that age and Loki is meant to represent us—specifically, the state of being a kid. We would see what comes to pass, with Loki being imprisoned and fighting the gods against Ragnarok, and it would become clear to us that there's consequences for punishing mischief AND also causing too much of it.

Now I don't know about you, but I was very motivated by a sense of justice as a kid. Hearing Loki's arc would have inspired me to learn how to be friends with my sense of mischief while also learning to use it in ways that were cooperative and social, because this would have been how I could right the wrong I felt was done to Loki. It would also mean my own limbic system will not fight against me in the future, but be a modality of thought I can always access. (This is the beauty of the way the Norse myths are crafted; they are designed to instill knowledge of the world using mechanisms that reinforce one's own sense of agency and competency, so rather than being told the moral of this tale, it sets me up to run right into the conclusion it wants me to draw, but in a way that makes me feel smart and therefore inspires me to value it.)

The binding of Fenrir serves a similar allegory. When we become explosively angry in the way that Fenrir represents, it consumes our wisemind the same way Fenrir consumes Odin during Ragnarok. But this only happens if we bind Fenrir/our anger. By demonizing this nature of ours simply for existing, it will not only refuse to listen to us, but also turn against us. Remember that Fenrir was willing to socialize and cooperate with the gods before his betrayal.

(Honestly, I believe this is why ulfheiðnar existed the way they did. Even though the animalistic rage of ulfheiðnar was too terrible for domestic society, it was not demonized, but instead given a social function. People would learn to understand and partner with their own sense of rage, and I'm guessing this is also how they were able to keep their sense of reason and priorities straight even while going berserk from psychoactives.)

These two examples serve to illustrate how societal collapse stems from binding or punishing our own natures. But also fearing our own nature as mortals factors into it.

For example, Naglfar. This is a ship constructed of dead people's fingernails, and its completion is part of what signals the beginning of Ragnarok. But as the story goes, we can delay Naglfar's construction by trimming the nails of the dead before we bury them.

Naglfar represents "neglect for the dead," and this is significant because the act of no longer viewing the dead as people is sort of like the canary in the coal mine for no longer view each other as people...and no longer seeing people as people is what defines Ragnarok.

A society is at peace when its people have no fear of death, and having no fear of death comes only by incorporating death as a normal and familiar part of life, just like we do with birth. Our relationship with death is a litmus test for our relationship with our own humanity—if we fear the dead and cannot see them as human beings, then we are always going to fear a part of our own humanity, and be at war with it. The simple act of keeping the nails of the dead well-groomed because it stalls Naglfar's construction was a way to remind people why such a simple act was profoundly important.

And these are just the things that I can think of off the top of my head that are the most obvious examples. There are—and I shit you not—multitudes of these things laced within the Norse myths.

(I haven't even gotten to the part about how the Norse creation myth uses what the womb feels like to characterize it. Telling this story to very little children helps them establish a sense of familiarity, belonging, and secure attachment with the entire world from the get-go. If they learn the world is everything they've already experienced, then their bodies will never be afraid of it, because nothing about it will feel unknown or unknowable. Like, how fucking dope can you get.)

So here's where we get to the really dense irony of all this: Why we don't pick up on all these nuances as Westerners and have so far missed this entirely.

It is for two reasons.

The first is because our society values the things that the Norse people identified as contributing to societal collapse—namely, the act of conquering/competing against other forces and conquering/competing against our own natures. The transgressions of the Aesir are not things we register as problematic because to us they're normal.

The second is that we don't think animistically. The way we are taught to convey, interpret, and transmit information is designed PURELY by and for the prefrontal cortex, with neglect to everything else (if you ever wonder why Americans look weird in how we behave, this is why). But because we only prioritize communicating this way, we're missing out on all the context added within the Norse myths. These myths function the same way Old Norse kennings did, in that they are designed to speak to ALL areas of the brain at once and in tandem, but if we only engage with it using one part of the brain, we're only going to get a small piece of the picture and the rest is going to look weird.

(Little experiment for you: Try to logic something out in your mind or think through a complex problem without using words or sentences to do it. Use any other kind of thought-process besides language. I promise you that not only is this possible, but it yields a completely different kind of experience and conclusion than you might otherwise reach.)

Honestly, I don't even think Snorri himself fully understood what he was looking at when he was recording the Norse myths. I think he was just writing them down according to how they were told, word-for-word. But his cluelessness is our good fortune now, because he not only preserved the cultural stories, but also what I consider an entire cognitive technology.

And every time I look at it, I can't help but think about the generations of people who sat around the fire in the dead of winter, weaving, crafting, and figuring out better ways to fortify their society, raise kids so they became fine and truly fearless people, and conserve information. This is, as far as I'm concerned, real magic.

They knew some shit.