#or human spirit vs technology | Explore Tumblr posts and blogs

y-rhywbeth2 · 3 months ago

Text

Elves: Philosophy and Religion

Link: Disclaimer regarding D&D "canon" & Index [tldr: D&D lore is a giant conflicting mess. Larian's lore is also a conflicting mess. There's a lot of lore; I don't know everything. You learn to take what you want and leave the rest. etc]

Physiology and quirks | Names & Clans and Houses || Pan-Cultural things: Social life | Time and 'Growing Up an Elf' | Homes | Language | Art | Entertainment | Technology || Elven 'Subraces' still a wip || Philosophy and Religion & Pantheons || Half-elves | [WIP]

• Overview: the variety found in elven religion/s. • Key spiritual philosophies that define elvendom: the Road of Life, Elamshin, and Laraelever • Creation Myths • Reincarnation and dying/Transcendence • Funerals • Holidays • Gods: a very brief overview of the very lengthy amount of nonsense about the four pantheons involved with elves which will be covered seperately (the Seldarine, the Dark Seldarine, the Seelie Court and the Asathalfinare)

Elven religion on Toril is diverse. The different subraces of elves have their own traditions and understanding of the Seldarine, the Seelie Court and the adjacent outer circle of sylvan gods, and the Dark Seldarine, and within those larger umbrellas different individual cultures may also vary.

While the elven faiths are split into the pantheons of the Seldarine and the ‘Dark Seldarine’ after the exile of Lolth, Eilistraee and Vhaeraun, dark elves and surface elves are not restricted to one pantheon vs the other. With two exceptions - Shevarash and Fenmarel - the Seldarine answers the prayers of drow worshippers and accepts them as priests (even if their mortal cousins do not), and gods of the Dark Seldarine do accept and sometimes reach out to elves who are amenable to their nature (even if most drow would call this heresy).

While it’s claimed that the drow are exiled from Arvandor, there are a few things that suggest things are more flexible than that. Firstly there's the individual drow who worship the Seldarine and Eilistraeeans who go to Arvandor after death (Eilistraee having a realm on Arvandor for this putpose), and secondly that surface elves can, through their own actions, fall out of grace and fall under Lolth’s sway without realising it. It’s also been put forth that this applies to the reincarnation cycle, as an elf’s spirit may shift between Corellon and Lolth’s sphere of influence by their actions: a drow may go to Arvandor and be reincarnated outside of Lolth's clutes, an evil surface elf who defies the Seldarine may be born again in Lolth's web.

Lolth hungers to be worshipped on the surface and often walks the streets of human cities (likely in disguise). She particularly delights in corrupting more elves, whispering in the ears of the desperate, ambitious and those lost to pain and grief – some of whom deliberately seek her out despite the great taboo of doing so.

Vhaeraun seeks to do away with the divisions of the Crown War and reunite the Tel’Quessir under his worship, which includes stealing surface elves out from under his old pantheon where and when he can.

Eilistraee doesn’t deliberately seek surface elven worship, or any form of worship since she invests all her energy into pulling the drow out of Lolth's grip, but she welcomes all into her faith regardless of origin. Due to her welcoming nature and outcast status she also tends to be popular with half-elves who face prejudice or persecution, especially bards.

Ghaunadaur will happily accept worshippers and future sacrifices from anyone – he’s patron god of gelatinous cubes, he’s not picky.

Kiaransalee, goddess of undeath and vengeance, has attempted to demand fealty from surface elves in the past.

Selvetarm is indifferent to his worshippers, so probably neither objects to surface elven worship nor cares if they don't worship him.

Key Philosophies:

A larger bent of religious philosophy drawing strongly on Sehanine Moonbow’s dogma, and particularly strong on Evermeet, lends itself to the concept of enlightenment and unity with the gods:

The Road of Life is a philosophy that the long life of elves is a winding path of many stages, at the end of which, if walked correctly, the elf with understand the many mysteries of elven life and the world and be presented with a choice to either ascend permanently to Arvandor and join the Seldarine or to return to Toril and guide the People as a bodhisattva-esque figure, denying yourself eternal reward in order to shepherd others towards it. Thus far there is only one elf known to have achieved this stage, Queen Amlaruil of Evermeet, who chose the latter. She recently disappeared during the Spellplague era and nobody knows what’s up with that so far.

Each road walked is unique, with many branching paths that appear when a choice can be made (some of which loop back to an earlier part of the road which need to be walked again) and many different cultural and religious opinions exist on how the road is supposed to be walked; whether its something you build for yourself by experiencing it and the journey itself is the point, or if there's a true route hidden amongst all the twists and turns that one must find and walk to reach enlightenment.

What exactly is beyond Transcendence at the end of the Road isn't explained, which is presumably why you need to spend a lifetime getting enlightened to understand it.

But by and large elves live by a combination of individuality and community: 'We are on this shared path together, but at the same time all of us are finding our own way.' Everyone's road is unique to them, and The People must support each other as a whole in order to provide the structure for an individual to walk their path.

Throughout the journey the elf develops themselves, exploring the world and their identity and their faith. Introspection and reflection on the nature of reality and divinity (and the elven place around it) develops throughout one’s life.

The first stage applies to young elves, and focuses on individualism; Exploration, chasing impulses and curiosities and travelling as they find their footing, grow to understand the world they live in, the gods they come from, and establishing an identity.

The second is a maturation stage, where the elf settles and begins to look towards their community and the People as a whole. At this stage elves have had many decades to grow and experience things and get to know themselves and are ready to commit to some field of development, dedicating themselves to their art or career (this is the point where one joins the priesthood or military, becomes a politician, or devotes their lives to study or art, etc). Either their attention turns outwards as they begin to consider the world, the gods and The People and their spiritual growth extends around and amongst them - or their full attention is devoted to one specific interest, which will consume them obsessively for the rest of their lives as they explore every part of it (don't start an elf on their special interest unless you genuinely want to be there for days while they gush over the minutia in full detail).

At the penultimate stage, when an elf finally hits old age (700+), the road takes a turn for the mystical. A ring of light – Sehanine’s titular moonbow – appears around the irises of the elf, signalling to them and those around them that they will soon be recalled to Arvandor. Their reveries begin to fill with visions and communion with the goddess of death, a process known as Transcendence, preparing them for what’s to come and presenting them with experiences that are said to be indescribable to one who hasn’t experienced them. Gradually they begin to slip into visions even during their waking hours as they slip away from the physical world. This is the time when an elf looks back at the winding threads they wove of their life and are to use it to place together ‘an understanding of elven nature and its relation to the universe,’ as the Seldarine begin to recall them to Arvandor.

As an elf dies they enter communion with the Seldarine, their awareness spreading throughout the Weave and encompassing the spirits of all elves on Toril, then into the minds of the Elders; those elves who have passed into Arvandor before them. The dying elf becomes one in communion with the Seldarine, magic and the People. The wisest are said presented with the choice to join the Seldarine or to remain in the mortal realm as a guide.

Many elves simply walk away into the woods or mountains and are never heard from again; elves outside of Evermeet usually find themselves compelled to travel to the Isle.

Sometimes elves physically fade out of existence as they die, rather than leaving a body, and Eilistraeean drow are also described doing this (Eilistraee calls her followers to her much as Sehanine calls to surface elves, where she dances alongside them until both fade into the moonlight (the Last Dance)).

Sometimes the spirit simply departs the flesh and leaves an empty shell behind which will be disposed off according to their culture.

An elf who dies to disease or violence does not experience Transcendence, and there's a strong chance their soul will be destroyed by the act of dying. In cases where it doesn't the soul is trapped, and a priest of Sehanine is tasked with seeking them and undergoing the Transcendence on their behalf to guide them to Arvandor.

(‘Wait, what about the Fugue Plane?’ Yes. Welcome, or perhaps 'welcome back,' to the land of The Writers Never Agree on Jack Shit. According to some sources the Fugue only applies to humans (and even then, only Faerûnian humans), and according to others elves will be going to the Fugue to face Kelemvor's judgement too. Up to you.)

On the other hand there's Elamshin, the Will of Lolth (or simply 'Destiny'). All strive for Lolth's approval; those who have it continue to live and are granted power and wealth; those who lose it suffer and perish. Chaos incarnate, how one gains and maintains this favour is not clear and one must be sharp and attentive and always ready to adapt to survive. When one cannot adapt, one has stagnated and must give way to the new growth. By living in chaos one is an adaptable and stronger being, and by better serving Lolth such the Spider Queen and her followers will overthrow the false traitor gods and rule the world, as is their right.

The rest of the Dark Seldarine do not seem to have any overarching philosophy like Elamshin or the Road of Life - Eilistraee seeks to forge a new path; Vhaeraun's church is a resistance movement more than a faith; etc.

The People are innately and spiritually a part of the Weave of Magic that saturates all of Toril and the Natural Balance, the later of which they have a druid-like relationship with. As they are part of other elves and their gods, they are one and a whole with the tapestry of magic and nature. The health of these things is the health of the People.

‘The Home of the Heart,’ a rough translation of the word Laraelever, the forest ‘as it should be,’ when one is living in balance with the natural cycles of the world and not burning it down or harming it out of carelessness and greed. The term can also be applied to things that are in line with this harmony, such as elven furniture and architecture grown from living trees or grown into shape and then harvested at the end of its lifespan instead of killing the tree for its wood on ones own terms. The individual shouldn't come at the cost of, nor impose harmfully on the lives of others.

Lolthites, Selvetarmites, Kiaransaleen and Ghaunadaurans don’t give a flying fuck about this, notably. Not sure about Vhaeraunites, but since he's trying to get the drow back to their pre-Descent lives it's possible something along these lines is in there... then again he does have a holy day that's just him giving the middle finger to the value the Seldarine places on nature, so maybe not.

Creation myths:

The most common creation myth is of course the variant where Corellon was injured in combat with the orc god Gruumsh, and the droplets of his blood became the first elves (some also add that another god – usually Sehanine or Angharradh – wept at his injury, and the mingling of blood and tears gave rise to the elves).

Some claim that Corellon created these first elves in his image by using magic to weave them physical forms from sunbeams (gold elves), moonlight (moon), the forests (green), the clouds (avariel), the seas (aquatic), and shadows (dark elves).

‘Myths discussing the natural origins of the Fair Folk are closely tied to the ability of many members of the Seldarine to assume nonelven, natural forms far greater in size than is common for their avatars.’

Reincarnation:

While lore from both the original AD&D and 5e supports elven reincarnation, and a specific form of reincarnation exists in being reincarnated into a fey guardian to take on a life of duty to nature and elvendom, a reincarnation cycle is not a universal belief amongst the Tel’Quessir.

Some do not believe in it. Of those who do, it’s believed that an elf may reincarnate as animals, plants or fey and not just elves, and this is not necessarily viewed as a punishment or reward in the fashion of karmic-like consequences. Sometimes it's even a desired outcome. Corellon and Sehanine work together to guide elves towards perfection in the cycles of life and death, Corellon watching over them and protecting them in life and creation, before handing them to Sehanine’s care in death. As the deity of transcendence, she presents elves with guides and puzzles to solve – in life, and presumably in death - as they find their way towards their final stage.

Some believe that reincarnation is only a rare occurrence that only happens as a punishment, when an elf commits a great wrong and is sent back by the Seldarine to atone before they can enter Arvandor. Others say that it’s a sign that an elf has unfinished business – usually some duty to kin and clan – and they have returned in order to complete it.

An order of rangers in the service of Sehanine (the Sentinels of the Moonbow) serves as a sort of animal wellfare group, that protects animals under the reasoning that they may be 'the reincarnated spirits of elves of ages past and that may once again assume elven form.'

Undeath - mormhaor, 'corrupted death' - is a state despised by elven faith as a breakage in the natural cycles of the universe that damages or destroys the soul of the victim. They are trapped in an abominable state, torn away from the people and unable to achieve transcendence or walk the Road. Elves tend to handle undeath badly. The acceptible alternatives; baelnorn liches and Reverend Ones (elven wraiths) are the product of white necromancy, powered by positive energy and deliberately created with the aid of the Seldarine; to become such is to make a great sacrifice and a duty to the defence and preservation of one's people or clan, postponing one's own reward to care for others. It's not an enjoyable or desirable state and it's not one entered into lightly. While their sacrifice is respected, even these undead make living elves uncomfortable

The story of Corellon’s exiling of elven souls from Arvandor due to Lolth’s manipulations, which has been introduced in 5e, clashes with previously given Realmslore* (wherein elves had already settled the Prime Material Plane in mortal forms before Araushnee’s banishment, and Corellon takes a static gender for her, not mortal elves), so while the story may exist on Toril, it’s not the mainstream version most elves believe in.

(*It's been stated in canon that depictions of deities outside of realmslore do not affect the versions of them within it, nor vice versa. A deity’s realmspace aspect is something of an independent being.

‘Once [an immigrant] deity is accepted into the pantheons of Toril, there is no difference between [native Torilian and pan-DnD gods], since each immigrant deity has a local aspect, independent of other world-based aspects he or she might possess. For example, although Labelas Enoreth and Clangeddin Silverbeard battled each other during the Time of Troubles on the isle of Ruathym, any enmity stemming from that clash does not extend to other worlds. Likewise, Lolth in some other world differs from Lolth in Faerûn’ - Faiths and Pantheons )

Funerals:

“Behold, there in the West There I see my comrades and my lovers, my childhood friends, those who have gone before me and those still to come. There I see them in the tall oaks, high in the limbs where the golden sun lights their faces. “They are calling my name. They are calling my name. They are calling me West, and there I am going.” - The elven Prayer for the Dead

Funerary customs vary greatly not only by subrace and nation but by specific communities - and each funeral is greatly customised according to the nature of the deceased.

Sun elves build elaborate tombs that also double as troves of history and lore that descendants can access; green elves bury their dead beneath or within trees, as do most copper elves. Some cremate their dead. Some elven cultures see a body as nothing but a cast off husk of no value now that the spirit has departed. Moon elves, as ever, vary greatly. Evereskans and some moon elves go for tombs, in the rest of the world some families draw more from their sylvan ancestry and go in for tree burials, others might use the customs of human settlements, etc.

I can't find anything specific on dark elven customs. Eilistraeeans have them, I assume Vhaeraunites do too. Ghaunadaurans die via self-sacrifice and get eaten. I'm pretty sure Kiransaleen and Lolthites believe in recycling via necromancy (or occasionally cannibalism, in Lolth's case). Being used to build an animate ossuary for Kiaransalee's temple also looks to be on the table. With Lolth in particular it's going to depend on which Lolthite sect you're in.

Holidays:

Not counting the impromptu revels Hanali's priests throw, Lolth's regular sacrifices, the various holy rites observed in Sehanine's name (focused on lunar cycles and phenomenon, which can occur once per decade, century or millennium), and so forth.

Cinnelas'Cor: 'The Day of Corellon's Peace' (everybody except most drow) and The Melding of the Three (moon elves) Elven new year, except it's held once every 'four snows' or 'pyesigeni' in elven (also known as Aeloulaeva), which is four years to a human.

Massive archery competitions are sponsored by the church of Solonor Thelandira, and considering these are elves one imagines that there's an incredible amount of getting drunk, dancing, flirting, and acting like idiots involved.

For moon elves this is also the holiday where they celebrate the birth of Angharradh and the peace and safety she brings.

Lateu'quor: Communion of the Crescent Moon Occurring once a month during the crescent moon phase, a celebration of creativity where elves gather in nearby glades and offer up a work of art to Corellon (a song, dance, piece of music, poetry, fine art, textiles, weapons, whatever you make)... while also dancing and partying, because elves. The creations are placed on display or preserved by Corellon's priests at his shrines and temples. Exceptional masterpieces are taken to Arvandor to be enjoyed by the elven spirits currently there. Occasionally Corellon personally blesses the revel with a spontaneous magical effect, which may involve him gifting his own work of art to the mortal elves in return.

The Secrets of the Heart Revels in honour of Hanali Celanil, occurring once a month during the full moon. A 'rosy glow' manifests within participants, highlighting their 'inner beauty' that lasts for several days. Feelings of romantic love are magically enhanced in some fashion, allowing participants to evaluate their feelings and relationships. Much like Lateu'quor, offerings of artworks are made to be taken to Arvandor and admired there. Some are returned, and these are shared around to be enjoyed by everybody. It's considered a lucky day to elope, announce engagements, and to unveil new art to the public.

Lunar Hallowings Also held during nights of a clear full moon, participants enter reverie and either mediate alone or enter communion with loved ones to commune with Sehanine. Occasionally Sehanine temporarily enjoins the spirits of all elves into a 'true sharing of the minds.' Then, of course, comes the dancing and drinking that lasts until the first rays of dawn.

Followers of Lolth celebrate the full moon by holding a religious ceremony with the sacrificing of a surface elf as the central event as a deliberate insult to Sehanine.

Nights of the new moon (Vhaeraunites) For surface dwelling Vhaeraunites, the nights of the new moon are sacred, celebrated by stag hunts through dark woodlands ending in the sacrifice of its antlers and still beating heart to their god in a manner which deliberately perverts the hunting celebrations of the Seldarine.

The Budding A dance held during the spring equinox honouring Rillifane Rallathil; the natural cycles, the life given by the world around one, and the growth of new life is celebrated with the usual dancing and feasting. The weeks leading up to the celebration is marked by fasting, broken with the ritual hunt of a hart.

The Dance of Swirling Winds A dance festival held on the vernal and autumnal equinoxes, observing the changing of the seasons and venerating Aerdrie Faenya who for most elves is am agricultural deity. During the gathering there are always strong winds, and those who can't fly (via wings or magic) are granted magical flight by the goddess so that they may join the wind dance in the sky. At the end of the festivities the wind blows the participants over several miles of vistas showing natural beauty, before depositing them gently near their homes.

Midsummer Like the rest of Toril, Midsummer is a day dedicated to love. Feasting, music and dancing being the main attractions. Those with no romantic partner/s either seek them or, if they have no desire to, celebrate with friends. Partners usually wander away to find privacy towards the end of the day. Elves are usually joined in their celebrations by the local fey.

Midsummer is considered a particularly good day for marriages and betrothals.

The Transformation A holy day occurring during the autumn equinox, counterpart to the Budding. Elves seeking a major change - be this some form of spiritual rebirth, a clean break from something in their life, or anything else along those lines - gather to celebrate the promise of Rillifane and the autumn that life is an everchanging renewal: all things fade, new things grow, some old things regain their health or change.

The Graverending (Kiaransaleen) An annual rite held on midwinter eve, Kiaransalee's priestesses animate as many murder victims as they possibly can in the form of a goddess-blessed unique undead called Vengeance Hunters who will unceasingly hunt down their slayers over the course of the next 24 hour period, only stopping if destroyed or if the 24 hours ends. Once they've succeeded (or time is up) the revenants return to their graves. The vast majority of dark elves don't worship Kiaransalee, so for most drow this is just zombie assassin apocalypse day.

Midwinter: The Mystic Rites of the Luminous Cloud, also known as Ol Ahnvae Sehanine (Sehanine's Night) The elven equivalent to the Feast of the Moon, the midwinter holiday when Faerûn honours the dead. Elves assemble under the night sky and enter reverie, and are enveloped in shimmering moonlight that dissolves them and draws them into the sky. While communing, Sehanine guides the elves through visions meant to aid their spiritual development, revealing the mysteries of the Road of Life at levels appropriate to each participant's readiness. At the end of the rite the elves are returned to their physical forms in their original positions.

The Maked Lord's Embrace (Vhaeraunite) The most sacred of Vhaeraun's holy days, every follower spends 24 hours of introspection in full sensory deprivation (drow use their innate darkness and leviation spells to isolate themselves in spheres of pitch blackness, those who don't have those abilities are granted them by Vhaeraun for the day). They spend this period contemplating Vhaeraun's teachings and how they might advance the Masked Lord's cause over the coming year.

The Run (Eilistraeean) Held once a year, at an unspecified time (may be the worshipper's choice). Surface drow almost universally travel in disguise on the surface for their own safety, but on this day Eilistraeeans head into surface communities - especially amongst surface elves - and walk openly among them. Non-drow followers instead disguise themselves as drow. They are to offer charity: sharing game they've hunted with those who need it, playing music for the entertainment of the people, lending helping hands to others' tasks and so forth. During this time Eilistraeeans may not preach their faith nor attempt to gain any wealth or power for themselves - all acts must be pure charity.

The High Hunt (Eilistraeean) A night-time hunt held at the end of each season (presumably during or around Midsummer, Highharvestide, the Feast of the Moon, Midwinter and Greengrass). The priest-led hunting parties pursue a dangerous monster wielding only bladed weapons. Lay-worshippers may dress how they please, while priests forgo all forms of protection including any clothes.

The Gods:

Are getting a secondary post, because the number of them is insane. Elven religion as a whole involves four pantheons (the Seldarine (17 gods, or more, depending on who you talk to), the Seelie Court (7+), the Asathalfinare (7), and the 'Dark Seldarine' (6)), and different elven cultures have entirely different opinions on who is part of the elven pantheon and who isn't and how the pantheon works.

Suffice to say, surface elves typically worship the Seldarine, usually led by Corellon with some bickering about the fine details between cultures, and the Seelie Court - the fey gods, called 'archfey' in 4e and 5e, led by Titania. Green elven religion then goes on to incorporate a layer of animism.

Aquatic elves might pay some respect to the Seldarine as the gods of their ancestors, but primarily worship the Asathalfinare; a pantheon of deities worshipped by sea-dwelling beings led by the aquatic elven god Deep Sashelas.

The Dark Seldarine plays the role of the devil for surface elves, while for dark elves they are the only pantheon... and which member of the pantheon they worship is usually the only god in the pantheon that matters:

Dark elves vary greatly by which of the Dark Seldarine they worship. Lolth is predominant, but within her faith every drow settlement is going to differ on what Lolth's exact teachings are and how she's supposed to be worshipped, as deliberately engineered by the Spider Queen to keep chaos and conflict going.

Eilistraeeans are the least henotheistic, and the Seldarine is often worshipped alongside her. Surface elven worshippers of the Dark Maiden are uncommon and most are deeply sceptical of her and her followers, but they can be found living in some dark elven communities on the surface. While tensions between the dark elves and their cousins, and between Eilistraee and the Seldarine still exist, she does have one foot in Arvandor despite not technically being part of the Seldarine and speculation on whether she'll ever formally re-join them continues (although according to Word of God Eilistraee has no intention of joining any pantheon).

#Yep. I am still alive. Also busy and sick. But I'm still here #With the mountain of NEver Ending Elf Lore #Shoulda done the brain eating tentacled amphibian people lore #lore stuff #pointy eared stuff #long post

28 notes · View notes

alpaca-clouds · 1 year ago

Text

Solarpunk Fiction and Conflict Pt. 2

Let's continue to talk about conflict in Solarpunk fiction and stories we could easily tell there. You can find part 1 here.

The second category of conflict in Solarpunk fiction I see, is conflict with the environment. Something that can happen in a very literal way or the more... traditional way.

Let's talk about the traditional ways: Environmental Catastrophies and Survival Stories.

Human vs environment has always been a staple conflict in fiction and even though the Solarpunk movement is an environmental movement... Well, us being on the side of the environment does not mean that the environment is gonna be on our side, if you get my drift.

For one you can all Roland Emerich and tell a story of an Environmental Catastrophy. You can very well have a Solarpunk world, in which the current issues from climate change have not been fixed. So either you could have scientist just deal with trying to fix those issues... or you can tell stories about the climate catastrophies going on and about the people who try to survive it - or those trying to save the survivors. Again: You can go all Roland Emerich, but just have it in front of the backdrop of a Solarpunk world.

The other classic one can be a classical Survival Story. Look, even within a Solarpunk world people might get stuck in situations, where they gotta survive. Maybe they went out there into nature on their own volition because they are scientists and get lost. Maybe they live out there and a storm cuts them off. Or maybe it is a classical case of a ship or plane wrecking out in the wild. In fact, this could be a super interesting story to be told within a Solarpunk setting, given that a person, who grew up on Solarpunk values, might have different view points - and also different technological skills. (Also, look, SciFi survival stories are fun af!)

One less traditional kind of story to be told in a Solarpunk setting and that I would love to see, is what I am going to name Species Survivalism.

Let me let out my inner geek. Because maybe this is too science for even most Science Fiction nerds. But currently there are scientists all over the world battling to keep certain species important for the environment alive - or in fact reestablish a population. And while this would be really a geeky kind of story... It definitely could make for an interesting story. Trying to fix the world in a small way, after a Solarpunk Utopia has been established.

And then there is the last way. The Studio Ghibli way, if you want to.

See, often times Solarpunk is thought only as a SciFi genre, but technically speaking there is no law saying it cannot have fantasy elements. Especially given that one of the largest influence on the genre have been Studio Ghibli movies like Laputa and Princess Mononoke.

So lastly, for this type of conflict, I present you: Nature's Willing Revenge: Yes, sure, we have established a Solarpunk society, but we kinda messed up nature before we got there. Now the nature spirits/gods have reawakened and they are pissed. Will the protagonist have to fight them or try to establish some sort of peace with them?

#Solarpunk #Lunarpunk #Solarpunk Fiction #solarpunk worldbuilding #climate fiction #science fiction #conflict #writing #writing advice

106 notes · View notes

crows-sorrows · 1 year ago

Text

a virtual world being brought to ruin by a virus its creators put in it. the people from that world, once ordinary, scared, human, being forced to leave it behind. a person from the real world joining without anyone ever knowing. them being brought to the real world without ever knowing. declaring themselves gods, now no longer just saviors of humanity. creators and rulers of a new one. seems like a big deal, but will the difference matter in 500 years or so, with no one there to know the truth? wishing to destroy the world they were chosen to create. such a godly action. sealing souls away. such an inhuman punishment. technology making its way to magic, making its way to rubble, making its way to being forgotten. being worshipped with no worshipper ever knowing they were just like them once, many unimaginable millennia ago. that they were once human. that back when they were ordinary their society had their own gods too. they're still people. deep down inside. just barely the same people as themselves anymore. two of them can't remember the last time they've had a human body, one of them is living the life of one of her worshippers and one of them barely exists. in the blink of an eye one of them gave up his godhood to someone else, one of them is once again wishing to destroy the world (such an ungodly action), one of them is now close to, but not quite, what he wished to be originally (but everything's different) and one of them is still watching everyone, unseen and forgotten, yet only a proxy for someone even more forgotten than him. the melding of the technological and divine and of the human and divine and ending up not really being any of those. "spirit data" vs "soul". the climb one vs the ark sin. do you get it

#i should stop thinking for a bit #evillious chronicles #clockwork.txt

33 notes · View notes

highly-important · 2 years ago

Text

youtube

I recently got into this 4 year old They Might Be Giants song, “The Communists Have the Music.” Music video directed by David Cowles and Jeremy Galante with art by David Plunkert.

Linnel:

On the one hand, Fran Lebowitz memorably said of Communism vs. Fascism that one was too dull and the other too exciting. However, our song takes its cue from somebody (I can’t remember who) in our high school, who once compared two bands (I wish I could remember which bands) by declaring that one had the power but the other had the tunes. This enduring metaphor seems to apply to any pair of things we can think of.

I see a lot of people who are interpreting this very literally: that it is about someone who is interested in communism not for rational reasons, but because they’re interested in the aesthetics. I don’t think this is supported by the song.

TMBG have been making music for 30 years. Music is really important to them, I don’t think they would use it to reference something they think is unsubstantive. Music is culture, music is creative and expressive, music uses literary devices frequently. Fascism is more concerned with top-down control and uses stifling techniques on its subjects. Communism is about bottom-up control where the people are allowed to be expressive. The song focuses on music because the singer is concerned with art, human spirit, and humanity in general. A literal approach to the song is that the singer is only interested in aesthetics but doesn’t understand the substance. Taking a creatively-minded approach opens up the song to embrace it as an anthem in favor of communism and left-leaning politics.

I think some of the major themes are art vs propaganda, humanity, dehumanization, paranoia, listening, watching, identity, and of course, politics. It is about finding meaning and connection in a landscape that is trying to divide us, make us scared or angry, and dehumanize ourselves.

I think the song itself is intentionally using symbolism and leaving its message up for interpretation because of this type of backlash to these types of messages.

The music video itself is a satire of American Red Scare politics.The scare is still going today- we still can’t listen to songs or study the period without a fear of it.

Right away they dragged me to the Committee To explain my un-American activity They're gonna see they made a mistake If they'd only let me play my mixtape

No matter the singer’s intent, the Committee refuses to listen to the music, refusing to hear the message.

But, the music video is packed with people listening, only they’re listening in secret. This is a direct spoof on cold-war espionage and paranoia that led to US intelligence listening to its own citizens.

The music video draws a metaphoric comparison between spying and recording/listening to music.

Some of the listening devices are references to real-world spying devices and animal experimentation done by the CIA. A 70s CIA operation code-named Tacana explored using pigeons with tiny cameras to take photos. The CIA also tried using migratory birds to place sensors to test for chemical weapons. There was also an incredibly cruel operation called Acoustic Kitty which involved putting listening devices inside cats.

Animals are meant to be connected to nature, but the bulldog, pigeon, and cat have been turned into Frankenstein cyborgs. These technological monsters come about from the misapplication of technical knowledge and an excess of power. It is dehumanizing.

Another major theme in the video is political propaganda and the idea of watching. “The Committee” are just angry watching eyes, swarming like predators. The politicians watched on TV are disingenuous puppeteers putting on a political show. The propaganda is an endless progression of war machines and calls for violence.

“The fascists have the outfits.” A reference to Hugo Boss, who contributed to the fashions of the Nazi regime. I think that the singer is suggesting these other movements have style but no substance. The various forms of propaganda may be more enticing, but they lack humanity.

We watch propaganda, but we experience art. The act of listening is a transformative experience that connects us with our humanity. While the propaganda being pushed promotes war, hatred, and paranoia, the two spies who have been listening to each other in secret find love and human connection. The politicians seek to divide everyone, but the wall between these two has come down.

“I hear a melody and just as suddenly I know who I’m supposed to be.”

The fascist system is heirarchal, and the red scare paranoia is ultimately self-destructive as the animal spies all turn on each other. Perhaps it happened because they are all listening to the communist music, which explains why they are also dragged away to the Committee.

At the end, the singer himself is trapped in a television, which I believe is symbolic of a type of political reprogramming. His identity is now lost, and he’s only able to regurgitate propaganda.

youtube

The Internationale performed by Billy Bragg, which the singer calls his “backing track.” The international ideal unites the human race.

#They Might Be Giants #TMBG #the communists have the music #Youtube

110 notes · View notes

best-underrated-anime · 8 months ago

Text

Best Underrated Anime Group A Round 4: Do It Yourself!! vs RIN-NE

#A2: Do It Yourself!!

Girls do DIY together, but after a new industrial revolution

#A3: RIN-NE (Kyoukai no Rinne)

Girl who sees ghosts meets poor shinigami. Comedy ensues.

Details and poll under the cut!

#A2: Do it Yourself!!

youtube

Summary:

This series takes place after the Fourth Industrial Revolution. Serufu and her childhood friend Miku/“Purin” both applied to an elite school, where advanced technologies are incorporated into the curriculum. The tech-savvy Purin is accepted into the school, but accident-prone Serufu is rejected and enters a traditional school instead, driving a wedge into their friendship.

On her way to class one day, Serufu encounters Rei, who has a passion for old-fashioned crafts and is the head of the school’s Do-It-Yourself (DIY) Club—which is in danger of closing due to a lack of members. Realizing that this may be her chance to repair her relationship with Purin, Serufu joins the club in hopes of creating projects that could bring them together once more.

Propaganda:

It’s just a really feel-good series with some great characters. I adore all of them and their dynamics with each other, especially the main dynamic between Serufu and Purin as it develops. I’m a really big fan of the show’s angle on stuff such as do-it-yourself crafts following another industrial revolution, just because it does frequently bring up the question of “What’s the point of DIY if in a year or two/maybe even now a robot could recreate the exact same result?” through characters like Purin (who is the major character with the lowest opinion on these kinds of crafts at the start, since she’s in the technologically advanced school and has beliefs more in line with the efficacy of technology rather than the joy of human creation), with the short answer largely being because it’s just fun!

I first watched this show before I saw a lot of AI stuff intruding upon art and rewatching it after sure was fun, because I love its ideas on the worth of doing stuff that machinery could do much faster. It’s not super complex or emotional, but that largely goes in its favor, because it really doesn’t need to be those. It’s just a fun little anime about a bunch of girls having fun together through one shared hobby that some of them had from the start and some of them adopted. I also love the opening, and the ending is a massive comfort song for me. The series can also be very funny at points, and is usually super heartwarming.

Trigger Warnings: None.

#A3: RIN-NE (Kyoukai no Rinne)

youtube

Summary:

Rinne Rokudou has bigger problems than going to school—namely, helping spirits pass over to the next life. Because of this responsibility, he often finds himself short on money and struggles to buy his necessities: food, clothes, and exorcism tools.

Sakura Mamiya has been able to see ghosts since she was little. She hoped she would outgrow it, but even after starting high school, nothing has changed. To make matters worse, the first time her ever-absent classmate, Rinne, shows up for school, only Sakura can see him. She assumes, as anyone would, that he is a ghost. However, to Sakura's surprise, Rinne proceeds to attend school like normal the next day.

Propaganda:

This is one of Rumiko Takahashi’s underrated works (mostly getting overshadowed by Inuyasha due to her releasing this series after the fact), and I don’t see a lot of people talk about it often. While it’s not my favorite of her works, it’s one that I still like because of the way she portrays the characters. Plus, it still has that classic Rumic comedy and feel to it and I really love the animation with her artstyle. Anyways, if you like supernatural comedies (with a hint of romance) then vote for Rin-ne!

Trigger Warnings: None.

When reblogging and adding your own propaganda, please tag me @best-underrated-anime so that I’ll be sure to see it.

If you want to criticize one of the shows above to give the one you’re rooting for an advantage, then do so constructively. I do not tolerate groundless hate or slander on this blog. If I catch you doing such a thing in the notes, be it in the tags or reblogs, I will block you.

Know one of the shows above and not satisfied with how it’s presented in this tournament? Just fill up this form with your revisions, and I’ll consider adapting those changes.

New: Starting round 5, screenshots will be included in the poll post. You can submit screenshots through the form linked above, or through here, via ask or dm.

Guidelines in submitting screenshots:

No NSFW or spoilery images.

Pick some good images please. Don’t send any blurry or pixelated ones.

You may send up to 9 screenshots, but not all may be used.

#anime #best underrated anime #polls #poll tournament #tournament #anime tournament #animation #group stage #group stage round 4 #tournament polls #group a #do it yourself anime #do it yourself #do it yourself!!#rin ne #rin-ne #rinne #rin ne anime #kyoukai no rinne

11 notes · View notes

the-nysh · 2 years ago

Note

maybe genos has a hard time realizing how strong he has gotten is due to the fact its not his strength its kusenos technology he wasnt the one who developed the tech

Hmm...this reminds me back to some years' old thoughts about this topic. [rambling incoherent train of thoughts warning]

Cause on one hand, how much of his current 'power' can be credited to Genos himself - an in his inner fire, his determination, his spirit and tenacity to keep trying, his grown experience....vs how much of this is Kuseno's doing (his tech) and his attempts to keep up with Genos thru countless improved revisions of trial & error. (vs how much of the current 'Genos,' at any given time, is a symbiotic mix of both their strengths combined)

Cause there's a point at which...Genos speeds thru so many bodies under-using their potential always unsatisfied with his current results...without ever even acclimating or owning up to what's 'his.' (Not seeing his body as 'himself') Like one way of viewing it is him passively replacing a new hollow, empty, lifeless external shell - if he sees his body like a replaceable/disposable tool or weapon rather than as an extension of himself he can value and see as his own (personhood)... Cause it makes all the difference between a frame so fragile and easily crushed/disregarded/devalued like a hollow tin can of scrap....vs one imbued with the strength matching the level of his current (human) will/spirit within. :')) As this concept's something that surpasses the realm of the physical, at least within opm. And this is one of Genos' ongoing struggles (and in my yee olde opinion, why his character was made a cyborg in the first place, for him to figure out the meaning of inner strength the hard way.)

So ultimately....now that webcomic Genos is down to his last body for example...I'm interested in seeing how much he can make this body his own (permanently) with the self-awareness and (valued) self-image required...(or will he once again fail?) But in any case, at least from ONE's narrative perspective, it seems that Kuseno was necessary to die for Genos to grow and see beyond him to come into his own, self-realized, stronger person...but to do that he really can't do it alone; he'll need Saitama's emotional support to not lose himself...

#opm #genos #anonymous #replies #gahhh it really reminds me back to all those old speculations about this #where it feels it's rearing its head all over again #in any case genos still has that ongoing problem on valuing himself :'))#and the supportive validation from saitama is an important component of that

44 notes · View notes

twentyfivemiceinatrenchcoat · 8 months ago

Note

Hi ari 🤍 brought you a question. Again 😋 Which ghibli movies or characters best suit different jjk characters? Mention non ghibli anime too if u want :D include the heartbreaking film - grave of the fireflies if you have seen it. Gotta sleep bye!! Have a nice day 😁

hi toruuuu :333 thank you for the question!!! I LOVE STUDIO GHIBLI SOOOOO MUCH i actually haven’t watched grave of the fireflies tho 😭😭 i’m most familiar w the miyazaki movies but i’ll include some others for this question too !! most of these are entirely vibe-based LMAO

satoru - howl’s moving castle

do i even need to say it ???? gojo is howl. howl is gojo. they’re soooo similar and this movie in general just reminds me of him sm :(((( i think he’d love it a lot!!! the star motifs, the war, the breakfast and kindness in sophie’s found family…… howl who is so strong and out of reach. who views himself as a monster. but he finds love in so many ways and he gives love to so many people….. sob. he makes me so emotional. he’s also a pathetic loser which is very gojocoded <3333

suguru - spirited away

I HAD TO PICK IT . I HAD TO. throwback to my childhood friend!sugu and his queer awakening being haku LMAO……. i just think this movie is so unbelievably sugucoded with all the yōkai and ominous vibes…. but then also those little bits and pieces of family as a theme :3 obv he reminds me a lot of haku. with the dragon form and everything… the devotion….. think sugu would love this movie a ton and i think nanamimi would adore it. they force him to watch it all the time hehe

shoko - castle in the sky

CHOOSING ONE FOR SHOKO WAS TOUGHHH but eventually i landed here ….. this one is entirely vibe-based but. just. the plot…. the pirates and planes and high-speed chase scenes and the castle in the sky with all its advanced technology….. especially the castle. the robots!!!! the retrofuturistic style in general is soooo shoko…. and obviously the war themes but that’s kind of a given for any of miyazaki’s works. honestly i think porco rosso is very very shokocoded too but i had to give that to another one of my blorbos….. this movie just makes me feel so nostalgic and i think the themes fit shoko a ton :3

honourable mention to the ghibli lupin movie that i Have Not Seen but i just KNOW shoko would love it. trust. anything detective/phantom thief based makes me think of her

kenny - the boy and the heron / nausicaä of the valley of the wind

I COULDN’T DECIDE 💔 nausicaä was another big contender for shoko’s movie but i just think it’s too weird and freaky to give to anyone but kenny. that movie TRAUMATIZED me as a child. and i think kenny would love it. also just???? the creepy bugs????? nature vs humanity?????? those themes feel so kenny. he’d like the protag a lot i think!!

as for the boy and the heron…. it’s just Vibes. the heron reminds me of kenny!! and i think he’d love the movie a lot…. the depictions of war and the fantasy world, the blend between comedy and violence….. i just feel like there’s such a strong contrast between the bleak realism and the colourful fantasy elements. and that makes me think of kenny!!! i want to watch this movie w him so BAD bro i know his commentary would be the best 😔😔

toji - porco rosso

IT FITS HIM SO WELL. I FEEL INSANE. porco rosso is one of my Absolute Favorite ghibli movies andddd i think toji would love it / it’s just so Him!!!! porco rosso is genuinely him. a literal pig who smokes cigars and flies jet planes….. this movie is so special to me and it’s just giving toji vibes :3 the cigarettes and planes and beautiful gorgeous women…. the macho men. etcetc. but also the grief and the tender scenes….. i’ll never forget that One scene with all the planes of the people who died ascending up into the sky :(((( yeah. this movie is so good and so underrated and i think toji would love it sooooo damn bad

nobara - whisper of the heart / the cat returns

had to give my best girl the best movie <333 being whisper of the heart. but since the cat returns is connected to it and also very nobaracoded i thought i’d go with both!!!! the cat returns is just so funnnn and since nobara is a cat person i think it’s perfect for her!! i can imagine her watching it as a kid and having a crush on both the protag AND the baron lmao. she watches it for comfort now n then <33

and whisper of the heart…. my favorite ghibli movie Of All Time <333 it’s sooo nostalgic and coming-of-age as a genre is very Her. there are so many fun lovely scenes that i think noba would like :((( idk if she’d actually like romance movies bUT. shizuku’s journey with writing and growing up and finding more control in her life feels very nobara. she’s true to herself!!!! i think nobara would hateeee seiji tho rip to him 💀💀 these movies just bring me soooo much comfort and nobara does too <333

megumi - ponyo

THIS ONE IS JUST SO. yeah. the nature themes?? the sea???? the fishes?????? everything is so megumi i could see him loving this movie soso much :(((( he’s embarrassed to admit it but it’s his comfort movie. he loves the scene w the ramen…. idk the vibes here are just very gumi. again!!! the sea!!!! the sea rising to the surface!!!!!! all the underwater scenes are so vibrant and pretty….. ALSO THE ABSENT FATHERISM? yeah. megumi is ponyocoded. he loves it so much <33 watches it with yuji and nobara and feels so cozy. baby boy.

mai - kiki’s delivery service

you know i had to give this one to her <333 momo and miwa and her watch it for sure. ANOTHER one of my Absolute Favs btw and it’s just!! yeah. it’s mai. what can i say. the witches and cats and also just the whole theme of being thrust into a completely new environment??? having to adjust???? and the difficulty kiki has with that…. her eventual burnout :(((( it just reminds me a bit of mai’s life. i think she’d love to run away to a completely different country… find a place where she feels wanted and loved. sniffle. i love this girl w all my heart :(((( i like to think that her and maki watched this one as kids…. maki likes the more action-leaning ghibli movies more but she would watch it to make mai happy. i love them.

takaba - pompoko

aaaand finally!!!! a silly movie for a silly meowmeow :3 NO BUT ACTUALLY THOUGHH CAN WE PLS TALK ABOUT THIS MOVIE . I’M NOT THE ONLY ONE WHO LOVES IT RIGHT…. it’s just so funny and sooooo weird but also soso heartfelt and that’s takaba down to a tee!!! the japanese mythology elements made me think of kenny too….. this movie is both kenny and takaba coded i think. they’d both love it. BUT YEAH I JUST THINK THIS MOVIE IS VERY HIM…. the tanukis and their lil adventures :3 but also the spooky scenes. and the struggles they face!! when humans destroy their homes!!!! takaba would watch this movie and he would cry. sweet sweet puppy of a man.

#THANK YOUUU FOR THE FUN QUESTION <333 #it’s been a while since i watched some of these but i love them very much :3 #ask tag ✩

7 notes · View notes

hubristicassholefight · 1 year ago

Text

Swordswoman Showdown Round 1 Part 4

Adora (She-Ra and the Princesses of Power) vs Youmu Konpaku (Touhou Project)

(Better here in a "preferred character" sense, not "who would win in a fight")

Propaganda below cut

Adora

She has a big magical sword for her magical destiny that gives her a magical girl transformation, I love my girl and I love her awesome sword;

Okay TECHNICALLY she is a multi-weapon user since her sword transforms but its usually a sword. Also it is magic and gives her the power to turn into an 8ft magical girl <3; Lesbian magical girl who in addition to being a literal lesbian in canon is also a parable for being queer and breaking free of religious indoctrination <3 She just kicks all the ass okay I love her I'm only on S2 I'm sure someone else who's watched the whole thing will submit her with better propaganda

FOR THE HONOR OF GRAY SKULL *cool music plays, she's got a transformation* and now she's a legendary warrior that defeats the bad guys!!!

Giant technological sword gives adora magic powers and can turn into anything she needs while being She-ra

she is a HUGE sword nerd. her introduction basically has her info-dumping on rare swords and being adorable. also a little pathetic but she’s trying her best and she deserves the world (and also a win)

Has a magical sword that gives her magic powers; Has a magical sword that gives her magic powers

Youmu

One of her swords can cut through confusion and her other sword can send spirits straight to heaven; She's also half human and half ghost (and half baked :P)

shes got two of them actually, a katana (roukanken) and a wakizashi (hakurouken); frankly i expect she's been submitted already, but in case the touhou fans are asleep i must submit our collective favorite myon for us. please vote for her she is trying her best

She's a half-human half-ghost that comes from a long line of sword wielders. Youmu actually has two blades. The first is Roukanken, which has the ability to cut through ten ghosts at once. Her other sword named Hakurouken, and it can slice through confusion itself.

The things her blade Roukanken, forged by youkai, cannot cut are next to nothing! Also she offhands a wakizashi and when she isn't cutting bullets to make more bullets she's using her swords to garden.

#adora #she ra and the princesses of power #youmu konpaku #touhou #swordswoman showdown #official #round 1 #poll

35 notes · View notes

rahilask · 10 months ago

Text

Casino Big Wins: Triumphs and Tales of Fortunes Won

Introduction

Casino Big Wins: What sets hearts racing, palms sweating, and adrenaline pumping more than the thrill of hitting it big at a casino? In this article, we delve deep into the realm of Casino Big Wins, exploring the excitement, strategies, and stories behind these monumental moments.

Factors Contributing to Big Wins

Luck vs. Skill: What Matters Most? Casino games often walk the tightrope between chance and skill. While luck undoubtedly plays a significant role in securing big wins, strategic gameplay can tilt the odds in your favor. We'll explore the delicate balance between luck and skill in pursuit of Casino Big Wins.

Strategies for Maximizing Wins From mastering the art of bluffing in poker to employing progressive betting systems in blackjack, various strategies can enhance your chances of scoring big at the casino. We'll uncover these strategies and provide insights into their effectiveness.

Popular Games for Big Wins

Slot Machines: The Allure of Jackpots With their flashing lights and enticing sound effects, slot machines beckon players with the promise of life-changing jackpots. We'll delve into the world of slots, examining the mechanics behind jackpot payouts and sharing tips for spinning your way to success.

Table Games: High Stakes, High Rewards For those seeking a more strategic challenge, table games offer ample opportunities for big wins. Whether it's the thrill of roulette, the strategic depth of blackjack, or the anticipation of a winning hand in poker, table games provide a diverse landscape for pursuing Casino Big Wins.

Real-Life Big Win Stories

Tales of Fortune: Memorable Wins Behind every big win lies a captivating story. From hitting the jackpot on a progressive slot to outplaying opponents in a high-stakes poker tournament, we'll showcase real-life tales of casino triumph that will leave you inspired and awestruck.

Overcoming Odds: Inspirational Stories In the face of adversity, some players defy the odds to achieve remarkable victories. We'll share stories of perseverance, resilience, and sheer determination, highlighting the human spirit's triumph in the pursuit of Casino Big Wins.

Tips for Increasing Win Potential

Bankroll Management: Playing it Smart Effective bankroll management is crucial for sustaining success in the casino world. We'll offer practical tips for managing your funds wisely, ensuring that you can weather both winning streaks and losing spells without derailing your gameplay.

Capitalizing on Bonuses and Promotions Casinos often entice players with enticing bonuses and promotions, ranging from welcome offers to loyalty rewards. We'll reveal insider tips for leveraging these bonuses to maximize your win potential while minimizing risk.

Responsible Gambling Practices

Knowing When to Stop: Setting Limits While the allure of big wins can be irresistible, responsible gambling entails knowing when to step away from the table. We'll discuss the importance of setting limits, recognizing signs of problem gambling, and seeking help when needed.

Seeking Support: Resources for Problem Gambling For those struggling with compulsive gambling behaviors, support is available. We'll provide a comprehensive list of resources, including helplines, support groups, and counseling services, to assist individuals in overcoming gambling addiction and reclaiming control of their lives.

The Future of Big Wins in Casinos

Technological Advancements and Their Impact As technology continues to advance, the landscape of casino gaming is undergoing rapid transformation. We'll explore emerging trends such as virtual reality casinos, blockchain-powered gaming platforms, and AI-driven predictive analytics, offering a glimpse into the future of Casino Big Wins.

Evolving Trends: What's Next in Casino Big Wins? From the rise of skill-based gaming to the integration of cryptocurrency payments, the casino industry is evolving to meet the changing preferences of players. We'll forecast upcoming trends and innovations that are poised to shape the future of Casino Big Wins.

Conclusion

In conclusion, Casino Big Wins embody the essence of excitement, anticipation, and triumph that define the allure of casino gaming. Whether through strategic gameplay, sheer luck, or sheer determination, these monumental moments capture the imagination and inspire players worldwide. As we navigate the ever-changing landscape of the casino industry, one thing remains certain: the thrill of chasing that elusive big win will continue to captivate hearts and minds for generations to come.

#gaming

10 notes · View notes

lhostgil · 2 years ago

Text

I do sometimes wonder...

How long will it take before people realise that Kurt’s development and story during the Krakoa era of X-Books is fairly heavy-handed with its references with regard to the Prometheus mythos and relevant themes by extension. In fact, the whole of the Krakoa era (in particular, the Destiny of X arc, more or less follows the overarching classical Greek literature themes of Fate vs Destiny, Foresight vs Forethought.)

Without going in depth--

Prometheus in classical literature and mythology is the Titan God of forethought and crafty counsel; a figure considered to be a culture hero, and trickster in Greek mythology. Known as a champion of mankind/humanity for becoming a traitor to his fellow god-kin by gifting the spark of fire (that is stated to be the fire of creative power--knowledge in the form of civilisation, technology, the human arts and sciences; aka “human ingenuity”) to humans so that they may defy fate and surpass the gods. Further to that, his story is tied to Pandora’s box (unleashing of sorrows + suffering upon the world) and the spirit of Hope (“Elpis”); in fact, to some degree, Prometheus is seen (by extension) to be an ‘evil god’ for that -- blamed as the individual who caused blind hopes to live in the hearts of man.

Kurt’s name literally means: “Bold/wise counsel” (following the Germanic roots of the word), it also means “wolf” (following the Turkic roots of the word). I don’t think it needs to be further explained on Kurt being a champion of humanity; many events in the comics display that, and the Judgment Day event speaks for itself. But the most damning of all I feel--isn’t that the philosophy (not religion; there is a very marked difference that people seem to enjoy brushing aside) he came up with in comics is literally named “The Spark”.

It’s that his home in Krakoa; the forked towers, is named the Narthex.

In myth, Prometheus stole the spark of fire belonging to the gods in a hollow fennel; an item that carries the name Narthex--a Classical Greek word that the English language borrowed, and gave a definition that obliterated its original meaning.

The original meaning of Narthex, “giant fennel” had further derived meanings such as: an object that functioned as a schoolmaster’s cane and/or a singlestick for military exercise, as well as a splint for a broken limb. The term was also used to mean a container for medicated balm/ointment; thus appearing in medical works.

Now all most people know of the word is that its a term for a part of church architecture.

#Xmen #nightcrawler #Kurt Wagner #x-men comics #x-men

40 notes · View notes

warningsine · 2 years ago

Text

Hazuki Izumi (Reno Komine) stands on the edge of a rooftop looking out at the city beneath her. A clutter of competing architecture styles and buildings at various points of development: scaffolding, newly-built, maturing, declining, abandoned, condemned. Traffic lights glow, cars drone, and roads curve. A web of powerlines connects every part of the city. Hazuki is deep in thought, contemplating something or other, almost as if she’s listening to something we can’t quite hear. Her friend Mao (Shinsuke Aoki) notices the rooftop figure and approaches her as he becomes concerned that she might jump.

This scene takes place in August in the Water (1995) but variations of it can be found in a number of Japanese films and anime of the late 1990s to early 2000s. At the time of release these films and series belonged to different genres and production cycles yet retrospectively we can identify a fascinating pattern of imagery, themes, characters and even locations that recur to form an enigmatic genre called denpa. Little has been written about it in English, so allow me to venture forward.

‘Denpa’ is a Japanese word that means electromagnetic wave or radio wave. Within the genre, characters tune into these waves and feel their effects: they sense things, hear voices and see spectres, indeed the stories of Chiaki J. Konaka begin this way, including his Lovecraft-inspired psychological horror Serial Experiments Lain (1998) and Marebito (2004). The characters are susceptible to the waves due to alienation caused by their oppressive surroundings which is depicted through a distinct, industrial aesthetic: antennas, chain link fences, telephone poles, a web of powerlines across the sky, trains, manholes and sewers, grainy and distorted footage, a muted colour palette. This imagery reoccurs across denpa fiction, from the visionary anime of Satoshi Kon (Perfect Blue 1997, Paranoia Agent 2004) to the live-action poetry Shunji Iwai crafts out of adolescent cruelty (Picnic 1996, All About Lily Chou-Chou, 2001).

These bleak,alienated urban settings raise questions of tradition vs modernisation, mass-communication and a critical look at new technologies. Denpa situates these themes amongst references to folklore and the paranormal such as ESP, hauntings, aliens and spirits a combination explored by both the cult horror favourite Boogiepop Phantom (2000) and influential franchise starter Ring (1998). These supernatural beings are known to inhabit different realms and through electromagnetic waves these beings can cross over to our world, and humans can cross over to their worlds. The blurred lines between these spaces are illustrated with surreal imagery and experimental filmmaking. Such creative innovation can be found in the surreal psychological torment of Hideaki Anno (Neon Genesis Evangelion 1995-7, Love & Pop 1998, Ritual 2000) and in the breath-taking urban dreamscapes woven by Gakuryu Ishii (August in The Water, 1993’s Tokyo Blood). Within this cocktail of urban alienation and supernatural forces are plot points such as rumours, conspiracy, mental illness, and delusion often with cosmic and apocalyptic consequences, best embodied by the hypnotic horror of Kiyoshi Kurosawa (Cure 1997, Pulse 2001).

So far, denpa has only appeared as a loosely defined genre label on English-language databases for anime and videogames, on the occasional blog post, a handful of letterboxd lists and one lone essay [1]. It is at once both recognisable yet hard to define. I understand it on an emotional level, I can identify it as a vibe, yet I want to tease out the details and define it in more concrete terms: what makes something ‘denpa’?

The genre derives from ‘denpa-san’ or ‘denpa-kei’ a name for a type of person that emerged in the late 20th century. Think of denpa-san as analogous to ‘tin foil hatter’ – someone vulnerable to paranoia, conspiracy theories and delusions hoping that the foil will block out those invasive electromagnetic waves. Or maybe they’re already at their mercy, following instructions heard via the waves and doing unsavoury or even dangerous things. The term initially hit the mainstream consciousness in association with the 1981 ‘Fukugawa Street Murders’ where a 29-year-old man indiscriminately stabbed passers-by, killing several people and injuring more. The highly-publicised trial hinged on the controversial defence of insanity: the perpetrator argued that they were driven to murder after years of torment from electromagnetic waves [2]. Over time the term expanded to become associated with creepy, unpopular people in general, those on the fringes of society with unusual quirks and obsessions.

It is here that the term overlaps with another: ‘otaku’. A social outcast who obsesses over a hobby to the detriment of their social life. Think ‘geek’ but usually uttered with more contempt. Otaku is typically associated with anime, but contrary to popular belief can be about many subjects from videogames to cars. What ties them together is the negative effect it has on the self. Much like denpa, the term otaku gained traction in association with a horrific crime; in the 1990s it was elevated from merely a pejorative label to the centre of a moral panic in relation to the years-long trial of a serial killer nicknamed by the media as ‘the otaku killer’ for his extensive video collection of pornography and horror films [3]. In the years since, the collective otaku have shaken off the worst of these associations and become a phenomenon as they developed a distinct culture and became a major economic force that has been embraced by the media they obsess over. On the darker end of the subculture some favour the fantasy world of their hobby over the real world and get lost in it, which in itself has become a common denpa narrative with an iconic example being the idol otaku in Perfect Blue.

Critics ascribe the emergence of denpa-san and otaku to society at the time. The Japanese economic bubble burst in 1991 and the decade that followed became known as ‘The Lost Decade’. The population faced a recession which stunted young people as they came of working age. And yet Japan was known on the global stage to be at the forefront of home electronics and new technology. This was in tension with traditions of the past and complicated their national identity as new cultural connotations outpaced traditional ones posing the question: can an old culture survive as a new one emerges?

The development of these new technologies also introduced new issues as they quickly became part of everyday life. Camcorders in every hand, phones in every pocket, so easy to use that soon everyone had one without knowing how they really worked. Life was changing as there was now constant recording, growing access and intimate conversations were now held not in person but via phones and on internet forums. As people became increasingly reliant on these technologies, people began to wonder, what is the existential cost of these new conveniences?

From moral-panics and national identity crises to new technologies denpa fiction responds to this new cultural landscape.

The war between tradition and modernization often forms the backdrop of denpa fiction in urban spaces where a dedicated few keep old customs alive, while others push on for progress. Gakuryu Ishii (previously known as Sogo Ishii) depicts the tension of this conflict well in August in the Water where participants of the centuries-old festival in Hakata pulse through the city in historical costumes with traditional matsuri floats surrounded by modern buildings and stopped traffic; Ishii finds strange beauty in the cityscapes that engulf and imprison his characters. Investigations lead Detective Takabe (Koji Yakusho) in Cure to abandoned buildings and disused factories which signal the failure of a once-promising industry. In Love & Pop and Tokyo Blood, supporting characters are construction workers who signify this changing landscape as they meet on noisy building sites that are the eyesore we must endure for another dubious future.

The rooftop is a recurring location for these films. It can be a place for a clandestine conversation with a confidante, or a place for solo contemplation. The sight of a lone person on a rooftop can be startling to passers-by: the threat of suicide looms and in denpa often does happen. Cinematographically speaking it’s an opportunity to view an urban vista: the buildings, antennas and powerlines that populate the skyline. Again and again characters are drawn to the rooftop where they can get the clearest signal to the electromagnetic waves that mesmerise and influence them.

Alternatively, the clearest signal can be found by going right to the source. In Serial Experiments Lain we meet Lain’s father (Ryusuke Obayashi) at his impressive 6 monitor desktop and over the course of the series Lain’s (Kaori Shimizu) simple computer set-up evolves to be larger and larger. A soundscape is built from keyboard tapping, mouse clicking and monitors gently beeping. Denpa characters are often found hunched over a desk or workstation in the dark, the only light source being the glow of a screen or the small bulbs of a switchboard that gently whir as a pen scratches while detailed notes are being made. It’s an image with unhealthy connotations indicating obsession and someone losing touch with the outside world. In Boogiepop Phantom, the deskbound character is a videogame otaku finding solace in a fictional fantasy world. In Cure they’re a detective and in Ring a journalist whose respective investigations turn fanatical as they uncover disturbing histories. In each instance the foundations of their worldview will soon be shaken and their mental health questioned as conspiracies and paranormal explanations become more and more likely. Are the characters’ paranoid, or are they seeing things clearly for the first time?

These paranoid thoughts or deteriorating mental states are often heard through voice-over narration. Depending on the film the voice-over could be the trademark psychological introspection of Neon Genesis Evangelion, or the expansive philosophical musings of August in the Water or even the sinister and somewhat incoherent rambling of Marebito. Though superficially different, what they share is a painfully personal and poetic type of soliloquy.

Alongside narration, different psychological states are expressed through surreal imagery and experimental filmmaking, which often leads to a striking use of mixed-media with live-action moments in anime. In Boogiepop Phantom, a drug-addled videogame otaku experiences visions which are depicted by heavily edited live-action footage in a break from the traditional animation of the series. In Serial Experiments Lain there are animated character figures over live-action backgrounds which has the uncanny effect of blurring the lines between the different worlds that Lain traverses. In the case of Neon Genesis Evangelion: End of Evangelion, the sequence of live-action footage breaks the diegetic barrier between the text and audience, seeming to directly address not only the delusions of its’ characters but its own otaku fandom.

This subtle sense of self-awareness can be seen in the eerie experience of watching characters watching screens. Frames within frames or looking at a picture within a picture, voyeurism becomes infinite. New technologies allow people to see people through a thick glass lens or a pixelated screen. Distant yet paradoxically seeing each other more intimately than ever. In Perfect Blue this newfound intimacy fuels the obsessions and delusions of both Mima and her otaku fan.

The spectre of denpa is not limited to Japan. The same themes and same motifs can be found in English-language films from around the same time. There is Donnie Darko (2001), Richard Kelly’s film about a schizophrenic teenager who is told to commit crimes by a phantom in a rabbit suit and whose survival of a near-death-experience has apocalyptic consequences. You can find denpa in the films of M. Night Shyamalan: from the delusion of Bruce Willis in The Sixth Sense (1999), to the haunting image of mass rooftop suicides in The Happening (2008) and to the potent mix of aliens and religion in Signs (2002). Even in the music video of Eminem’s Stan (2000)– in which a disturbed otaku hunches over a desk under a perpetual raincloud. When I recognise denpa motifs in films made outside Japan, I begin to think of denpa less as a genre and more as a zeitgeist. A restless, nihilistic gen x moan of exasperation. That feeling of living in The Matrix (1999); groaning at the end of the century and looking to the new one with only pessimism. Yes, there are new technologies but there are as many negative possible outcomes as there are positive ones. It seems inevitable that people will succumb to their worst impulses.

#August in The Water #denpa #cinema #anime #q

28 notes · View notes

helmarok · 2 years ago

Note

me & my friendgroup were hoping ganon would get more backstory and humanization in totk for the entire time since the sequel was announced :( the idea that he might get revived was so exciting. i didnt think it would happen but i hoped for a sequel where youd switch between link and zelda at different points- zelda being more lore and archaeology/exploration focused so youd learn more about ganon and the events causing the calamity and how to stop future ones as you also tried to understand why he was so enraged and what exactly happened to him and link engaging in direct dialogue and confrontation with ganon so the player can see his pain and character depth. the game wouldve been more about defeating the calamity possessing him vs ganon himself being bad and acknowledging that hyrule never really tried that route which lead to the constant devastation...sorry for rambling but tldr i feel you 🫡 ur ganons strongest soldier

literally this entire ask. i don't know why i had my hopes up cuz now i'm disappointed over something that was gonna happen anyways... i just wish that after throwing in the excuse of "oh well we use the same formula over and over because DEMISE'S CURSE causes hatred to reincarnate!" they actually built upon that, but they only focus on how the curse affects the chosen hero and zelda. like they never actually go into how the curse affects the man who is born asab (assigned satan at birth 😢)

heres what i think under the cut if youre interested, it's kind of a long story so whatever

my personal hesdcanon completely and totally disregarding anything totk says is that hylia chose ganondorf to be her hero. she chose him and the 'calamity' wasn't actually ganondorf himself based on the more lizard-like appearance of it in the tapestry: it was demise, hence the reason why it not only took a hero and princess but the divine beasts as well.

based on his outfit in the original trailer, i think he was invited to the castle. but while he went dressed his best, it was a trap. throughout his time as hero the kingdom questioned it because of their awful history. after defeating the calamity, ganon was invited for dinner and was betrayed. being poisoned by people he loves and cared about who he thought cared about him but their generational hatred just... led to this.

it broke his heart when they broke his trust because the male gerudo 'king of evil' could never be our chosen hero, the symbol of courage in the kingdom. he's the bad guy, and always will be even if it's a different man from the one in OOT and TP entirely. his broken heart turned into anger and rage while he was coughing and dying at the table as people he cared for watched it happen. his eyes turned red, his mane and tusks grew and his triforce shined. when he tried to grab the sword it burned his hand. hatred took over and changed him- keep in mind that demise's entire being relies on the existence of hatred. with so much hate in his heart the demon was able to grab ahold of it and use that as a second chance to win.

nobody could stop him but the princess, who did with hylia's help. his body and spirit was sealed under the castle before it got too bad. but over time, the betrayal ganon felt had 10k years to brew and demise used it to his advantage. ganon's hurt combined with demise's raw energy- malice- created what we see in botw as that ugly beast calamity ganon.

now here's my favorite part! everyone had to have wondered why the fuck hylia wasn't willing to help zelda this time around when zelda was unable to use the powers in her blood that her mom could use, and hylia never bothered to help her awaken them. well the reason for this is because hylia felt betrayed by her people. her people were so full of hatred that they tried to murder the hero SHE chose! not only that, but after ganon's murder, the sheikah strongly opposed, which led to what you can see in the tapestry- sheikah being pushed by guards, and then the game tells us their technology was destroyed and sealed away.

as punishment for the problems her children were causing, she decided to abandon them. they would get no help from her. no prayers would be answered, no assistance with light magic- they were on their own now. there wouldn't even be a chosen hero- link was actually chosen by fi when fi knew a hero had to come but hylia wasn't going to bother.

hylia only decided to step up after she felt sorry for zelda. when zelda prayed and begged her she ignored her until the hero died and she felt her child's pain. she finally decided to be a mom and make zelda's powers fucking explode. zelda walked into that castle and sealed the demon the best she could without the assistance of a hero. from then on after a hundred years, hyrule basically accepted the flying boar demon cloud over the castle as part of their life along with corrupted guardians and such.

basically i think ganon's story was about hatred and betrayal and that the reason calamity ganon is so insanely powerful, and the reason he takes on a more demonic form not made of flesh but physical hatred, is because of how much it hurt him. he is hurt and hatred took advantage of that.

demise's easy control of ganondorf is kind of a nod at how you'll see that hurt people can often get easily taken over by hatred. a wife who is cheated on might kill her husband. a trans man who has suffered his whole life might bully trans men who are happy. a victim of misogynistic culture might be manipulated by others into becoming a terf. it's sad how easily hate can take over hurt people.

for the hylians, it's how for generations their kingdom was destroyed by a ganon, so they can't think of him as anything other than a threat even if he is a good man.

so yeah, there's my ganondorf take. he's just some guy who is stuck in a cycle and i wish nintendo would stop acting like hyrule is a perfect kingdom and the royal family has no flaws because theyre the Goddess Children when time and time again there's been hints in the games at their treatment of others, especially the sheikah. basically what i want is for them to give their special little good guys and special little race of blue eyed bitches some more depth instead of just being like "theyre good and nothing more because they're the Good Guys so they can't do anything wrong and opposers like ganon are the Bad Guys". cuz it's 2023 and we deserve more advanced stories than "hero and princess defeat the big bad evil and save the day!"

#askbox #anon #totk #totk spoilers #totk neg #ganondorf #tloz

25 notes · View notes

do-you-have-a-flag · 1 year ago

Text

upon finally rewatching the third matrix film what bothers me the most isn’t any of the general flaws so much as the thematic choice to lean sooooo heavily into messianic imagery and language with Neo

like sure he was always “the one” but a part of that whole thing got sort played around with the concept of determinism vs free will and rigid structures of control versus faith and evolution and rebellion of the human spirit and binary thinking versus an almost technological transcendentalism, like there’s been a lot said about it because it is a fun sort of sandbox of concepts set up early on and explored throughout

but while i do like the blurring between machine and program and mankind, the co-operation and peace through a common threat of essentially complete existential erasure, ect.... opening the franchise with a cyberpunk anarchic attitude against invisible systems of control and then ending it with the kind of specificity of religious language that draws from what has historically also been a system of control is maybe the least interesting option

and it’s interesting cause it’s not like spirituality isn’t present in the franchise as a whole or that religious symbolism doesn’t make aesthetic sense to utilise. but it felt so messy in the third film compared to other elements and i feel like i should read up more on the production history because while i don’t mind inconsistencies in a series i at least expect the vibe to be consistent.

13 notes · View notes

kitkatt0430 · 10 months ago

Text

Rewatching SG-1 has reminded me of a Tales of Symphonia xOver idea I had that I'd still like to write.

It'd ignore the Tales of Symphonia sequel, so no Dawn of the New World stuff going on here. Instead, a few years post Tales of Symphonia and the reunification of the two world of Sylvarant and Tethe'alla into the single world of Aselia, an archeological dig in Tethe'alla discovers an outpost in the mountains that predates the Kharlan War and the civilizations involved by thousands of years.

It's not ancient Elven technology from their migration to the world from space either and likely predates even that long ago event - and the Elves are related to the Nox, though whether that comes up or not... at least it's world building, right? I considered the Ancients... but I like the Nox better for this. Anywho, the current Elves are an offshoot of the Nox who've lost their history and had somewhat divergent evolution from being on a completely different planet from the other Nox for so long.

It's Ancient technology, but with the Elves having forgotten their history they can't identify it anymore than the human and half-elven historians or archaeologists can. They've even consulted the Summon Spirits, but if they know then they aren't telling. And they do seem to know something.

Seles is fascinated. She's gotten interested in archaeology - Zelos blames Raine, who of course wouldn't see why being interested in old stuff would be so boring to him. But Zelos is trying to be supportive so he's shown up at the dig site.

There's a giant stone circle inside and that Zelos does find interesting. Its made up of a foreign material similar to exspheres, but it's clearly refined the same way exspheres were. While it's still somehow being powered - though they've yet to successfully activate it - it's clear the power source is external and stored in capacitors, not imbued with the power of a human life sacrificed to it's production.

That's when an offworld activation occurs and a Goa'uld and his army shows up. Zelos manages to hide Seles, but then he and two others are 'selected' similar to how Sha're and Skara are in the episode Children of the Gods.

On another world now, Zelos manages to befriend one of the Jaffa guards. Not enough to be snuck out, but enough that Zelos is pretty sure he's not going to get killed by this guy when things inevitably get worse. A selection is going on and, as Mekel explains, the Goa'uld - gods, but not really and isn't that a familiar situation for Zelos to be in? - are selecting new hosts. They're parasites. And that's when Zelos realizes he's in more trouble than he realized.

And so is Mekel and anyone else if Zelos gets 'Chosen'. The Chappa'ai (Stargate) is made of the similar-to-exspheres element. And so is the tech the Jaffa use - and thus the Goa'uld use. And, according to Mekel, the Goa'uld and Jaffa have that element - naquadah - in their blood stream. It's similar enough to exspheres that just being surrounded by so much of it makes Zelos able to feel his now-dormant powers again (dormant ever since he stopped using his angelus crystal) but not enough to actually use those powers.

He's pretty sure if he gets possessed? Those powers will be back and in the control of a wannabe god. Not good.

Mekel is not thrilled to learn this either. He may believe the Goa'uld are false gods, but they're still ridiculously powerful. Giving even one of them more power??? Could only be a bad thing. He's not sure he believes this isn't a ploy on Zelos' part to try and get away safely, but he does like Zelos now so... he decides to help Zelos escape. In doing so they discover a Tok'ra prisoner and after a short explanation about the Tok'ra vs Goa'uld divide, they decide to take him along.

The three of them jump a few planets and Zelos laments that he doesn't know his own world's address to go home. They'd be safe there. Though he's also hoping that they've somehow disabled the gate to prevent further incursions, though he knows Lloyd will be beyond pissed if the King chooses to abandon Zelos and the others to their fate that way.

They realize they didn't get away clean when an Ashrak injures the Tok'ra - Jeren and... I admit I don't have a name for his host in mind yet. They're too badly injured. Jeren could survive in a new host, but it's too late for his current one. Mekel refuses to become a Tok'ra host. If there were a way for him to be free of his symbiote without dying, he'd take it in a heartbeat... except for this. Which Jeren assures Mekel that he understands.

Zelos volunteers. He's come to trust Jeren and he knows the information Jeren seeks to take to the Tok'ra is important. It's just temporary, after all. Until a new host can be found, anyway.

As Zelos suspected, being bonded with Jeren revives his old exsphere/angelus crystal granted powers. He can't bring out his wings, but he's able to call on Judgement and some of his other high-level spells. And when the Ashrak strikes again, the three of them are able to kill the Goa'uld assassin this time.

But even with Zelos' healing powers restored, he never had Raine's gift for Resurrection and so Jeren's previous host is too far gone even for Zelos to heal even now. At least with the Ashrak dead, the man is avenged and they're able to safely seek out the current Tok'ra safe house by contacting another Tok'ra spy who knows where to send them.

The Tok'ra are fascinated by Zelos' powers but also relieved its not something they can replicate. Because if they can't, the Goa'uld can't either. And unfortunately the Tok'ra don't have a way to send Zelos home yet because they don't have the address to his world either.

When a new guy volunteers to become Jeren's host, Zelos decides he likes the partnership and stays Jeren's host after all. Mekel offers his services to the Tok'ra specifically to protect Zelos and Jeren. If the Goa'uld became aware of Zelos' powers, they'd seek to capture him and remove Jeren in order to take his body for themselves.

A few years later, Egeria is discovered and Zelos is brought in to try and use his unusual powers to heal her. He's met SG-1 once or twice before and Mekel and Teal'c have a mutual respect for each other going on. Zelos does manage to heal Egeria enough to stabilize her for travel, but she needs the care of her people going forward - she needs a host. But doing so meant revealing his abilities to SG-1.

Egeria fixes the flaws in Tretonin and Mekel jumps at the chance to try it. And after talking things over with SG-1, Zelos and Jeren tell Mekel they want to request they be assigned as a sort of permanent liaison to the SGC. Mekel likes this idea so they go through with it. Jacob and Selmak think it'll be a great fit.

Admittedly my ideas for this verse skip around a bit. Zelos, Jeren, and Mekel verses an Ori Prior would be very interesting to see happen. At some point they'd make contact with Aselia and Zelos is able to see his sister and friends again. Also... Lloyd and Colette kicking Ori ass with their angel powers, as some of the few still utilizing angelus crystals, would be a great deal of fun.

#stargate sg-1 #tales of symphonia #fanfiction #fic ideas #xover fanfic #zelos wilder #original characters

2 notes · View notes