#suggests he thought it through and was then fully committed to said bloodshed

[sketching-shark]

You know, I feel like one important thing that’s barely ever mentioned about Sun Wukong is how while he very much is a murder monkey who intimidates people into giving him free stuff he also only rarely ever starts the fights he gets into. His battle prowess means that he’s pretty capable of escalating until his opponents either give up or end up dead, but he hardly goes out of his way to throw down. Like just to give a few examples:

His first murder of the Monstrous King of Havoc was committed because this guy was “brutally abusing” SWK’s family, including through kidnapping their children;

While he did indeed steal a lot of immortality-granting treats from heaven, he refused to go to war with heaven until the gods “had broken down the door [to the Mt. Huaguoshan cave], and are about to fight their way in.”

The two times when he encounters a band of robbers, he only kills them after they had repeatedly tried to kill him.

He kills the Six Eared Macaque because he had “dare[d] change into my appearance, take my descendants captive, [and] occupy my immortal cave.”

So the Monkey King is is many ways a selfish and impulsive monkey, but its good to remember that at least in the og classic he’s not going out of his way to start fights, even though he WILL do everything he can to end them in his favor. 

[goblinbugthing]

Righteous Anger — Kirby AU oneshot (plus some canon lore)

(What would’ve happened had Galacta Knight survived the attempted crystallization?)

(Note: While some specific information is canonical, the story itself is not.)

He shuddered. Parts of crystalline soul were stuck to his horns, face, and shoulder. It hurt like hell.

But, he was alive. He was breathing. He wasn’t trapped.

The attempt to crystallize him had failed.

Now, he wasn’t typically a violent person, despite his heritage as a Warrior of the Stars, but by Yacho’o herself, he was not going to let this go without bloodshed. Thankfully, the Laws of Ykka will allow that.

He slowly began to stand. The ensemble stared in shock. Yama growled. “What are you doing, Yonna?! Keep chanting!” she hissed, and the Yonna did as she commanded — they were in no place to deny the High Priestess of Ykka.

Though, they were cut off once again by Galacta Knight’s voice.

“Yama,” he spoke, his tone calm but dripping with rage. “What in the stars do you think you’re doing?” The feathers of his wings puffed up, and his eyes narrowed behind his mask. “Punishing you. You know full well that Soul Crystallization is a forbidden practice, and yet, you still used it. This is simply protocol.”

“Like hell it is,” Galacta barked back. “‘Protocol’? You justify needless murder and call it ‘protocol’, just because I used the magic I was born with?” Yama didn’t respond. This was not going according to plan.

“Alright. Time for Plan B,” she thought, raising her hands in front of her. “Galacta Knight,” she said. Fire began to glow at her fingertips. “You are not to disobey the High Priestess.” “If you fire that, you’ll destroy the Altar,” he responded. “Not a single soul is allowed to even slightly damage it, let alone break it. That especially applies to you, the High Priestess. Unless you want the Divine to smite you, I suggest you lower your hands.” Despite the warnings, Yama stood her ground. Her magic grew brighter, blue flames engulfing her hands. “Galacta Knight, any disobedience of the High Priestess is disobedience of the Ykka, and will not be tolerated by any means,” she hissed. Even behind her veil and hood, Galacta could tell she was bearing her teeth.

“Mhm. And you’re attempting to justify the murder of an innocent person by using Ykkan laws. That is disobedience of the Ykka, and will not be tolerated by any means.”

Yama growled. She knew he was right — she was breaking multiple rules by doing this, but she wanted that star-burning prick dead, and she was willing to do just about anything to ensure she got what she wanted. Her tail and horns began to spark. Any more teases from this bastard, and she would kill him. “Yama, you’re losing your temper — relax,” Galacta Knight said, his tone off; something no one ever heard from him before. “Or don’t. Maybe show your subjects your true personality instead of hiding behind the guise of calmness every waking moment.”

Alright. That was the last straw. Yama’s horns and tail fully set ablaze, and she shot the fireball in her hands directly at Galacta Knight’s heart. Nonchalantly, he opened a rift in front of him, successfully blocking the attack. “Lady Yama, please relax—“ Auberon Knight said from behind her. “You’ll destroy the Holy Altar if you’re not careful!” “Silence, Auberon,” she said through her teeth. Fire grew in her hands once more. Galacta summoned his lance. “Yama,” he began, voice as soft as ever. “By the Law of Ykka, warriors are to dispose of criminal Priests and Priestesses. You, by attempting to crystallize an innocent person and justifying it with lies and loopholes, have committed four crimes against the Ykka. Dishonesty, attempted murder, abusing your power as High Priestess, and leading the masses down paths of falsehoods...” Yama’s eyes narrowed further. Galacta did the same, and took a fighting stance. “You are to be disposed of. Do not resist.”

With that finishing statement, he dove at Yama, jabbing his lance into her chest. He was too quick. She had no time to react. Before she knew it, she was on the ground, blood pouring out of the fresh wound.

Screams erupted from the crowd. Auberon remained still and silent. “W-what—“ they whispered, nothing short of terrified. “Auberon Knight,” Galacta said, turning to look at his old apprentice and friend. “Unfortunately for me, I cannot kill you. You get to live. Though, if you dare forget this day, this hour, this moment, you will regret it.” He turned to the ensemble of terrified dragons, his lance dripping with the deep red blood. “Hear my words. Heed my warning, Yonna. Keep this day within your memory. The Laws of Ykka are not to be defied — we all know very well. So follow them, lest you crave a pierced heart, like hers.”

All remained silent. None spoke a word. Galacta Knight looked to one girl, stood nearby the Altar. “Heoka,” he said. She jumped at the sudden mention of her name. “Would you clean this up for me, please? If you do not mind.” “Y-yes sir!” she said, her voice shaking. She bowed, and then ran to the sleeping quarters to retrieve the necessary equipment. Galacta inhaled deeply, calming himself down. The adrenaline rush he got from his near-death experience as well as the disposal of Yama was far too much for him. He looked to the rest of the crowd, flexing his wings slightly. “The rest of you, prepare the cemetery for Yama’s burial, or assist Heoka in cleaning up. I will take my leave,” he said, turning on his heel after he finished, walking off to his own quarters.

Hara sat on her bed, holding her son gently in her arms. They were both startled by screaming earlier, waking the young boy from his dreams. She hummed quietly, lulling him back to sleep. It helped calm her as well — focusing on the tune and rhythm gave her a distraction from whatever may have happened out there.

There was soon a quiet rapping on the door, a knock Hara recognized as Galacta’s. “Come in,” she said softly, just loud enough for him to hear through the door, but not to the point it would disturb the sleeping Kirby. He carefully opened the door, closing it behind him when he entered. “I heard screaming out there, is everything alright?” Hara asked. Although he was the most powerful Star Warrior in the galaxy, she was still concerned for his safety. She cared about him, quite a bit as well.

“Ah… well, not everything,” he responded. “Yama tried to crystallize me. Star-forsaken fool.” “She what?!” Hara shouted, accidentally disturbing her sleeping son. “Oh, apologies, sweetheart…” “Indeed. She tried, and failed. Lucky me.” “Please tell me you did something about that,” Hara said worriedly, looking towards him and gasping at his condition. “O-oh my stars, what happened to you?!”

He was still partially crystallized, his left horn completely covered in pink crystal, the left side of his face having small gems embedded in his skin. His left shoulder was also damaged, and he was covered in blood. “Like I said, attempted Soul Crystallization,” he said, much too relaxed for someone in his current situation. “I know that, but what— where in the world did the blood come from?! Did— were— what happened?!”

Galacta paused. He was going to have a fun time explaining this. “Well…” he began, choosing his words carefully. “You remember Aiyu? The last High Priest?” “…Yes..?” He swallowed nervously. “I’m sure you know how he passed. Brutal disposal, since he broke the Laws of Ykka. That’s… that’s what happened to Yama.” Hara blinked. “You—?” “Yes. I did. Don’t worry, Hara, none of the blood is mine. Aside from the crystals, I am uninjured.”

Hara stood, quickly walking over to him and fell into his arms. “Oh, thank Yshii you’re alright…” she sighed, burying her face in his hair. He hugged back, although reluctantly. “Hara, careful— I don’t want to get blood on you two!” he chuckled. He was just glad she wasn’t upset — violence was a bit of a subject for Hara. She’d never been a fan of it.

After a few moments of reveling in his touch, Hara backed away with a smile. “Go clean yourself up, dear. I’ll get you a change of clothes,” she said. He nodded. “Thank you, Candy. Make sure Kirby gets to sleep, ‘kay?” “Mhm.”

I had an idea, and it just so happened that it was perfect for a sudden lore drop.

Earlier today, I posted wondering what would happen if Galacta hadn’t been crystallized. Since I had time, I wrote a oneshot of it. It’s not canon — in the actual story, Galacta Knight was successfully crystallized, Hara was exiled, and Kirby was sent off in a Starship. This is a “what if” scenario, not canon to my AU.

Anyway, enjoy your yummy tasty lore and information :}

Questions are welcome and appreciated!!!! I love getting asks and rambling about my stories :}}}}

[n1kolaiz]

"You want to know what death is? I'll tell you. Death is the loss of life. Despite everything doctors like me attempt... a patient's life can still fall through our fingers. You think death lies in the apex of science? Anyone with such little regard for life will die by my hand."

Character Analysis: Yosano Akiko

Age: 25 || Ability: Thou Shalt Not Die

BSD CHAPTER CHAPTER 65-66 SPOILERS

table of contents:

1. Author counterpart.

2. Yosano's history.

3. 'Angel of Death' defined.

4. Yosano and Atsushi.

YOSANO BRAINROT!*(#&!*@#($

1. Author counterpart.

Having been given the “Sho Ho” at birth, Yosano Akiko’s counterpart—the real-life author—was known for her zealous take on both feminism and pacifism.

Side note: Once again, to avoid confusion, I will use the name Sho Ho in reference to the real-life author, and Yosano in reference to the BSD character.

Sho Ho's writings were pretty much out-of-the-ordinary in her time, and despite being suppressed by the social norms of gender hierarchy, she sought to reform society’s view on the cultural perspectives of women and their sexuality (She expressed her love for a woman in one of her poems, but many still argued on whether she identified herself as queer or not.)

"Thou Shalt Not Die," Yosano's ability, is actually named after one of Sho Ho's most famous, controversial poems. She wrote it for her brother, who was a soldier in the war between Russia and Japan (1904-1905). In her poem, she expressed her general distaste for war and how her brother was a part of it.

O my young brother, I cry for you Don't you understand you must not die! You who were born the last of all Command a special store of parents' love

Would parents place a blade in children's hands

Teaching them to murder other men Teaching them to kill and then to die? Have you so learned and grown to twenty-four?

- excerpt from Sho Ho's poem, "Kimi Shinitamou Koto Nakare"

Her words were blunt enough to inflict guilt on her brother's conscience, as she wasn't afraid to express her disapproval over how her brother took part in the typical violent bloodshed and manslaughter of war. Such opinions perturbed the authorities, and her work was eventually banned from the public for a period of time. Later on, it was used as an anti-war statement.

2. Yosano's history.

Now, as for the character in BSD, Yosano is seen to be generally strong-willed, and later on, we see that she is terrifyingly compassionately ambitious in the way she treats her patients. She treasured life itself, and hated the thought of losing a patient.

Yosano had developed her relations with Mori Ougai back in the Great War, when she was just 11 years old. Her ability was a great benefactor in saving lives. Realistically speaking, she was used for her ability to heal injured soldiers and diminish the effect of any casualty acquired.

Initially, she wasn't aware of this, until one of her close friends pointed it out by subtly accusing Mori of manipulating her to participate in the War under the close-to false pretence of 'saving lives.'

As much as her ability did save lives, it also forced soldiers to return to the frontlines and suffer injuries over and over again. The soldiers were never given the opportunity to return to their families because of her ability. This obliged them to carry on in the war without any excuse, inserting them into a vicious cycle they had no escape out of.

Metaphorically speaking, Yosano's hatred for Mori sort of mirrors Sho Ho's disdain for war and fighting, don't you think? The way Kafka materialised Yosano's past was quite interesting because he used chapters 65 and 66 to explain Yosano's dislike for Mori, reflecting how Sho Ho used her poem to explain why she condemned the idea of war and how her brother was part of it.

Before the effect of her ability was fully understood, however, every soldier praised and thanked her for what an angel she was. One of the soldiers she had befriended and gotten close to even kept a tally of the number of times she had saved him. He was the one who gifted her the butterfly hairpin she wore all the time.

The weight of the truth that her ability was a curse rather than a blessing fully dawned on her when her soldier friend ultimately committed suicide, because the fact of being indefinitely trapped in the throes of war agonised him until his spirit gave out. This drove Yosano to loathe her ability, or rather, how it was used.

In the time she participated in the War, Yosano was given the alias 'angel of death' due to the control she retained over the battlefield, but I thought that perhaps Kafka had a reason behind giving her this title, so I did my research.

3. 'Angel of Death' defined.

Side note: I wouldn't want to disrespect any culture or religion, so if my citations are inaccurate and/or disrespectful, do feel free to correct me/let me know! I did research out of pure curiosity, and I don't intend to twist the significance of any of the interpretations.

I had to grow up learning about the basics of religious stuff, so it's kind of nice to study something out of the box, and very much against my father's rigid belief system :D

ARCHANGEL ARIEL

(archangel: an angel of higher rank)

I came across the few characteristics of angels/goddesses and their roles, and the one which really caught my attention was the female archangel, Ariel, the angel of nature.

[ source ]

In Hebrew, the name Ariel means 'altar' or 'lioness of God,' and her role is to heal. In addition to that, she is also recognised as a helper to another one of the seven main archangels, Raphael, whose role is to provide physical and emotional healing, too.

She is the protecter of the environment and the animals therein, and is bestowed with the duty to oversee the order of heavenly bodies as well as earth's natural resources. She assures the sustenance of food, water, shelter, and supplies of human beings, much like how a nurse is to a patient I suppose.

In relation to Yosano, I think this part is pretty self-explanatory, or perhaps this is blown out of proportion HA, so take this as a suggestion rather than a fact, because I'd like to believe that Kafka had a reason for giving Yosano a title as such.

In the past, I've come across the angel of death only to perceive it as a female grim reaper of some sort, so it was pretty cool to find that the word 'angel' and 'death' made up a title of a someone like Ariel, one of the purest forms of humility and compassion.

GREEK GODDESS PANAKEIA

For my beloved (wannabe/or not) students of Greek mythology (much like myself, let's make a cult!), you've probably heard of Panakeia, the goddess of healing. Medicine finds most of its vital significance in Greek history, and in its mythology, Panakeia is actually known for her ability to heal any kind of sickness.

[ source ]

Her name means 'panacea,' which is actually defined as a remedy for all diseases. Terminal diseases and injuries lead to death, right? This would bring us back to Yosano's ability to nullify any injury's effects on a person, keeping them from death itself.

Now, we know that in order for Yosano's ability to work, her patient, or victim, has to be in a near-death condition in order for her treatment to take effect. This can't exactly fit into the description of resurrection, but it can be described as some sort of rebirth.

GREEK GODDESS PERSEPHONE

So another goddess which reminds me of Sho Ho/Yosano, is Persephone, the goddess of spring and rebirth. Before Hades, the god of the underworld, fell in love with Persephone to take her to live with him, Persephone lived a happy life.

Hades, with his nature of darkness and the like, was captivated by how pure Persephone was, and stole her away from her former life to live in an environment which differed sharply from her natural aura of purity.

[ source ]

Remember when Yosano's friend left a note behind before he killed himself? The note said nothing except for, "You are too righteous." Take that as you will, but figuratively speaking, you could say Mori takes the role of Hades in the story, while Yosano can be portrayed as Persephone.

Sho Ho can also be a parallel of Persephone, in that she had to adapt to the realities of war and disharmony, while Persephone had to adapt to the raw darkness of the underworld with Hades.

Sho Ho stood against society's norms and decided to reform it, making her one of the most well-known feministic pacifist in history, while Persephone managed to escape from the underworld to return to her former position, earning the title the 'Bringer of Life,' or the 'Destroyer of Death.'

Furthermore, the way Sho Ho's anti-war poem took its effect later on, reflects the way Persephone restored balance in the world after returning from the underworld.

4. Yosano and Atsushi.

chapter 66; Yosano: "It's my fault that those close to me died... Is there some place where it's okay for me to live?"

chapter 8; Atsushi: "If I have any chance of saving them all, of returning them home safely, would that mean it's okay for me to keep on living?"

I couldn't help but think of Dazai and Atsushi back when I was reading through these panels. Ranpo (my beloved), along with Fukuzawa, accepted Yosano as she was, despite how her ability was a cause of despair and misfortune.

Ranpo looked past her mistakes and the entirety of how dark her past was to welcome her into the Armed Detective Agency. Dazai, on the other hand, knew who Atsushi was and what his ability had made him do before anyone else, and still decided to provide a safe place for Atsushi to find his sense of belonging, journeying with him as he learned to use his ability properly.

For more info about Dazai and Atsushi's dynamic, you can check out the analysis I did for Dazai :D

Atsushi desired to save people to prove his right to live, while Yosano made her wish to achieve the recovery of all her patients the reason for her existence.

Others would prefer to accuse both Yosano and Atsushi of having a saviour complex, but the reason why they pursued to save people with utmost dedication, stems from the nature of what their past was like. You know the saying 'from broken to beautiful?' Yeah, it's something like that.

The way their pasts were written out gave them a desire to change, which was, I daresay, initiated by the people who took them in: Ranpo and Dazai. Their abilities were demonised because of how they were used, but once they broke from their abilities' effect over their lives, they honed their skills to control them for the right cause instead.

In a less cynical point of view, I believe both Yosano and Atsushi stood for what was right, and wanted nothing but to achieve peace and harmony in whatever way they could, even if it meant risking their own lives to save others.

So yeah, that's it for my rants today. Thank you for reading, and if you have anything to add, go ahead! I'm open to discussions ;)

[sepublic]

WandaVision Finale!

           Okay, that finale was AMAAAAAZING! Everything about it… Particularly, I love that with all of these references to American, black-and-white television shows, we got a bit straight out of what felt like The Twilight Zone! Let me tell you, when Dottie came up to Wanda and started begging to be with her daughter, bargaining, playing with the role and trying to appeal, even offering up her daughter for the antagonistic, demonized role of bully, just to be with her; That was INCREDIBLY messed-up and really shook me up, as did everyone else in that sequence! It was utterly wonderful, and really, the entire premise and set-up DOES seem like a Twilight Zone episode; Perhaps the final homage/allusion by this series?

           The Vision battle was great, some much-needed action and usage of Vision’s powers that we needed. I love how Vision manages to talk down the White counterpart with logic and existential thought… The philosophical, almost deconstructive way Vision deals with stuff and life isn’t cold, but rather appreciative, like someone taking apart a clock and marveling in how its put together; They don’t rage at the clock for no longer upholding the undefinable illusion it used to have… 

          And of course, the idea of ‘illusion’ I feel applies to Westview as well. The difference being that Westview’s mechanisms are inherently immoral, but the way Vision gets down to the basics and fundamentals of things in his almost wondrous, childlike curiosity- It’s great. He’s questioning everything, but in anticipation and acceptance of an answer, he does not view the world with cold disdain the way someone like Ultron would.

           The Theseus Ship paradox was a wonderful discussion, as was the suggested answer that either neither of them are the ship, or they both are! As is Vision’s constantly poetic talk of how the ship is more the experience and memories, so if they’re attached to either, then sure- They’re both the same! I love for a hypothetically cold android, this dude is so poetic and marveling at everything. He should be a writer, a poet… But that’s not happening anytime soon; But it doesn’t mean it won’t EVER happen, either! As Vision realized, they’ve said goodbye before, only to say hello again… I love his little way of looking through and exploring loopholes in apparent certainties, both at the end and with White Vision.

           Not gonna lie though, I half-expected/anticipated for White Vision to emerge with Ultron’s mind, once Vision reawakened those memories, and I have to wonder where he is. I was kind of hoping both Visions would merge together to complete a true one, given how both acknowledge that the other has something that they don’t. White Vision is still out and about though; And I like the clever usage of color, with blue representing the cold and mechanical Ultron side of him, and yellow being the Mind Stone, but most importantly Vision. And I LOVE the idea that Scarlet Witch has the last remainder of an Infinity Stone within her, preserved like her love for Vision; Some things you can’t truly eradicate, Thanos!

           That reference to the Darkhold from Agents of SHIELD was great, and I imagine it’ll come into play now that Wanda’s taken it from Agatha. How Agatha got it, I have to wonder; But that’s a story for another day, I presume. I guess she’s been brainwashed truly as Agnes and is doing her own thing in Westview, without anyone to realize she doesn’t quite belong; Or maybe they will? What a wonderfully poetic, vicious fate for her character- She faked it all, and now she gets to be real! The idea of playing a ‘part’ is just a fascinating motif in this show for me, and I’m sure there’s some philosophical stuff I could dredge up about that term, ‘stories’, from my Philosophy class.

           Wish we got some more resolution with Darcy, and Hayward kind of just left; But I do appreciate how we could’ve gotten a bit of an all-out brawl, with the SWORD agents targeting Agatha and how she alludes to the Salem Witch Trials! Also the allusion to the Sorcerer Supreme, AKA Doctor Strange, was great- And things are still complicated with how Wanda more maturely vouches to save those agents, even if they’re also against her… She knows that people’s dislike and hostility is pretty valid. It’ll be interesting how she’ll own up to the ‘role’ of Scarlet Witch now, as a lot of her vilification came from her own actions, admittedly. I imagine she’s going to try and it do it on her own terms, see what loopholes in the requirements she can exploit- Much like her husband Vision would! Also, Tommy and Billy having to dissipate when Vision at least understands and accepts IS messed up, so I can see why Wanda feels the need to rescue her children, who definitely don’t deserve this.

           I do have to wonder if that last scene is a hint that Wanda hasn’t fully moved on, or if she HAS, but of course Tommy and Billy don’t deserve to die just for her character development! Really that dilemma and sad ending was handled so well, I half-expected Wanda to isolate the Hex to just her house, or maybe focus all of the energy of the Hex into maintaining JUST Vision, Tommy, and Billy. Maybe she’s consulting her chapter in the Darkhold for info on that? Either way, I like how she’s prepared and kept all of her assets in place in case she ever needs them, such as Agatha, now Agnes! There’s a very spiteful and utilitarian way she handles herself now, reminiscent of a villain who keeps tabs on their friends and enemies; Wanda seems to be doing the typical steps of a villain, but hasn’t exactly committed to it; And maybe never will, again, it’ll be interesting how she exploits her role as Scarlet Witch. I love the callback to those runes, how a scene that could’ve been written off as magical world building foreshadowed and came back into play; Such a simple and obvious trick, but one I always fall for because I’m so invested and IN the world!

           Also, I think that lake Wanda lives by, might be the one where Sokovia’s remains landed? If so, then that’s incredibly fitting; A watery grave for her home and memories, huh? I wonder if Pietro, the real one, is buried here- It makes sense, Agatha alludes to Pietro not being buried in North America (nor South America if you want to get into technicalities), so of course their home country, or what’s left of it, is ideal! The site where he died, lowkey; Although that was arguably several miles above, but still. This third-world country that everyone dismissed and ignored has now had a major legacy that is felt across the world… It’s been heard, huh? I’m not sure why Wanda’s maintaining that illusion of herself, is she just practicing, maybe creating a front in case anyone notices activity, checks out, and then assumes it’s ‘just’ some random lady?

           I can only imagine how Doctor Strange will tie into this! Probably with the Nexus of All Realities and the Darkhold, and of course the Scarlet Witch’s role as a potential threat to the Sorcerer Supreme; And hopefully with what we’ve seen of Agatha making note of magic belonging to the ‘deserving’ and being able to take it from others… Baron Mordo, perhaps? Maybe he’ll make his return interrogating Agnes as he tries to track down the Scarlet Witch, seeing her as a threat… Dang, now Mordo’s reminding me of Emperor Belos from The Owl House, with the whole belief that after chaos and bloodshed, magic should instead be isolated to only the deserving who prove themselves, and whatnot! Now I’m even in MORE interested and hopeful for Mordo with this comparison!

           Likewise, the allusion to the Nexus in that commercial made me wonder if New Jersey would be the location for the Nexus of All Realities in the MCU, but now that Wanda’s left, it’s possible she’ll track down its location to Louisiana, just in the comics! Still hoping for Man-Thing in the MCU, maybe we’ll get a setup for him! I’m telling you Feige, this is your chance to make a Frankenstein/Iron Giant type of film, a misunderstood monster story to incorporate into the MCU, what with your exploration of new genres beginning particularly in Wandavision! Also iirc the Darkhold has a corrupting influence on those who read it… But the last people who did were regular humans, is Scarlet Witch above such things? Or will the Darkhold mess with her, too- An external force that disrupts her character development by corrupting her? I’m just in even more anticipation for Multiverse of Madness to be trippy and horrifying.

           Overall, what a WONDERFUL conclusion, and an incredibly satisfying finale to this series, while still paving the way for new stories! It seems Photon’s story has just begun, now that Nick Fury has sent a Skrull to invite her; Maybe for the Captain Marvel sequel? I’d assume the sequel deals with the fall of the Supreme Intelligence, which takes place before 2014; Nine years before Monica gets her powers! Something had to have happened to lead to the Kree’s peace treaties with everyone that angered Ronan…Well, we’ll see!

          And White Vision, we’ll see what happens with him, what existential crisis he’ll get into, poor dude; He’s arguably the original Vision, except traumatized and questioning himself! I’m surprised Wanda didn’t go after him, did she assume he was destroyed? Or has she just moved on, focusing on her sons? We’ll have to see… Vision did allude to him reuniting with Wanda, so perhaps Wanda can use her powers to gather the Mind Stone’s scattered atoms within the fragment she holds, and reform an Infinity Stone to truly resurrect Vision, from his white template! Perhaps that’s how the Nexus will come into play, as a place to draw together such cosmic power that was once scattered by the Mad Titan…

           Wish we got to see more of Darcy and Woo, as well as Fietro; Him being confirmed as Ralph was great, as was that little hilarious man-cave segment of his, fitting into what would’ve been his time period. I’m a bit disappointed he’s just some dude, but at least there’s the meta gag… I LOOOOVE Scarlet Witch’s new outfit, it’s such a stylish red dress/cape and crown, love how it’s repeatedly invoked as a symbol for her; Wanda finally gets to own her classic costume, her tiara! The bit where her ‘shirt’ meets the pants reminds me of fangs and the points on her tiara, I love that sharp and threatening visual cohesion! And with all that in mind, here’s hoping to The Falcon & Winter Soldier as our next installment into the MCU! And one day, we’ll finally get that Black Widow movie released… One day!

[anongoingsoliloquy]

  In the production of Macbeth, directed by Eve Best (which was originally performed in 2013 at the Globe Theatre, but was filmed and shown in theatres in 2015), the three weird sisters are first portrayed as common prostitutes. By the costuming and mannerisms of the actresses, it is easy to see that these “witches” are different than many other adaptations. The sexual jokes in the opening scene with the sisters sets the tone for the remainder of the play, influencing the performances of the actors portraying Macbeth (Joseph Millson) and Lady Macbeth (Samantha Spiro). By portraying the witches in Macbeth as prostitutes, it creates a layer of sexual subtext that influences the characters of both Macbeth and Lady Macbeth, which brings them into the demonic underworld of the supernatural.

  It would seem that Best’s idea to show the three witches of Shakespeare’s Macbeth as prostitutes, is not an original one. The witches were “also imagined as [prostitutes] in many pamphlets” that were distributed in the Globe during Shakespeare’s career, marrying “the witch’s transgressions with the circumstances of lewd sexuality” (Friesen 127). The implications of the sexual nature of the witches has deep roots in the play text that are not easily seen or fully explored in Best’s adaptation. Traditionally, witches were thought to exact “revenge for refused charity by causing illness and domestic ruin”, but in Shakespeare’s play, the First Witch “demands a sexual retribution from the sailor whose wife refused to provide” (Friesen 128). In 1.3.19, the First Witch says, “I’ll drain him dry as hay”, which casts her in “the part of a succubus” (Friesen 128). It is believed that the idea of the witches as demons and engaging “in sex with demons, with one another, and with ordinary persons of both sexes dates at least to Augustine’s writing”, although it was Thomas Aquinas who “delineated a process of malefic reproduction” (Friesen 128). This process includes a demon first transforming into a female shape (becoming a succubus), so it can seduce a mortal man and steal his semen. The demon then takes the shape of a male (an incubus), who would then engage in sexual relations with a woman, often a witch (Friesen 128). This reading of the Witches “may demonstrate Shakespeare’s broad knowledge of the subject [of demonology], but it also suggests the amount of information concerning witchcraft that circulated at the time” (Friesen 125). It is debated whether or not this fascination with witchcraft is based in the historical legal prosecutions or it was part of the topical knowledge that the audience found entertaining. The popularity “of witchcraft and diabolic magic […] resonates with audiences by asserting the universal nature of sin and the hunger for power – themes that are contradicted if the […] protagonist’s fate is blamed more on his occult prowess than on his decisions to deceive, exploit, and murder his cohorts” (Friesen 122). So although Macbeth is lured in by the weird sisters, he is still presented as fully responsible for the bloodshed that takes place in the play. It is also “difficult to determine whether [the Witches] reflect Macbeth’s own perversity back to him, reinforcing and enabling his desire to transgress in the process, or whether they direct him towards sins that he would have otherwise not have perused, making them the agents of a damnation into which Macbeth must be lured” (Friesen 123).  

  Eve Best’s production of Macbeth seems to take a stand on this debate, portraying Macbeth as a character who must be lured into transgression. This is starkly shown when Joseph Millson’s Macbeth falls into a fit of laughter after hearing the Witches’ prophecies. In his review of the play, Simon Edge states that this “is one of the smartest moments” of the play. Because the weird sisters are not “nearly so weird or unnerving as [...] on other occasions”, it works better in showing Macbeth’s downfall (Brown). In his review, Peter Brown describes Millson’s Macbeth as “striking and imposing […], slender and tall with black hair and a black beard, which lends a darker note to the character, he is totally convincing as a fighting man, especially as he has two lethal-looking axes dangling from his belt. Violence seems ingrained in his nature”. Despite this, Millson’s Macbeth is presented as a good option for the role of King. He plays Macbeth as “dashing” and “more sure-footed than usual these days with the verse and with plenty of moody fire and fierceness” (Craven). It is not until Macbeth is coupled with Lady Macbeth and they begin to conspire together to kill King Duncan, that it is seen that Macbeth is “a man with more than a glimmer of the manic about him, or that he is at the very least psychologically fragile” (Brown).

  The sexuality of the Witches effects the portrayal of Macbeth in the Globe production as well. Millson’s Macbeth “has plenty of dash and energy, a constant, rather starry suggestion of sex” throughout the entire play (Craven). Millson’s presence on stage is commanding. There is no doubt that he is the central character when he firsts steps out on stage. The idea of Millson’s Macbeth being a constant suggestion of sex is seen in his constant movement around the stage, and always having a layer of perspiration on his face from this exertion. By connecting Macbeth so closely with the sexuality of the Witches, it suggests that the “sisters appeal to Macbeth through the same sin and avarice by which hell might have seduced them” (Friesen 123). The power of the Witches, is not however to force lewd sexual practices on mortals, but to create chaos and discord to over throw the norms of the “community, church, and cosmos”, and in Macbeth, this is exactly what happens; the audience is presented with “a corrupt, diseased landscape brought about when Macbeth’s healthy human reason is confronted and overwhelmed by the seduction of unreal, superhuman agency” (Friesen 123). If the folklore of witches is to be followed in the reading of Macbeth, the witches would have been seduced into performing evil deeds by demonic energy because of their greed for wealth and empowerment, the same reasons that Macbeth is so easily manipulated by them (Friesen 129). Despite the fact that Best’s adaptation positions Macbeth as someone who has to be pulled into the evil deeds he commits, the Witches “cannot force him to do it” (Farnham 61). It is clear that the Witches reveal Macbeth’s fate, but what is often overlooked is that they never make mention of evil-doing or bloodshed, nor do they blind him to evil (Farnham 61).  Nor do they, or their masters predict that Macbeth will have Macduff’s children, wife, and servants murdered (Farnham 62). This trickster speech forces Macbeth to “assume full moral responsibility” (Farnham 61). In the play text, Shakespeare does not “allow the reality of the witches to remain in doubt”, but in Best’s adaptation, the Witches are not shown to be supernatural creatures until Macbeth begins to go mad (Friesen 125). The further Macbeth falls into madness, the deeper the audience is pulled into his mind, until the Witches (or prostitutes) become twisted and demonic, covered in dirt and ash. This is similar costuming to how Lady Macbeth is dressed at the end of the play.

   In the review by Peter Brown, he calls Samantha Spiro’s Lady Macbeth “impassioned” and someone who truly “begs the spirits to ‘unsex’ her so she can do the necessaries in dispatching the King”. He also comments on that “in spite of her fervent desire to acquire the top job for her husband, Ms. Spiro also demonstrates a more humorous side” of the character (Brown). This humour reflects the “form of [the Witches] bodies and the bawdiness of their humour” (Friesen 122). The character of Lady Macbeth is just as connected to the Witches as her husband is. When we first see the two Macbeth’s together in the play, Spiro’s character throws herself into the arms of Millson’s Macbeth and kisses him fervently. This aligns with the sexuality that the Witches first bring into the performance. Lady Macbeth is strongly connected to the Weird Sisters, just as Macbeth is, but in a slightly different way. Instead of becoming a sexual creature because of association with the whore-like witches, Lady Macbeth becomes a witch herself. Not only are witches thought of as bisexual based on witch folklore, but in the play text, they seem to have gender ambiguity. This is depicted through the line, “You should be women, / And yet your beards forbid me to interpret / That you are so” (1.3.47-9). This is also seen in the folklore of sex demons. They are able to switch between male and female genders. Lady Macbeth represents this in the play by her “desire to be unsexed and sterilized” (Friesen 129). There is an odd “dichotomy of fruitfulness and infertility” connected to the Macbeths (Friesen 129). They, as a couple, are rendered sterile as opposed to Duncan and Banquo, who are physical representations of “healthy offspring and hereditary rule” (Friesen 129). It is odd because by taking on the role of the succubus, who were said to “exploit and abuse their victims, Lady Macbeth also assumes an infernal role as corrupter of nature and facilitator of monstrous birth – and in this case, the offspring of her unholy transformation in regicide, committed by a husband aroused to it ‘as to an act of ghastly love’” (Friesen 129).

  In this adaptation with sexually charged characters, Lady Macbeth is depicted as both barren and fertile. Lady Macbeth “articulates the theme of restricted potency by imagining murder as an ‘unnatural or nonhuman, sexual act’ when she presents these ‘horrifying violent images of a depraved rejection of womanly ties” (Friesen 129). This also plays into the idea of the Macbeths having lost a child. There is a subtle indication of this in Best’s production, when “Millson’s Macbeth momentarily strokes the face of the boyish offsider – played by the same actor […] who plays Fleance and Macduff’s son” (Craven). Later in the play, Lady Macbeth says herself that she has “given suck, and know[s] / How tender ‘tis to love the babe that milks [her]” (1.7.61-2). In 4.1, Best’s production does not show the apparitions that the witches conjure, rather they are depicted as figments of Macbeth’s imagination. The second apparition, which is said to be a bloody child in the play text, plays into the psychological effects of losing a child.

  It is ironic that Lady Macbeth should request the “darkness to hide the wounds made by her blades”, when it is in the dark of the night that she is most clearly seen as a witch-like figure (Friesen 131). In the Globe production, when Lady Macbeth comes back out onto the stage for her mad scene in Act 5, she comes out in the same costume that the Witches wore in the first Act. Throughout the play, Spiro’s Lady Macbeth has very long black hair, but in the mad scene, her hair is cut very short. She is also dirty and bruised, much like the Witches were to Macbeth’s mind in Act 4. Although she is not covered in the blood that prompts her to ask, “will these hands ne’er bee clean”, she is battered, dirty and bruised which would indicate domestic violence or self-harm. This also raises the question of whether or not the change of appearance of the witches, is the physical manifestation of the guilt that Macbeth feels for abusing him wife. Lady Macbeth is shown as someone who has given “herself up to the Devil, in a scene of nightmarish obscenity, before the spectators’ very eyes’ and who is punished for her malefic conduct as the sisters never are” (Friesen 126).  

  By portraying the three Weird Sisters as prostitutes not only brings in an added supernatural element to Macbeth, but it also forces the Macbeths to be fully morally responsible for their actions in the play. This is shown very clearly in Eve Best’s production of Macbeth from the Globe Theatre. Not only does this factor influence the other characters in the play, the sexual connotations of the opening Act brings in elements of demonic energy and infant death. The sexual energy of Best’s adaptation brings out chaotic and psychological characteristics of both Macbeth and Lady Macbeth. It is this revelation that “ultimately makes this play a thing of tears, not just blood” (Craven).  

[thetrumpdebacle]

MANILA: Philippine attorney Jude Sabio says he hasn’t been home for a year, steers clear of public events and is forever looking over his shoulder after accusing President Rodrigo Duterte of crimes against humanity.

Sabio, a stocky 51 year-old, says he lives in constant fear of reprisals after filing a complaint at the International Criminal Court (ICC) against the wildly popular Duterte, whose administration Filipinos rate as the best performing since opinion polls started in the 1980s.

A little-known lawyer until he filed the complaint last April, Sabio argues that the deaths of thousands of Filipinos in a brutal war on drugs is Duterte’s method of controlling crime, and that he used the tactic effectively during his 22 years as the mayor of Davao City in the south of the country.

Duterte has repeatedly denied ordering extra-judicial killings while mayor or president and reiterated this month that he would “gladly” go before the ICC. Court Prosecutor Fatou Bensouda had earlier said her office had started a preliminary examination into whether any crimes against humanity had been committed and if ICC had jurisdiction.

The step is the first in a process that could take years to complete, if at all. Since it was set up in 2002, the ICC has received more than 12,000 complaints or communications, just nine of which have gone to trial.

Sabio’s move is unpopular in a country where, despite the bloodshed, Duterte enjoys a cult-like status and has a loyal online following which hounds and harasses his opponents.

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The Social Weather Station’s (SWS) latest quarterly poll shows Duterte’s trust rating bounced back to “excellent” in December from “very high” three months before. Another SWS poll gave his government the best rating so far for a Philippine administration

“When I went to The Hague I received so many threats,” Sabio told Reuters. “The (latest) announcement from the ICC, I’m also receiving threats. It’s many, I don’t want to read them.”

Presidential spokesman Harry Roque says “domestic enemies of the state” are behind Sabio’s complaint. Asked about Sabio’s safety, Roque said he should report threats to the police.

“We have no ill will against him,” he added. “We know it (the complaint) will not proceed beyond preliminary examination.”

“THE PUNISHER”

In an interview, Sabio described Duterte as a “death squad president” who bragged in public about killing criminals and promised voters he would kill thousands in an anti-drug crackdown if elected.

Duterte earned the nickname “the Punisher” because of allegations he operated a death squad that killed more than 1,000 criminals when he was Davao mayor. He suggested during a televised presidential election debate in 2016 that more would die if he became president.

“I do not want to commit a crime. But if by chance, God would place me there (as president), you watch out,” he said in widely reported comments. “This 1,000 will be 100,000. You will see the fish in Manila Bay become fat, I will throw you there.”

On the day of his inauguration in June 2016, he told supporters: “If you know any addicts, go ahead and kill them yourself as getting their parents to do it would be too painful.”

Since Duterte took office, 4,021 people have been killed in what police call legitimate operations against “drug personalities” they say ended in shootouts, according to police data. About 2,300 other drug-related homicides have been blamed by police on vigilantes.

Human rights groups say police take their cue from Duterte’s rhetoric and accuse them of executing suspects, mostly drug users and small-time pushers from slum districts. Police deny that and Duterte insists security forces can kill only in self-defence.

When he made the ICC complaint, Sabio said he was broke and needed sponsors to pay for his flight to The Hague. He had undergone an angioplasty and been through a marriage breakup, and was working out of an office his friend let him use for free.

He says he is still not fully recovered but he had no regrets.

“I always thought in the past the cases I fought, no matter how small, were preparing me for something big in the future,” said Sabio, who has practised criminal law for 20 years in the southern city of Cagayan de Oro. “Fate directed me to the ICC.”

Sabio’s involvement started when a man named Edgar Matobato testified to a Senate inquiry in September 2016 that he was a hit man who killed at Duterte’s behest when he was Davao City mayor. Sabio said he learned from a priest that Matobato had no lawyer, so he volunteered.

The inquiry concluded there was no proof of a Davao death squad. It was reopened in February 2017 when a second self-confessed assassin testified, but senators again concluded there was insufficient evidence.

Sabio went to The Hague two months later to file a complaint he said is backed by many Filipinos, among them some of Duterte’s political opponents.

Two of those, lawmakers Gary Alejano and Antonio Trillanes, have filed a supplementary communication with the ICC to reinforce Sabio’s 77-page complaint. Both have welcomed the ICC’s preliminary examination.

Sabio said he knows what he’s doing will anger most Filipinos, but he’s undeterred.

“Popularity cannot be invoked as a defence in the ICC, it is irrelevant, it doesn’t matter,” he said.

“I don’t care if millions of Filipinos will look at me as a villain.”

(Editing by Raju Gopalakrishnan)

via The Trump Debacle

[susanlerner]

I half-expected George Saunders to look like a sunken-faced crystal-meth addict. I mean, what kinds of person dreams up stories like these? Even as a crazed teenager, high in high school in the Haight-Ashbury, my hallucinations weren't nearly as vivid and outrageous as Saunders' stories.

But Saunders showed no hint of being a strung-out, crazy person. He was an affable, congenial man with an open heart, who gladly answered questions about his work and shared his thoughts on writing.

Not only did I have the privilege of joining Saunders and a group of other writers for dinner before his reading, but I also got to introduce him at his reading. For a writing geek like me it doesn't get much better than that.

I want to fill you in on everything I learned from Saunders, but it's late and I've got to turn in. When I'm rested and fresh I'll dish more, but for now I'll leave you with my introduction speech, which just hints at the genius of George Saunders.

My first taste of George Saunders' writing was in “The Very Persistent Gappers of Frip,” his children's book. Here, parasites take the center stage. They come in the shape of bright, orange balls known as Gappers, that crawl from the shore and attach themselves to the village's goats, rendering the goats incapable of producing milk. One day the Gappers begin to attach to the goats of one girl, Capable, while leaving the neighbors' goats alone. Now Capable can't manage by herself. She asks for help. Unfortunately, her neighbors hadn't yet heard the phrase 'it takes a village.” Not only do they refuse to help Capable, but they take their new Gapper-less status as a sign they are better than Capable. Here's a quote from the book:"Not that we're saying we're better than you, necessarily, it's just that, since gappers are bad, and since you and you alone now have them, it only stands to reason that you are not, perhaps, quite as good as us." “The Very Persistent Gappers of Frip” is a fable that's entertaining, thought-provoking, and lesson-teaching. It opens a window for readers of all ages to look at the issues of justice, class, and dignity.

My next Saunders pick was “CivilWarLand in Bad Decline,” a collection of short stories and a novella in which many of the same themes thread. Sad-sack characters struggle to find safety and happiness in the alternate versions of a dystopic America. Saunders puts his characters in outrageous setups that force them to commit savage and heroic acts just to survive. Saunders characters are so compellingly flawed, so tender, and so human that I was riveted. One character, for instance, is a 400-pound man who becomes the head honcho at Humane Raccoon Alternatives – a business that purports to rid its clients of pesky racoons without inflicting suffering or bloodshed on the animals. In fact, no surprise here, we're in a Saunders' book, their methods involve nothing but suffering and bloodshed. Another character, this time from Saunders' novella, Bounty, has been branded a Flawed, and that's flawed with a capital F. He's a sympathetic, loving brother who tries to reunite with his sister. He fights the shame he feels as a result of his deformity, hideously clawed feet. How could anyone not fall in love with characters like these? Just as in real life, Saunder's characters straddle the fence – they have facets that are both beautiful and revolting. They always have an altruistic side, but sometimes, when they're pushed over the edge, they just might murder their bosses. Their struggle is the human struggle – that of believing they are valuable despite the outside messages that tell them otherwise. Saunders' stories take place in alternate realities that serve to highlight the absurdities of the world we live in today. But no matter where he sets his stories, Saunders' exuberant, wacky voice comes through loud and clear. Saunders' most recent offering is a departure from the rest – a collection of essays that still manages to capture the clear-thinking, bullshit-exposing voice of whimsy and vitality that gives his fiction its bite.

All the writers that come to Butler share their thoughts on the craft, but the ones who do so by opening up and sharing of themselves are the ones who remain with us. George Saunders was one of those authors. Here are some of his comments from the Q & A sessions from his visit. Saunders was asked about his background in geophysics and how this informs his writing. He answered that back when he first worked in the oil fields of Sumatra he read Ayn Rand and saw himself as a right-winger. But, as time went on, working in far-flung parts of the world served to open his eyes and reform his politics, and, naturally, this informs his fiction. About writing in general he commented that all our minds are similar, and that anything that manifests in the world has a presence in each of us. Saunders said that at one point in his life his worst fear came true: he had an office job. At that time he thought that in order to find stories he had to be in an exotic locale, but he soon realized that his boring office job was a blessing in disguise -- it showed him that stories were all around him, wherever he was. Saunders reported that after the birth of his second child he found himself able to allow humor into his work, and that bits of wisdom manifested as he wrote freely. He sought to emulate the clean, spare sentences of Barry Hannah and Raymond Carver, and convey his ideas using as few words as possible, even if the sentences lost some of their elegance. When asked what advice he would give aspiring writers he emphasized revision. He said any given piece of writing has infinite doors, and that a writer should live with a story a long time before sending it out. In this way, if the piece is rejected, at least the author can feel (s)he sent out his/her best work. Saunders revises obsessively, and he sees this same trait among other writers who succeed in publishing their work. Many pieces, he suggested, would improve if only the author let them sit awhile and then revisited them at a later date. Saunders emphasized how vital it is not to short-shrift revision. I asked Saunders about his recent move into the realm of nonfiction with "The Brain-Dead Megaphone," a collection of essays. He replied that he sees himself primarily as a fiction writer, that he's better at short stories than big ideas (I'm not sure I agree with him on this point.) He said his essay, The New Mecca, was written as an assignment for GQ, He joked that his daughter claimed he never did anything cool, so he accepted the job, and was sent to four-star hotels in Dubai. He feels his nonfiction work allowed him to more fully describe the physical world in which his writing took place. When I asked Saunders if the book's title essay most conveyed his essence, Saunders said yes, although he added that he thought the piece was preachier than he would have liked.

[angstandhappiness]

Interesting! A very complex character indeed

You know, I feel like one important thing that’s barely ever mentioned about Sun Wukong is how while he very much is a murder monkey who intimidates people into giving him free stuff he also only rarely ever starts the fights he gets into. His battle prowess means that he’s pretty capable of escalating until his opponents either give up or end up dead, but he hardly goes out of his way to throw down. Like just to give a few examples:

His first murder of the Monstrous King of Havoc was committed because this guy was “brutally abusing” SWK’s family, including through kidnapping their children;

While he did indeed steal a lot of immortality-granting treats from heaven, he refused to go to war with heaven until the gods “had broken down the door [to the Mt. Huaguoshan cave], and are about to fight their way in.”

The two times when he encounters a band of robbers, he only kills them after they had repeatedly tried to kill him.

He kills the Six Eared Macaque because he had “dare[d] change into my appearance, take my descendants captive, [and] occupy my immortal cave.”

So the Monkey King is is many ways a selfish and impulsive monkey, but its good to remember that at least in the og classic he’s not going out of his way to start fights, even though he WILL do everything he can to end them in his favor.