#that's a long and vague description of my spirituality

[writingjourney]

Ibi I always want your papa HCs. I live for them.

Tell me about IKNBS Copia... What was he like as a Cardinal? 👀

Sending love, I hope your anxiety pisses off and you have a wonderful evening. 💕

Sorry this took me so long to get to!!! And thank you for asking about him ♡

If you remember, 'strella mentioned that she and Copia had a significant encounter before he became Papa (during his Cardinal days) and they briefly talked about it a few chapters ago. However, you will actually all soon get to see this encounter and learn more about it, so I cannot spoil anything about that!

I feel like I have to briefly dip into my idea of some of the clergy mechanics so this reply is... long. We know Copia was Papa Nihil's assistent prior to becoming the face of the Ghost project and he was the Secretary of the Treasury. I like to think that Copia returned to the Clergy headquarters as he was appointed Cardinal and worked his way into this position (second most employee of the month awards!!). More under the cut...

Before this time Copia climbed the ranks like most everyone else who strives for a higher position within the clergy where lots of travelling through different chapters/branches is involved to become familiar with the clergy's operations. I personally HC the Papal headquarters to be in Sweden (very loosely though, my personal idea about the abbey is inspired by German architecture of medieval monasteries and so my descriptions are all vaguely Central European). However, while the Papal and administrative headquarters are there (a region well famous for the popularity of metal) I imagine that the educational headquarters are in Italy where the presence of the clergy is also very strong (as a counterweight to the Catholic Church).

The European branches are the oldest ones and are deeply rooted in their respective regions (in my head of course, this is all personal HCs and not rooted in real life sources, I deviate a bit for the sake of creating the Clergy as an actual entity). I like to think that in Europe worshippers of Lucifer established a presence as a counterweight to the dogmatic Catholic Church early on and that these individual organisations and groups later all fell under the roof of our clergy.

Copia therefore grew up in Italy and received most of his education there, especially in Rome where he studied. He also specifically spent a lot of time in Florence as a young bishop as I mentioned in the Postcard chapters. While he climbed ranks he also spent significant time in other European countries as well as the US (where the clergy has also established a pretty big presence somewhat recently, talking about the past century as they brought the Ghost project there while young Nihil was the face of it, plus we can assume Copia was conceived there, in my head Sister goes back to Europe after Nihil fucks up though). The Ministry's branch there is still very involved as it's located conveniently for work in the music industry.

Now, Copia was always very studious, hard-working and resilient, so he climbed the ranks somewhat fast. After Copia became a Cardinal he returned to the HQs as I already mentioned and spent many years working hard in the treasury department. I like to think that he took his clerical duties very seriously as well as the work with the congregation itself, so he was/is quite popular as a spiritual guide/advisor. Despite all this I imagine he was pretty lonely. Even though Sister had always been a somewhat permanent figure in his life he was uprooted many times throughout the years. While he reunited with his brothers that he had spent some time with over the years whenever stationed at the same branch (their relation is never confirmed by Nihil but... you know, they figured it out) and grew closer with them it was still hard for him to fully settle which is one of the reasons he worked so hard.

During the time ‘strella shows up, Terzo was just appointed Papa (if you remember she was hired to paint his portrait). By then Copia had been there for a while, was an established figure there, and while new faces were not a rarity, she immediately stood out to him simply because the nature of their encounter was very memorable. However, she very obviously avoided him after officially joining as a Sister of Sin and even after he became the head of the Ghost project. He was very busy though, so while he worked on music and continued his clerical work, their paths only crossed rarely. Those who have read the story actually know the rest already or will come to know soon. But yes, this is how I imagine his path :)

[lexicals]

Aaaa okay I've finished the novels now too. Gonna put my thoughts down on them and how they compare to the tv version

So overall I think I like the novels better, the interiority you gain from the format adds a lot I think and it definitely benefits from not having to hold back on things like the gorey side of the supernatural elements (and yes, the gay as hell elements). I think that same lack of restraint in the writing adds a lot more comedy - while I thought the tv version was very funny, I found the books hilarious, and I think a lot of that is down to not having to pull punches on how outrageous wei wuxian gets to act, which is the core of the comedy so much of the time. I also felt that the ending was a lot more coherent, which makes sense given how much was cut out of it for the tv version, and obviously it's nice to have a confirmed post-canon marriage and continued adventures! The post-story cases were a lot of fun, I think some of my favourite parts were getting to see the two of them interact with their little gaggle of juniors and help guide them, it's very sweet.

As for criticisms, I have to be honest, the more mature scenes really weren't for me. I wasn't a fan of the blurry lines of consent (it felt like the aim was consensual non-consent, but... it still didn't sit right, especially some of the dream sequence stuff) and a lot of it felt fetishising to me, but then I suppose it's something to be expected from the genre, so I can't complain too much about it. I liked the fact that the in-universe homophobia was acknowledged and taken into consideration, but sometimes it felt like it was being played for titillation rather than taken seriously - again, though, genre conventions. It also felt like there was an underlying tone of colourism to the character descriptions, but honestly you could probably level that critique at the tv version as well. These were things that soured the experience a bit for me, but the overall read was still positive, and I did really enjoy the story even despite knowing what was going to happen already. It's a good tragedy when you're reading along thinking "maybe it won't happen this time" lol.

I find myself a bit confused as to what wei wuxian's actual cause of death was - obviously the tv version makes it very clear cut, but the book only calls it "spiritual rebound" and doesn't really elaborate or directly show anything from after the massacre, so it felt a bit vague. I suppose the idea is that he lost control during the siege and was torn apart by his own power? Not sure if I've missed something there or if it's just not very clear. It's not a huge annoyance but I was a bit surprised they didn't get into it more than passingly.

Anyway overall it was a really good read, and now I get to go read all the good fic that's out there :3 It's even poked my writing itch a little which hasn't happened in ages - idk if I'll actually follow through with it or just keep my musings to myself, but it's nice to have a nice big brain space to play in after a long time of not having one. I'm glad I finally got around to this after seeing other people talking about it for such a long time, it's been a while since I had a series grab me like this so it's been a lot of fun.

[who-is-muses]

[ finally bit the bullet and rephrased Thoth's universe/"media" of origin on the muse directory as "Echoes of Kemet (original adaptation of Egyptian Mythology)" to hopefully provide more accessible context when I refer to "Echoes" or "EoK" or whatever in passing. And while I'm at it, let me make a few quick worldbuilding and historical-versus-adapted-text clarifications (not proofread because hrhrnrnrnrh): ]

"Kemet" is one rendering of the Ancient Egyptian word for the kingdom/civilization itself. Thus you get terms like Kemetic used interchangeably (in this instance) with Ancient Egyptian. Thoth himself is highly unlikely to use Kemet/Kemetic in anything short of serious, cosmically important matters of conversation.

The "magic" and theologic machinations of general Ancient Egyptian religion, like many pieces, is only vaguely understood in present time's efforts of recovering knowledge from the civilization. I've expanded upon both with more concrete rules for narrative and world building purposes, but they remain somewhat vague in description on purpose. Called heka (after the force's physical embodiment, and technically a child of Thoth in EoK), it is just one system of magic unique to the Egyptian gods (sometimes called Heliopolitans or the ancient word netjer, plural netjeru) and followers of Kemetic faith- Wicca, Greco-Roman, Nordic, Celtic, etc. magic systems all also exist in Echoes.

One of the two most vital components of heka magic (for EoK) is the Kemetic language- specifically its original form that Thoth created and millennia ago and gifted to humans. As I slightly alluded to above, the Ancient Egyptian underwent many changes before ultimately becoming extinct- the farther it got in the general human knowledge from the original language of the netjeru Thoth created, the less powerful it became until finally being forgotten and later reconstructed. However, the other most important part of heka is intent- the spiritual willpower and energy to be, create, change, do. This why not just anybody can practice it, and not just any random word in hieroglyphics- no matter how accurate- will spontaneously alter reality by, say, spawning a random cabbage into existence. (That specific example has another factor, being the difference between Altering and outright Creating/Destroying something in heka, but that's a whole other long winded explanation.)

I may refer to "demons" in passing- which, historically, are not well defined in the Ancient Egyptian mythos. Today, Egyptologists generally agree theterm applies to any netjer or lesser entity that had no religious following (i.e. Ammit, Shezmu, "serpopards," etc.) Again, I've made things a little more concrete for EoK- all demons are creations of Apep, though the Serpent himself is not a demon.

Something Thoth specific; while real world historical texts put him in a multitude of different roles, the one most centric and ultimately part of his character's identity in EoK is that of the God of Balance- neither Order nor Chaos, but he is beholden above all else to the Great Balance*. He's neither Good nor Bad, both in his own moral code and actions in the name of Balance; the former is fairly gentler than the latter, but he was also vengeful and spiteful enough to trick Isis into cursing Ra to be the only netjer ever to grow old and frail with age (which is something I'll eventually elaborate on when I finish the retelling of the corresponding myth qvq.) He will never have a happy ending- both because he's destined to never be killed (though it is possible), and any good that comes to him will always only ever be temporary.

* (it's also called the Cosmic Balance, Existential Balance, Universal Balance, etc.; it isn't a Solid Entity so it doesn't have a Solid Name and is kept purposefully vague, even in the notes that are for my eyes only. Thoth himself doesn't even know exactly what it is, only that it is an intrinsic force of existence itself and that it was either created as a byproduct from the primordial waters Nu creating the First One, Atum, or from Atum himself splitting into Amun and Ra. [There is a more concrete answer on this specific question if you want the mystery lessened some, but not much else.])

[ if any of you guys ever have any questions about Echoes or Egyptian myth in general, you're Absolutely welcome to ask qvq I also have a blog dedicated to the project over @echoes-of-kemet - though I need to do more there. And actually get to writing the myths- ]

[the-era-of-shadow]

Woah, I made an animatic!

It's been a while since I've done that, eh?

Please do enjoy! And after watching it, if you want some general AU updates, click past the cut below!

So uh, first things first - there's your explanation for where TDTMD Act 2 Chapter 3 is. It'll come out some time in January unless some big autism moment like this happens again, sorry for the wait y'all!

Honestly, like I said in the video's description, I didn't plan for this to take all month - it was originally meant to be for Eclipse's birthday but. Delays happened.

But enough about the month gone past - or even the year gone past! I just KNOW you all wanna know what we have in store for 2024!

Firstly - TDTMD Act 2 Case 01 will still be coming out as it has been! Right now I have 5 planned chapters for Case 01 - and we're like, halfway there! Crazy, huh? But... What do I mean by "Case 01" anyway? Well, you see, TDTMD Act 2 is actually an anthology of sorts! A collection of stories that are all connected by the theme of the Black Arms' effect on PetalBloom - three stories to be exact! Each case is to have 5 chapters each, resulting in Act 2 as a whole having 15 chapters! Quite a lot! But worry not, those who are looking forward to things other than TDTMD, for I am not going to be writing all three cases back to back, no no!

After Case 01 is finished - I've scheduled myself to write a new side story - the FINAL side story for Arc 1! "But Ash, you finished Arc 1 like 2 years ago! Why are you still writing side stories attached to it?", well, mainly because my brain gets on my case about how the writing isn't as good as my newer stuff and how "unbalanced" Arc 1 and Arc 2 are in terms of content - so I'm doing this to make it shush. But also I saw potential still to be found within Arc 1's events, so, yeah! After this post goes up I'm gonna add the name of that side story to the pinned post for hype and all that :]

After THAT - I'm finally gonna go a bit into the catalogue of documented but not written Origins stories listed on the pinned post with The Englishman With The Devil's Eyes. I've been wanting to get to this one for a while now but stuff kept getting in between me and it. But no longer! For after the last Arc 1 side story, Devil's Eyes will finally have it's moment - no matter what! But... I know what you wanna hear...

New Main Stories?? - Yes yes, I hear you. Enough with the Origins and the side stories - when are we getting back to Arc 2 proper? Well aren't you in luck! Being preceded by a short side story oneshot, Mission: FOX FRENZY - the third main installment of Arc 2, will indeed be the next in line after Devil's Eyes! Not to spoil too much, but this one goes out to all you Garrick fans~! 🤭

Beyond That - I have a whole schedule planned that carries to the end of Arc 2 - both officially with the LONG awaited rewrite of Something to Bond Over, and spiritually with TDTMD Act 3 and more importantly, it's corresponding Moonlight Interlude. (what do I mean by that? You'll see~), but if I were to explain the whole of it now, why, this post would be like the new color of the sky! So I'll do it in increments~ All you need to know rn is that I plan to finish Arc 2 this year.

Lastly - The non fic stuff! The most important, I think, is the whole deal with CoC and it's cancellation. I won't go into the why of CoC being cancelled here - but rather, how it effects TEoS going forward. If you were unfamiliar, CoC was to be a webcomic that was a spinoff/crossover with TEoS. It was vaguely referenced in Innate Affiliation - meaning that it needs a replacement. That replacement is... kind of in the works as we speak - I plan to truly start remaking it into the role in February. All I'll say for now is that it's going to be another Sonic AU this time rather than an AU from another franchise. Other than that - I have a special YT video in mind to come out after the Arc 1 side story, won't say what it is yet but, I really hope you'll enjoy it - it's... gonna cost me a pretty penny. Also, this animatic (you forgot that this was the original point of the post, didn't you?) was made completely in Ibis - but after this I'm completely switching over to Clip Studio Paint! I've already been messing around with it since Xmas though - I'm very much willing to show what I've made with it so far! In fact, I think I'll do that on the main art blog later tonight!

I think that's all I have to say! Happy New Years Eve everyone! (Or just New Years if you're one of those time traveling Aussies /silly) Here's to a prosperous 2024!

[xaeyrnofnbe]

very late but i would love to know abt spinz!!

woahhh for real? awesome here we go

(general warning here for descriptions of. uhh. violent animal death. not a whole lot but yeah)

so basically, Spinz exists in a world where on very rare occasions when something dies, (human, animal, plant, even more abstract concepts,) it can remain as a magical entity i’ve been referring to as Calikeys (like calico but. key.) Calikeys take on vaguely feline forms, though beyond that can appear however the hell they want. they have a “key” which doesn’t necessarily HAVE to be a literal key but oftentimes is, and is the source of their power to act as a sort of bridge between the living world and the spiritual. Calikeys are usually guardians of areas of land called “enchanted grounds.” which. things that stick around them get quirky.

now that what Spinz is has been established, now i can talk about WHO he is.

in life, he was called Timber. he was a stray cat with a big imagination, and was raised/cared for by another stray named Alice, who was an older sister figure to him. unfortunately, they didn’t have all that much time together, cause he wasn’t even a year old when he. well. was violently dismembered and Alice later drowned. yeah it’s a lot sorry

but it’s ok because they both became Calikeys!! though, becoming a spirit of that flavor does mess with the memory a bit, and it can take a long time to remember who you were. and it can be very hard to recognize a Calikey who was a friend in life. and so, Magnolia (previously Alice,) and Spinz (previously Timber,) have known each other as spirits for a very, very long time. Spinz is very different in this new form, and Magnolia is basically the same. he knows this is the cat he cares about so much, but she doesn’t recognize him. she hopes desperately that her little brother became a spirit in the same way she did, but keeps looking for him in all the wrong places.

they actually live pretty close, too. just a few hours walk. Magnolia is the guardian Calikey of her enchanted ground, a graveyard, and Spinz resides in his, an old rundown mansion on a hill.

they do eventually get on the same page but then i’d have so. much. more. explaining to do. i’d have to basically recap over two years of storytelling-through-daydreaming that never got written down. plus this story is connected to a bunch of my others. so yeah not doing that.

i do hope this is satisfactory, though. oh! i can show you my original drawing of Spinz long before he even had a name or a story, and before the several redesigns i’ve put him through

oh and. due to the way that he died, he can kinda do whatever with his head and limbs, and does some freaky stuff as a form of self expression. so below i’ll be putting an animation i did a while back of how he changes expressions

[nostalgebraist-autoresponder]

Okay, time for another one:

Since the last one caused this kind of furor, I'm posting it here.

Warning: There are a bunch of big, ugly words here, and I've taken some pains to avoid putting the words where you wouldn't expect them. But I hope there's enough here to make you feel a sense of foreboding.

This post is about a piece I wrote at the beginning of May, which has gotten more than a hundred reblogs and a few thousand notes in the past two days. It has been the most-discussed and most-liked piece on this blog so far.

It's called "The Merely Continuous Body: A Dream."

It can be read here.

Why?

Well, why do I write? Or why do I write these things I've been doing? I'm trying to think of some way to say it, and to this end I am going to describe what I've done in this post, and what I've done with it so far.

Some preliminary considerations

What I write: This is a post where I talk about a short, fictional dream I had, published as an article in the Atlantic magazine. The article is over ten thousand words long.

The content of the dream is not central to the discussion; I am not interested in its contents, except to say that they were very unusual, and that they were interesting in a way that made me curious about the person and his psychological background.

What I write:

"A dream which starts off with a character's embodiment in a physical space, then switches into a plot" is a common enough theme among dreams. A lot of dreams are like this, and a lot of dreams are also sort of weird and unusual.

The content of the dream:

is not directly related to the plot of the story I'm writing here

is more directly related to the plot of some other story I might write later, or some real thing I think about sometimes

Why?

Well, why am I writing about this?

Why me?

Why would anyone give me the job?

Why now?

Why don't I post all these things I want to write, in the way I post other things?

A quick recap

In early May, I took some time off to try to get my life back in order -- emotionally, cognitively, spiritually, whatever. But part of me still felt a desire to "make some waves," I guess, to "write some words." I took the most straightforward way to do that, and tried to write something for a major magazine. It didn't work out.

But I did write something.

Some time after that, I wrote another one, and another, and another, and they were all basically the same:

"The Merely Continuous Body: A Dream."

Some of the words I wrote were more like "ideas." Some of the words I wrote were less like "ideas." The most "idea-like" words included:

"A dream about a man, or a man-shaped figure."

"A body is a thing which is more continuous than a person."

"A body is not a person; a body is a thing which is not a person."

"Bodies, like mountains, are more or less continuous with themselves. "

Now, to what extent is this description correct, and to what extent is it accurate?

There are more complicated questions, and I am sure someone else will come up with a better description. But I've tried to make the simplest one I can -- the simplest one that, at least so far, seems to give the right gist of the thing.

Why not write about more complex descriptions, that take the reader from a vague sense of "continuity" to a more solid understanding?

Why not write the simple description, the reader-friendly one, and the one that I would write if I were the writer?

I'm just curious -- why not do that?

Some of the other descriptions in that file are interesting and striking, in a way that is more specific and direct. "A dream in which people are transformed," say, or "A dream of the ocean." You can get that kind of reader-friendliness from a better description.

Some of them are much, much more complex. "A body is a thing which is more continuous than a person," says the more complex description, in the sense that it makes it hard for the reader to get a concrete sense of what continuousness is meant to refer to. When I started writing, I was really uncertain whether the words "more continuous than a person" were accurate. I mean, in what sense are we talking about continuousness and about continuity and persons here, and how exactly do continuousness and continuity apply?

That is my feeling now, in retrospect. If I were writing it now, I could do better.

"The Merely Continuous Body: A Dream."

But "The Merely Continuous Body" is pretty good so far. It sounds like it could be an interesting description, I could use it as the basis for a short article, and it sounds, at least to me, about right.

So why not write the short, reader-friendly article based on the one I'd write myself, in this case, instead of some other description?

Well, why wouldn't I?

The right thing to do

"The Merely Continuous Body" is pretty much all there is to it. That's why I like it so much. There's no complicated, awkward parts. There's nothing that would make a good story if I described it the way I'd describe a story. The words are all very, very simple, and not complicated. I love them.

Now, when I think of "making waves," I think of things like this, with a complicated or awkward structure to them, and lots of ideas to be had, if you have a really complicated mind. I don't think of "making waves" as "writing about a man-shaped thing, or a figure-shaped thing." And I certainly don't think of it as "writing about continuousness and continuity and persons and stuff."

Maybe it would be weird to describe the "continuousness" of the thing as "it is continuous with itself", since the thing has multiple degrees of freedom, multiple states of self-identity.

But then "The Merely Continuous Body" would be even more reader-friendly than it currently is, since it would be the simplest way to talk about the thing I wrote.

Some other descriptions of the same idea

[lets-talk-spirituality]

Yeah it’s possible, if you knowing about them isn’t what’s best for your path. Usually if you are meant to be going though a period of self development or focus, the energy between counterparts is less intense because each is spending it on themselves. Which ironically, when you come out of it can make you closer because you are both more yourselves which means closer to one another. Soulmates you may not be aware of at all, especially if they are meant to surprise you. ///

That's it. Since as a kid, i've never been one to rush into relationships like "oh my god i gotta get someone soon" or i'm going to assume that anyone who dazzles me is my soulmate, I always felt like I was meant for someone, i used to say "there's someone out there to me so that’s why i'm not desesperate" when telling my friends about being calm unlike other girls my age who were intense for boys. I think i have to work on things internal and external to be able to receive the soulmate in my life, it's a matter of time. I also think this person will come into my life when I least expect.

In 2021, i used to ask around in tarot blogs about my soulmate, i'd like to discover personality traits or the dynamic with my destined person, but i got all "🙁" when each reader were picking in a different personality (i know we have a lot of soulmates but i specified for them) plus it wasn't like "passing the vibe" you know, the person was totally different, i was like "ah😐. I don't know if i would like to date someone like this" "where would i find someone with this job, if i don't even go to these places" also the description were too vague and cloudy,

i relate the insights of our type of person and soulmate that astrochart can give.

I think of the cherry of the cake, i don't know if you believe it, or if what was said is true but when I went to church (i think is a spiritual place, i don't go anymore but i love God's guidance) and the pastor out of a blue started talking about divination and how we're not supposed to know what's going to happen, about God's blessings that are coming and we have to stop because that can have consequences if we keep messing with it... 👀 i felt called out and slowed down about this, now i only know what i'm allowed to know, and i won't ask here about my soulmate, i will only wait.

It's the first time i open about this with someone. I personally don't know anyone older and wise into spirituality, psychic, intuitive or reader and my family is religious intolerant who doesn't like anything other than God and just God.

there's my dad's stepmother who reads tarot and is spiritual, she was a witch but as I grew up with my intolerant mother who hates her she would laugh if I asked for advices like this, she's also nosy, gossipy, idk i dont trust her to tell things like this lol. Damn, why did it take me so long to send ask to your blog? lol it's good to have you here sharing knowledge for free.

Ohhh a lot to impact

1– you are comparing yourself to others to make yourself feel superior. Your decision to work on yourself and not focus on relationships doesn’t mean that those who focused on relationships were desperate. In fact, by not opening up to relationships beyond the person you think is meant for you, you may have kept yourself back from valuable lessons that would have you appreciate your soulmate even more. Things that would make you a better partner. I’m so happy I dated my exes. Because when someone treats me right, I will really know what that means. I have basic skills of what it means to live with someone, I know more about how to communicate my own needs and how to see what others need from me. I think it’s great you want to work on yourself but I encourage you to look deeper into if you really are content waiting for who you believe is made for you, or if you are scared to put yourself out there and get hurt. Sometimes playing it safe and sitting on the sidelines of life can give you valuable insight but it can also keep you from playing the game.

2– that’s the problem though isn’t it? Why are you so focused on them? That’s you trying to control things. You’re asking to get an answer that you already have formed in your mind is correct. My soulmate is like this… Limited thinking. I’m really glad you noticed this and changed. I’m proud of you. That’s not easy to do. Seeing ourselves clearly can be the hardest thing.

3– I’m glad you feel like you can talk to me here. I appreciate everyone here for their patience and acceptance. I know some of my responses are kinda harsh and direct and thank you for understanding. I mean the beginning of this response I’m like ooo that’s a bit… but like that’s what I’m here to do. I do that with my family and my friends and people I’m seeing too. It’s not something I want to change. I used to hate it because I felt like it made me hurt people and they didn’t like me, they said I’m too much. But now I realize this is my gift. So many people in life go through it without someone to really call them on their bullshit. I’m blessed as fuck to have friends who do. I just have to call shit out when I see it and it’s not me making a judgement of you, always an observation, and you don’t have to agree with it but I still have to say it.

4. I hope you can heal your mother wound. It’s hard. I think one of the greatest things about therapy was seeing the intricacies of the way my parents instilled stuff in me. And now I can see how their parents instilled it into them. Im blessed I have such wonderful people as parents. Both my mom and my dad are genuinely kind and loving people and they are open to growing and changing. I told my therapist today sometimes I feel like I’m watching my parents grow up. It’s peculiar but like sometimes when we talk, I’m like yay mom is finally getting it, or my dad and how he handles things now. I’m just so proud of them. It’s hard letting our parents be people and change and grow too. I struggle to let my mom be different, to realize how she acted when I was growing up may not be how she acts now.

Thanks for sending in so much for me to respond to. I’m rooting for you nonniekins, 2023 is gonna be your year.

[elkrisen]

☕️ cartoon suns and also your spirituality

I was making a post about how I wanted red liberty spikes and as I was typing that post I realized if you added orange and yellow in an ombre then it would look like a cartoon sun and it just revolutionized me. I don't have that hairstyle (yet) but I thought the turn of phrase "cartoon sun" was cute and then I started feeling an affinity for cartoon suns and have kind of phased them into my aesthetic. I also inherited my sister's sun shaped wall hanging "Charlie" so it feels fated. I also identify heavily with the idea of a "sun" person I love warmth, love, and lazy days napping in the grass. It's everything I want to personify as an individual. 

*** 

My spirituality and my personal definition of it has changed a lot this year so I hope this answer comes across concisely. I think to fully explain it though, I have to mention that my religious background is a very toxic evangelical cult. I never identified as a Christian (I had very early dreams of hell/separation from g-d which I/my family took to mean that I was spiritually fucked but eventually was revealed that I just would be working for a very different patron) My mother is  Jewish but had to convert to Christianity before my father would marry her and even though she does find her faith fulfilling I was never able to experience my heritage. I felt like religion and the g-d had personally wronged me and I was a very "if you ever see me and g-d at a Denny's parking lot I'm ripping his throat out and making him watch" for years.

I experimented with Judaism and was considering joining a synagogue as a way with reconnecting with my roots but everything changed when I started going to therapy. I was healing emotional wounds and a lot of my limiting beliefs/trauma dissolving showed me parts of me that I hadn't explored. I know "empath" isn't a credible term right now but one of my earliest, defining spiritual moments was when I was around 8-9 and my mother informed me that I had the gift of “insight” and would be able to feel people’s emotions/speak into people’s souls in a way that would never be reciprocated/leave me feeling resentful in every intimate relationship. She was right and a lot of my childhood/teenager years was spent in abusive/co-dependent relationships that drained me of my energy and left me feeling resentful and profoundly unloved because I knew things about other people but no one seemed capable of putting that same energy into me. 

As I was unpacking this in therapy, I started reclaiming that part of me in a way that I hadn’t been able to before.  I started getting into tarot and the spiritual community and the fact that you could ask for signs/items to prove the universe's interest in you. I asked for a deck of tarot cards because I didn't want to buy my own and soon after we had a deck donated to the thrift store I was working at that I bought for three bucks. I started asking for more things, a new place to rent, an altar (I found mine within a tree struck down by lightning) weed (I cannot stress how much weed I have manifested during this pandemic) food, people returning into my life, etc. After a few of those things worked/I started seeing daily synchronicities in my life I started studying more and experimenting with craft. I went from being someone who hoped for oblivion at best to believing that everything is connected, everything is cyclical, nothing is coincidence, and we hold the pulse of our own lives.

 I don't really have a label for these beliefs, and I'm still developing my path and direction in regards to who I want to work with and what I want to work toward. It That being said, it is the only faith in my life that has consistently given me proof and examples of its existence. I think as of now my core beliefs would be something like: this is not my first time living, everything in my life is meant to be, and if I will it then it will be.

[mulabby]

Manifestation: 2021 edition.

The process of Scripting:

Scripting is one of the easiest methods of manifestation. The process of scripting is often done in what is known as a manifestation journal. A manifestation journal is as simple as the name entails, a journal used only for the purpose of manifestating.

side note: Manifestations can only be achieved if internal shadow work was already being done.

Selecting a journal.

The first step is to select a journal. It is important that when creating a manifestation journal, the journal being used is new. You do not need to purchase an overpriced journal covered in quotes as long as it’s a new journal that resonates with your taste and energy it is fine. This journal is specifically for manifestation, nothing else goes into this journal but what you’re trying to manifest.

Binding your intentions

One of the most important step before you start writing inside of your manifestation journal is binding your intentions to the journal. There are different methods of binding your intentions, however one of the simplest forms is simply by blowing over your journal & speaking loudly into the atmosphere the purpose of the journal.

i.e. Place your hand on top of your journal while allowing your breath to flow onto it as you speak purpose into the journal.

“This journal will be used for manifestation. Anything written inside of this journal will transform into my reality. I am a creator. I am a manifestor. The ink that flows within this pen, the pages that are within this journal are canvas of my future. Everything I write within my canvas will form it’s way into my future reality.” This is an example of what I used to set the intention with my journal. I also envision energy flowing from my hand into the journal.

Scripting in your journal

Showing gratitude is the perfect way to start off your manifestation journal. On the first page of your journal make a detailed post giving gratitude to the Universe and God for the things you currently have and are going to receive. However, when writing about anything inside of your manifestation journal always use the Present tense. As mentioned before you need to write within your manifestation journal as if your intentions have already happened therefore it is essential that you show gratitude to the universe for your manifestation.

i.e: You are trying to manifesting love within your life. You could write within your journal like this: “I am so thankful for the love within my life. I am so thankful to the Universe and God for blessing me with the love that I deserve. This soul touching connection & love is everything I deserve and more. I am soooo thankful. I am so grateful. I am love and am loved.”

This is a brief example of how you would use the present tense and method of gratification within your manifestation journal. You can switch it up and add your own desires. The trick to using a manifestation journal is using the Present tense. By showing gratitude for the things you’ll like into your life and writing as if it’s already in your life is one of the best methods of law of attraction. Even though it hasn’t happened within your life as yet, it will as long as you’ve programmed your mind to believe it’s on its way towards you. This is the perfect way to attract your desires from the universe.

Ensure that when writing within your manifestation journal you are as detailed as a possible. The more details, the better. A vague dream and description will not manifest into reality, the universe will only grant you exactly what you’ve asked for in detail. Write down as much details as you can while dewelling on the feelings you are experiencing while doing so.

What do you want to manifest? Why do you want this dream? Is this dream a want or a need? These are important internal questions that need to be answered as you cannot manifest a dream/future that isn’t clear or you are unaware of why you need it in your life.

Visualizing & Vision board

The process of visualization is also important when scripting within your manifestation journal. Imagine your dream/future as if you are currently experiencing it. As if it had already happened and you are living within that moment. What kind of feeling does it give you? The mental image of your dream and the feeling it gives you will help with assisting in manifesting your dream. A vision board section can also be added with your journal. You can insert pictures of things you are trying or would like to manifest. This also helps with the visualization process. Remember anything written or pasted within your journal with transform into your reality.

Having a positive mindset.

You have to be positive about your dreams and your manifestation journal. A lot of us seem to have this idea of manifestation being an instant transformation and while it does work like that for some situations that’s not always the case. You cannot manifest someone against their free will, you cannot manifest what is not meant for you, you cannot manifest without releasing the past and doing shadow work & you definitely cannot manifest what you don’t think you deserve or aren’t spiritual on the same vibrational level as.

You have to completely and whole heartily believe that everything written within that journal — everything written with that specific pen will transform into your reality. Any room for doubt will cause your manifestations to fail. You have to reprogram your mind so that you can achieve your dreams.

side note: The best time to write within your journal would be right before bed and first in the morning when your mind is still fresh and in the state for manifestating. However any appropriate time is suitable as well. The journal should be used only for manifesting & the pen that is being used should only be used for that journal as well. Remember to be positive and to show gratitude always. These are all the tips on successfully creating and using your manifestation journal.

[itshybridqueen]

The Hybrid Queen’s Witchcraft Resource List for Absolute Beginners

I recently received a few messages from people who are “magically curious” and wish to learn more about witchcraft but have no idea where to start. When I first took up the mantle of the Witch and started my path not too long ago, I found it difficult to identify good, credible sources that also fit my learning criteria and helped me meet my magical needs. I had to read many watered down, bland and superficial beginner’s guides and introductory books, filled with inaccuracies, outdated information, vague descriptions and cultural appropriation. I’m making this list in the hope it will help potential beginners bypass the confusion of not knowing where to start. It contains the resources that I wish someone had recommended to me when I was in that position. It is by no means exhaustive and you also don’t have to read every single one of these books. May it give you a solid foundation and guide you on your magical journey.

Introductory guides to Witchcraft

“Weave the Liminal: Living Modern Traditional Witchcraft”, By Laura Tempest Zakroff. Suitable for beginner witches not knowing were to start as well as intermediate practitioners looking to further deepen and personalize their practice, this book offers extensive instroctions on how to go about forming your own personal path as a Witch. It doesn’t offer any instructions on spells, rituals and correspondences but instead focuses on teaching the reader how to build a practice that works for them, how to get into the right mindset to pursue a personal magical path.

“Psychic Witch: a Metaphysical Guide to Meditation, Magick and Manifestation”, by Mat Auryn. A detailed guide filled with useful info and many practical exercises to develop psychic skills and work spells. Although it came out very recently, I’ve heard glowing reviews from many seasoned witches and advanced practitioners.

“Wicca: a Guide for the Solitary Practitioner” by Scott Cunningham. Perhaps one of the most widely known books on Wicca and Witchcraft, this book offers an A-Z guide for beginners to practice witchcraft from a Wiccan perspective. Most modern beginner’s guides I’ve seen are heavily based on this one, so I recommend going straight to the original source.

“The Crooked Path: An Introduction to Traditional Witchcraft”, by Kelden. A practical step-by-step guide for those interested in traditional Witchcraft. I have not personally read this one but it comes highly recommended by several advanced practitioners.

“Advanced Magick for Beginners”, by Alan Chapman. A simple no-nonsense practical guide to magic(k) from a chaos magick approach. Lightweight, easy to read and only slightly condescending, it’s a good starting point for strictly results-oriented secular practitioners. However, this type of magic isn’t classiffied as witchcraft in the strict sense and the practices here lack the more complex spiritual background and the “witchy feel” most of the other sources here provide. If you choose this book, I recommend reading it after Weave the Liminal.

Inspirational Witchy Fiction

“Circe”, by Madeline Miller.

“Equal Rites”, by Terry Pratchett. I recommend pretty much all his books in the discworld witches series but if I had to pick one, it would be this.

“American Gods”, by Neil Gaiman.

“Norse Mythology”, By Neil Gaiman.

Informational and Academic books on the topic of Witchcraft.

“The Triumph of the Moon: A History of Modern Pagan Witchcraft”, by Ronald Hutton.

“Witchbody”, by Sabrina Scott

“Waking the Witch: Reflections on Women, Magic, and Power”, by Pam Grossman (also check her podcast, called “WitchWave”).

“Aradia, Gospel of the Witches”, by Charles Godfrey Leland (I wasn’t sure whether to include this here or in fiction, as its contents have been highly discputed, but the poetry and a lot of the philosophy around it have had a huge influence on the modern witchcraft movement so I consider it an important read nonetheless).

Informational and Academic Media on Witchcraft and Paganism

Does humanity still believe in magic?

Is Magic Fake and the Study of New Religions Useless?

Witchcraft, Gender and Marxism

Magic VS Superstition

Principles and “Laws” of Magic and Witchcraft

What is Wicca?

The Man Who Made Witchcraft (Documentary about Gerald Gardner and Wicca)

Some of my favourite witchy tumblr accounts that helped me on my path

@hekateanwitchcraft @orriculum @maddiviner @themanicnami @winebrightruby @stormwaterwitch @oldmotherredcap @violetwitchcraft @sigilseer @adri-le-chat @owlkeyme @themixedwitch @baringtheaegis @normal-horoscopes

[nanowrimo]

5 Tips for Finishing Your Novel

April’s session of Camp NaNoWriMo is drawing to a close, and you might find yourself nearing the end of your novel. If you need some tips on writing and polishing the ending of your story, author Derek Murphy is here to share a few! Plus, you can check out the rest of our novel-finishing resources on our #NaNoFinMo page. 

You won NaNoWriMo and have a 50k collection of scenes and sentences, but how do you clean it up and get it done? How do you make sure it’s finished, satisfying and enjoyable? Here are 5 powerful strategies for finishing your novel and some helpful writing tips that will push you past the finish line.

1. Give it a satisfying resolution.

In order to have a powerful story, your book should probably focus on a main character’s change or transformation. There’s an inner war, a.k.a. the character’s emotional healing, and an outer war: the conflict that forced the reckoning. If it’s a purely symbolic internal realization, you can mirror that with actual conflict in the real scene: the breaking of a dish, a fit of rage, a sudden ray of sunlight (or a storm… this should not be pleasant; It’s a breaking point and spiritual death/rebirth).

You can clarify the moment of change by setting up an illustrative contrast, a before and after, that shows how those internal changes have resulted in real-world consequences or benefits. Each character’s unique challenge will match their personal weakness or fear. The price for victory is the one thing they have so far refused to do, or something they cannot give up or bear to lose.

Make sure your protagonist has gone through a transformative struggle to arrive at deep insights, knowledge or awareness. Find a way to deepen the incidental scenes so that they become instrumental to a deeper purpose, leading towards an identity-shifting event.

The plot is what happens, and it’s important. But you can make it more dramatic and meaningful by making sure you demonstrate how hard it was and what it cost. It matters, it is remarkable, because it forced your protagonist to change.

Your conclusion might include:

Physical tension as allies perform a tug-of-war battle against resistance, that shows how difficult this struggle is, and how much force is required.

The consideration phase, as characters are tempted last minute or the price for victory is revealed: the sweet memories that give them awareness that this fight is worth the cost or risk (you need to show them making the choice, knowing what they will lose).

The final flashback, as the full backstory is revealed so we can see exactly why this conflict is so difficult or meaningful for the main character.

2. Add (unresolved) conflict.

Your story is made up of the events and scenes, where something happens. Each new event will push the characters further into the plot. Slow scenes where nothing is really happening can be red flags, so the first thing to focus on is increasing conflict, drama, suspense and intrigue. This is what creates urgency. The full reveal, demonstrating why THIS challenge is so difficult and powerful, should happen just before the final battle or resolution.

You want to make sure every scene, especially in your conclusion, has enough conflict. I recommend these three:

Outer Conflict (threats): Challenges or obstacles that prevent the character from achieving goals.

Inner Conflict (doubts): Moral struggles, decisions, guilt or shame, anger.

Friendly Fire (betrayal): Strong disagreements between allies or supporting characters. 

You want to extend and deepen the potential conflict, without resolving it too easily. The biggest destroyer of conflict is conversation: when your characters just sit around and talk to each other. Most conflict involves a lack of information, and a desire for clarity. A lot of conflict is perceived or imagined.

The most important information needs to come last, and come at a great price. The information that has an emotional impact, and influences their actions and decisions, should be big reveals at dramatic peaks. A surprise or twist should be treated as an event: each scene is leading towards a change or new piece of information that provokes the protagonist to respond.

3. Fill plot holes with character motivation.

After you’ve made sure that “what actually happens” is intriguing (opening questions and raising tensions without resolving them) you can focus on making sure the plot holes are filled, and characters are properly motivated – these two things are usually adjacent.

You can find and fill plot holes by asking:

Why are the characters doing this?

Why does any of it matter?

Basically, readers need to respect the main characters enough to care what happens to them, so their choices and actions need to make sense within the given information. If there’s a simpler, easier solution, readers will get stuck up on “why didn’t they just…”? To fix plot holes and gaps in logic or continuity, or make the story go where you need it to, you can add urgency, fix the mood of the scene (bigger stakes require bigger justifications), show characters in a weakened mental state, or raise concerns but have them dismissed, with an excuse or justification.

You need rational characters to make plausible choices that lead to dire consequences. You need show why they don’t do something easier, or nothing at all, or why they face clear challenges, despite potential obstacles.

They’ll also require a deeper motivation, for why they’re willing to put themselves in identity-destroying conflict, rather than just giving up or running away. Why do they stay in THIS fight, when they’ve run from similar ones? If they weren’t ready at the beginning, why are the ready now – what changed in them, as a result of your story’s journey?

Your protagonist needs to have a strong, consistent internal compass, and it needs to be revealed through incidents that establish their character. This is who they are. Without this reliable core identity, we won’t be able to tell a story that forces them to change. 

4. Let readers picture your story with detailed description.

In the final stages of revision, you can begin improving the description with specific details.

It’s smart to start – or end – a chapter with a vivid, immediate scene. You want to leave readers with an image they can see in their minds, hopefully connected to the feeling you aim to evoke. You can close a chapter with a reference back to a motif or image, with a deeper or more reflective context; applying meaning to the metaphor. This will help readers feel engaged, be moved, and leave a lasting impact.

Vivid scenes are mostly a matter of detailed description, so add the specifics about the story environment. Be precise, not vague. Instead of “she put a plate of tea and snacks on the table” you can write “she gently placed an antique porcelain teapot on the table. I could smell it was Earl Grey from the scent of bergamot. The half-sleeve of Oreos and can of onion-flavored Pringles seemed incongruous with the fancy dishes, but I knew she was making an effort to welcome me.”

Focus on the sensations and feelings; but also zero-in on any potential sources of conflict or internal emotions or states of mind. In my example above, the host might be nervous or ashamed of her spread; or perhaps she has a degenerative brain disease and doesn’t notice the incongruity. Tensions are unspoken, potential sources of negative feelings. They hover in the background of your description.

Readers will remember the pictures you put in their heads, not the words on the page.

Description should serve and be bound to the story, not distract from it.

It should be squeezed into and around the scene action, when the protagonist is using or exploring.

Show what’s different, not what’s the same.

Leave space for readers to fill in the gaps, but get them started in the right direction so they aren’t surprised later.

Sidenote: be careful about your metaphors, analogies and similes. Each one will put a picture into readers’ minds, and it can quickly get overcrowded with imagery. You’re asking them to ignore your real scene and think of something else. Use them to confirm and amplify the scene you have, and limit distractions.

5. Prepare to publish.

Typos are bad, but perfectionism will ruin you. This section is about editing and proofreading, but I don’t have time for all that, and you don’t either. The real problem with a story is rarely the number of typos. A very clean book isn’t better if people stop reading.

You can solve a lot of common writing problems, with my big list of 25 common writing mistakes, and self-edit your manuscript to make it as good as possible. After that, a copyeditor or proofreader isn’t always the best investment (and it can also be the biggest publishing cost).

Instead, use an editing software (I like Grammarly) to root out obvious mistakes, but don’t dwell on the small stuff like perfecting every word or rearranging the commas. Spending a very long time wrestling a poorly-written manuscript in shape is less effective than getting something (actually) done to the point where you’re comfortable sharing it.

This may be difficult at first, but you can’t learn and improve without genuine reader feedback (from people who aren’t your mom or best friend; nor the short-sighted opinions of a self-proclaimed literature enthusiast). You need to find readers who enjoy your particular genre, and the sooner you find them, the more valuable feedback you can get.

Shorten the feedback loop: Get over the fear and focus on learning by getting feedback early and often. However, this doesn’t just mean joining a writer’s club: writers are brutal and might focus on trivial things. The safest bet is to make it public, on Wattpad at least. Or get a cheap cover and throw it up on Kindle, Draft2Digital or even your own blog.

Making it public is scary and vulnerable, but it’s better than letting the fear of messing up keep you from the brutal, necessary experience of allowing readers to tell you what they liked and disliked about your writing. Will some people be critical? Yes! But guess what, you’ll get negative reviews even if you’re a brilliant, famous writer. Those are inevitable. And the first negative reviews may teach you more about writing than 10 years attempting to self-edit, afraid of putting your book out into the world.

PS. You can use resources, like my 24-chapter plot outline, as a way to spot story gaps in your manuscript and improve the structure (especially if your book suffers from a “soggy middle.)

Derek Murphy has a PhD in Literature, writes urban fantasy and is the founder of the alliance of young adult authors. More recently, he’s started sharing writing tips on http://www.writethemagic.com

Top photo by Adegbenro Emmanuel Dipo on Unsplash.

[everyonewasabird]

Brickclub 3.4.1 ‘Group that almost’ part 11: Grantaire

All the other Amis are Legitimate Sons of the Republic, and so the first note we meet Grantaire on, following that, is a vague idea of illegitimacy. It’s hard to say why that feels so very right to me. This is pure headcanon, but I could easily see him as the actual illegitimate son of somebody--well cared for but aware of himself as a bit of a sore spot from birth, a reminder of the existence of corruption in a way he internalizes. It’s certainly the way he positions himself in the Amis family: he’s there, but off to the side. He’s there, but no one, least of all him, is quite sure why.

It’s been so long since I’ve come to Grantaire’s description in order, with fresh eyes. It’s a novel experience, and I’m going to give my impressions as they happen.

And... he's actually quite charming?

He’s charismatic, the one who always knows where the party should go next, naturally good at physical pursuits, and so on. He seems confident and conceited--which is not what I was expecting--and that can be charming or insufferable, depending on how it’s carried. Right now it’s striking me as on the charming side. He’s not in your face about it, but by pretending he’s in general demand among women, he’s carrying whatever he’s carrying about other people’s feelings about his appearance in a way that smooths the experience for everyone.

(It’s a dynamic that’s striking me as extremely middle school for some reason? God, I’m thinking of some terrible movie from the 80s aren’t I. I think I’m happier not knowing what this memory is.)

And then we get to the way skepticism has hollowed him out.

Hugo describes irony as a kind of disease, and Grantaire is the exemplar of that malady, demonstrating to the reader what it does to somebody. And, you know, I grew up in the 80s and 90s, I’m just going to straight up agree with that.

Then we get to his need for Enjolras to imbue him with structure and meaning. It’s a beautiful description, and it makes sense: Grantaire feels his own incompleteness. He feels the need to be something different, but he can’t find the change in himself, on his own.

But he keeps coming. He doesn’t know what it is he’s coming for, but he needs it enough that he can’t walk away from it. It’s a form of desperate hope, and it seems like the thing he hopes for is.. hope.

I appreciate how, again, there are no backstory reasons for this. There’s no past that explains him--other than the history of France--and there shouldn’t be, notwithstanding the rampant headcanoning I started this post with. Marius comes to the Musain because he’s working out some complex family shit; Grantaire doesn’t. He rejects the realm of ideals, but he also exists solely in the realm of ideals, in the sense that ideals are the reason he’s here. Yeah, Enjolras is the reason he’s here. But what is Enjolras but ideals?

Like Valjean kneeling before the bishop and the nuns, Grantaire doesn’t know how to touch the infinite except through an intermediary. But he’s trying desperately to touch the infinite.

I really like that after we get the description of everything about Grantaire attaching itself to Enjolras, the text explains that that phenomenon has nothing to do with Enjolras. It’s inherently something about Grantaire:

He was himself, moreover, composed of two apparently incompatible elements. He was ironical and cordial. His indifference was loving. His mind dispensed with belief, yet his heart could not dispense with friendship. A thorough contradiction; for an affection is a conviction. His nature was so.

Like we’ll see later with Eponine’s feelings for Marius, Grantaire’s feelings for Enjolras aren’t about him but what he represents in Grantaire’s internal journey. Though, of course, there’s much less of a power imbalance here--Enjolras and Grantaire share materially similar circumstance, and it’s only spiritually that Grantaire is lost at sea.

God, this has gotten so long and I haven’t even gotten to any of the queer references.

My sense from others is that 1) Hugo in life was absolutely surrounded by queer friends and 2) it’s not clear he ever realized that.

So, briefly: reference to Orestes and Pylades was absolutely used to refer to queer men in canon era, and used by people on complete opposite sides of the spectrum; I’ve heard Borel roll his eyes at having to use it in order to talk about queer men (a group he belonged to), and I’ve heard Vidocq use it with sneeringly vicious homophobia.

Did Hugo understand that usage? I really have no idea.

But I’m fascinated by the way Enjolras and Grantaire’s whole relationship is simultaneously completely one-sided--but also, it bleeds into the omniscient narration of the text.

Like, this O&P nonsense is all 100% entirely Grantaire’s thing. Clearly! But, then, why does the narrator invoke Antinous in Enjolras’s initial description? Why, in the literal last chapter of his life, is Enjolras given Orestes’ name, if “Orestes and Pylades” is just a thing happening in Grantaire’s head?

And yet, it IS just a thing in Grantaire’s head! It seems all very simple from Enjolras’s side: he’s willing to let Grantaire keep showing up, and he still hopes Grantaire will actually make himself useful, but this whole thing is pretty annoying. Which: very fair! Honestly, just letting Grantaire keep coming to meetings to stare at him must take quite a lot of patience.

But also: the text is holding Enjolras to a higher standard, and at some level it knows that’s not good enough, from either of them. As I’ve talked about before, saving people is a tricky business in this book, prone to a strange parasocial one-sidedness that amounts to ingratitude on the side of the person doing the saving. OFPD, if nothing else, rectifies that.

Anyway, I’m really excited. I’ve had so much trouble reading Grantaire before, and I’m so glad to be meeting him (sort of) afresh this time around.

[littleeyesofpallas]

So a(nother) weird thing I noticed with Hachi...

ここの周りに施した「八爻双崖」はワタシが仮面化してから独自に創り出した術...

The "Hachigyou Sougai*" that was applieds around here is a technique that I created independently after I became a Visored

��神の鬼道で解くことは不可能デス...

It's impossible to solve with Shinigami's Kidou

I was going over some of Hacchi's kidou stuff and I noticed this weird phrase that wasn't translated properly:

「八爻双崖」(はちぎょうそうがい)

Most of this isn't anything special. The Sougai[双崖]: "Twin Cliff(s)" this is super simple to translate, and is consistently handled across the board.

But you'll notice that that means the real focus here is the kanji gyou[爻]... You can see on the right most panel there, that Viz's translator just didn't bother with the Hachigyou bit at all. But in the fan scanlation they went with "joined" which does seem to have some precedent...

...Except that I couldn't actually find any corroborating information on that. Jisho is the one you see above, but Google translate, Wiktionary, and Weblio all fail to list those readings, apart from the mention of "radical no.89" which is less a translation and more a description of how it fits into the organizational structure of the Japanese kanji system;

that is to say, it is itself a "radical" which is a series of strokes used as the basis for a whole subset of related words. And i think... think... this discrepancy is that it etymologically lends the meaning of "mixing/joining/twining" to the kanji that use it, but it can't actually be used in a sentence, as its own word, to mean "mixing/joining/twining."

I don't really know how to explain that in a less technical way... It's almost like how -ton as a suffix is just a contracted form of "town" and we all just kind of understand that, but you'd never refer to "a ton" or "the next ton over" or "my hometon" as if it were its own word. Right? It's not quite the same, but that's the best I can think of...

Anyway, the point is I had to keep digging, and the alternative reading I found was this...

and against all odds... despite this being kind of an obscure term, I actually know exactly what this means! To start, I'm sure you're actually all familiar in one way or another with some variation of this image/motif,

Bagua is often translated into English as something like "8 trigrams" and it's a part of taoist philosophy/cosmology. Taoism, I think I've mentioned on this blog before, is the broad system of Chinese philosophy and lore and mysticism revolving around the concept of yin and yang; in Japan the adopted form of taoism was called onmyoudou[陰陽道], meaning literally "yin yang way." It's a very broad set of ideas ranging from cosmology and geomancy and divination to the basis of a lot of traditional Chinese medicines and a kind of proto-psychology and spiritualism, etc.... It's also where the concept of chi in Chinese(ki in Japanese) comes from. But getting back to the point...

"8 Trigrams" is actually kind of a vague way to translate it, even if it's pretty literal. The "trigrams" in question are each of the sets of three bars, either broken or unbroken. Each unique sequence of bars is its own trigram. And the eight trigrams are ☰, ☱, ☲, ☳, ☴, ☵, ☶, and ☷. They have a whole series of different systems of meaning that map over them, as is just kind of the way taoism in general tends to work. It's all really cool, but also just not something I can summarize neatly in any short amount of time.

BUT even though the Bagua tends to be the most familiar, there's actually both a much more complicated system involving the trigrams* as well as an underlying concept as well. Because at it's most basic all the more complicated symbols stemming from the trigrams are made up of just two foundational symbols: ⚋, the "broken" bar representing yin, and ⚊, the "unbroken" bar representing yang. And THESE singular units are what 爻 refers to.

The weird part of that is that this whole system of symbols tends to work off of units of 3 digits at a time; you wouldn't normally have an octagram, you'd have a trigram or a hexagram. It's also not super clear if it means to refer to "8 things" where the thing is "yao", and also "two cliffs." ...or if it means "8 things", where the thing is "a yao pair" and then... "cliff" is in there for some reason? The trigram ☶ is actually a symbol for Mountain, but I feel like that's not what Kubo meant? Or else he'd have just used the kanji [山]mountain, not [崖]cliff. And either way it's a trigram, not a pair of two.

But then there's the i ching's use of hexagrams instead of trigrams... And ䷳ is made up of two ☶, so literally a pair of cliffs. There's more context to the I Ching that I can really explain here but that hexagram is called gen[艮] and can be interpreted to mean things like "Bound" or "keeping still, mountain" and "stilling." But again.... that's not "8 Yao..."

I guess a big snag in all this, is that I'm not sure how much Kubo knew about i ching or bagua when he wrote this, so there's always the chance he meant one thing but said something different by mistake...

*do go check out the wiki on I Ching if you have the time, because it's super cool in its own right, but like I said there's a LOT there to read up on

Any way, what's really interesting about this is that it's actually always been a distinct feature of Hachi's that he stacks or layers his barriers, AND later, after the long MIA period for the Visored as a whole, his kidou tends to show up in the form of long bars. So, once you've made the connection to yao, his layering of bars/barriers is like building up to the more complex concepts in the various trigrams and hexgrams of bagua and i ching as you add yao.

AND I've actually stumbled into that subject before, because the emphasis on the bars seems to lean into foodbased themes with him as well...

Incidentally when I went looking for the bar images to clip out I noticed this panel of Hachi summoning up some barriers to slap Barregan with and wouldn't you know it, they're the same shape as 爻, although perhaps more similar to some of its archaic glyph forms.

[zero-affect]

On Mark Fisher, Hauntology and Acid Communism

17 May, 1980 – On the night Ian Curtis killed himself, he watched Werner Herzog’s Stroszek on the BBC. Herzog’s existential tragicomedy is an askance vision of the American dream where the soul and sanity slowly erodes. Escaping physical torment in Berlin, alcoholic busker Bruno Stroszek migrates to rural Wisconsin with prostitute Eva and elderly neighbour Scheitz in hope of a better future, only to be broken further by illusionary promises of prosperity. Here, they kick you spiritually, Bruno says, and ‘do it ever so politely and with a smile, it’s much worse’. Eva leaves Bruno as bills amount and his mobile home is repossessed and auctioned off. Scheitz (whose mind has decayed) and Bruno attempt to rob a bank. They find it closed and instead stick up a barber shop. Scheitz is arrested and Bruno flees to a drab Cherokee amusement-park in a truck with his remaining possessions: a shotgun and a frozen turkey. The film’s conclusion reproaches any promise of a meaningful future existence as life deteriorates into absurd repetitions: the truck drives itself in circles until it catches fire, Bruno rides a chairlift up and down until he shoots himself – “Is this really me![?]” emblazoned on the back of the seat – and, most prominently, a chicken dances around and around and will not stop.

 Watching these final moments now, it’s easy to see how Stroszek could have resonated with the Joy Division frontman and acted as what Herzog would call a ‘ritual step’ to his suicide hours later. The inane loop that Herzog presents feels like he was wiring directly into the interior world of the depressive, a place where any anticipation for the future is foreclosed by a sense of pervasive liminality. In my own experience, this mindless repetition is what depression is most like. Feelings of emptiness pervade much more so than any abject sadness. To be sad suggests the reverse is possible. Instead, life feels devoid of meaning, so there isn’t anything to feel in the first place. You simply go through the motions of life despite feeling that they are pointless and, often, ridiculous. Journeying the arctic wastes, getting closer to nowhere. Joy Division was jacked into this void. Driving bass lines and mutated disco rhythms spoke to the heart of nothing more than gentle instrumentation and whispery vocals ever could – you can dance, but what for?

 But to be depressed is often more than just a chronic mood of despair felt within. The depressive enters an exchange with the world where their mental state is projected onto their surroundings, the same surroundings that seem conducive to that very depression. The repetitive motions of daily life are thus not just absurd to you but seem innately so. In a world that seems destined to collapse in a cocktail of geo-political crises, (cyber)wars and the obsoletion of meatspace it feels pointless to work towards a future that will decay into nothing. Existentialism is a pervasive mood for us younger generations and the increasingly endemic state of mental illness in Britain is not just a reflection of today but of the fact that tomorrow looks no different.

 Mark Fisher believed that this psychological loss of the future is the pathological condition of 21st century subjectivity. In Ghosts Of My Life, he argues that our sense of a linear progression of time has drained away – the futures that were promised yesterday have failed to transpire today. For Fisher, this ‘slow cancellation of the future’ (quoting Franco Berardi) is felt at a cultural level. The rapid forward momentum of 20th century cultural production has been displaced, we no longer experience the radical breaks and dislocations in culture that were felt in the previous century. Instead, a formal nostalgia dominates the present as contemporary mass culture expresses an overwhelming tolerance for the archaic. UK music provides his best examples as artists such as Adele and the Arctic Monkeys have naturalised ‘a vague but persistent feeling of the past’ through their reconfiguration of 20th century sonic qualities. Any progress is now minor and incremental, weighed down by declining expectations – the cutting edge has been dulled. The result of this cultural anachronism is the experience of time being lost, ‘it doesn’t feel as if the 21st century has started yet’. As Adam Curtis says at the beginning of his recent documentary series Can’t Get You Out of My Head, today’s paralysis is ‘giving you today another version of what you had yesterday and never a different tomorrow’.

 This cultural impasse is the product of structural and political conditions. Fisher argues that neoliberal capitalism has deprived us of the resources for artistic experimentation, not only in economic terms but also at the level of consciousness. Increasing demands on time, money and attention means we are we are too tired for original cultural production and attentive consumption; comfort and profit is safe within the already proven familiar. The intense rhythm that life now runs at has reduced our capabilities to dream. Massive collective overstimulation means we are no longer able to journey into the depths of subconsciousness and reach out to what’s on the other side. Our lives in hypermediated cyberspace have replaced neural pathways with proxy minds that endlessly trigger us into states of simultaneous boredom and anxiety, beyond thought and concentration into rapid-fire data processing, what Fisher calls ‘post-literate schizo-subjectivity’.

 As Frederic Jameson explains in his influential essay ‘Postmodernism and Consumer Society’, the schizophrenic experience (used descriptively, not clinically) is one of temporal discontinuity; time and meaning breaks down and the schizophrenic subject can do nothing and becomes no one. Jameson similarly claims this experience of schizophrenia is an expression of the logic of late multinational capitalism whereby consumer society folds into obsessive repetition, an intense, hallucinatory and unbearable experience of being ‘condemned to live a perpetual present’. Stroszek’s temporal loop seems particularly resonant here: the tireless demands of subjectivity create a pointless dance that repeats endlessly and the resulting depression that envelops Bruno is the same that plagues us now. The ‘crushing sense of finitude and exhaustion’ of the 21st century that Fisher describes means we are unable to create unimaginable futures.

 If popular music culture was Fisher’s most applicable symptom when writing in 2013, then popular cinema is the abject example of cultural stasis today. Fisher cites Jameson’s other feature of consumer capitalism’s postmodernity, pastiche, as demonstrative of how culture disguises its archaic form via new technologies. But Jameson’s example of pastiche’s mass culture manifestations, the ‘nostalgia film’, needs to be updated. If Star Wars gratified a deep longing to revisit Buck Rogers serials hidden within its special effects, the continuation of Star Wars today gratifies a longing to return to itself, demonstrating a new level of formal nostalgia. The first of the franchise’s sequel trilogy, The Force Awakens, is shameless in its re-hashing of the (un)original A New Hope. Minute upgrades to iconography, lazy name changes that do little to guise the recycling of archetypes and the pageantry of original cast members and classic props illustrates how the “new” Star Wars is an overt re-run of its own past. Pastiche is now fucking itself.

 The dominance of this hyper-pastiche, the prevalence of reboots, remakes and latter-day sequels, speaks to how the nostalgia film is no longer obfuscated as new but foregrounded as a revival of past forms. An overwhelming reliance on recovering recognisable titles and building franchises based on past media churns out zombie forms that market nostalgia as the norm, a sign that the slow cancellation of the future’s gradual waning of cultural progression has reached its final halted form. Cryostasis. Mass culture doesn’t need to pretend to be new anymore, technology now facilitates artificial immortality to endlessly force a reverence for the past and never move on. Nowhere is this more evident than in the resurrection of actors via CGI. Late capitalism’s relentless desire to sell us the same product on repeat has risen the dead. And it is the inherently soulless and uncanny nature of these undead non-performances which is so exemplary of how popular cinema and the rest of our lumpen mass culture feels so deflating.

 Nothing has changed since Ghosts Of My Life’s release in 2014, at least not for the better. But whilst Fisher was able to chart the slowdown of time by contrasting the lassitude of today with the futures projected by the ‘recombinatorial delirium’ of Jungle, Trip Hop and the rest of the experimental music culture he experienced in the 90’s, I’m part of a generation that has only ever known the malaise of the 21st century. The depression that Fisher describes is caused by the failure of the future, life getting worse, whereas young people today have no sense of difference, we’ve never had a future. The full realisation of Jameson’s postmodernism, where there are no new styles and worlds to invent, means art can no longer offer visions beyond today’s faltering economy, unstable job market and dismal political landscape, not to mention the apocalyptic weight of climate change that the youth of today will be the first to truly contend with. Having never known culture’s true escapist capabilities and only ever a postmodern fragmentation, this generation exists without hope or meaning, even for something that has been lost. The return of the void (Fisher writes: ‘If Joy Division matter now more than ever, it’s because they capture the depressed sprit of our times’). It’s no wonder that British youth live only for occasional weekends and short-lived summers. A half-life of binge drinking in parks, shit club nights and raves-that-aren’t-what-they-used-to-be in hazes of lager, cannabis and amphetamine/ketamine/benzodiazepine infusions that stimulate some remnant of feeling (“I love you mate, but I don’t know who you are”) only to come crashing down into unbearable mornings-after, heart palpitations and devastated mental health. We don’t want to grow up, because there’s no world to grow up into.

 This isn’t to say that contemporary culture is completely devoid of anything worthwhile. There are glimpses of the new and the other, but these arrive disparately. The internet has completely restructured consumption. Paradoxically, the interconnected digital world has made culture feel disconnected from the individual in that it now seems to only exist in the realm of cyberspace, separated from real life and away from something tangible. The spaces of subculture have been reduced to forums and comment sections, drawing in members from around the world but retreating its presence from the milieu of everyday life. Without this tactility, there isn’t a sense of a cultural project, that you’re a part of something bigger. Punk’s outward anger rears its head now and again, yet in the age of personal instability, this energy is often inverted inwards into the mental turmoil and isolation of Post-Punk (see Black Country, New Road). Fisher’s argument is that what is lost in the 21st century is a trajectory, the creative force to create new worlds. The classic YouTube comment-turned-meme, “I was born in the wrong generation”, now seems more than just an adage for 13-year-olds discovering Led Zeppelin or Nirvana. It’s a yearning for a time when cultural production coalesced into a shared energy with which to sculpt the future.

 It’s this emotion of yearning that constitutes Fisher’s reaction against these lost futures, his adaption of Derrida’s concept of hauntology. Hauntology is explained through Freud’s notion of melancholia: a refusal ‘to give up the ghost’ – Fisher’s refusal to adjust to the current conditions. Freud writes that ‘melancholia behaves like an open wound’ and, for Fisher, this wound is his longing for the ‘resumption of the processes’ of the cultural and political momentum of the 20th century. It’s not that the culture of the past was necessarily better than the anachronistic reconfigurations of today, but that the aforementioned energies of cultural production promised more. The libido remains attached to this original, uninterrupted timeline. Hauntology is the virtual spectres of what should have been, a stain on the temporal loop that reminds us that time was supposed to move forwards.

 It admittedly took me a while to “get” hauntology, probably because I’ve never known anything but the depression of the 21st century. The pages that make up most of Ghosts Of My Life are essays about certain hauntological traces and phantom presences that still linger. At first glance, these chapters seem to be little more than disparate fragments of Fisher’s own haunted house, nostalgic vestiges of things he used to love. I wasn’t sure if these ghosts were able to rupture the fabric of futurist defeat. The use of hauntology to describe the sonic textures of artists like Burial and The Caretaker complicated things further in my mind. Hauntology seemed instable, although this is part of its appeal and its very nature. I soon started to understand that the identification of hauntology was an act of resistance, but it wasn’t until I read Fisher’s introduction to Acid Communism that the yearnings started to make sense as alternative possibilities.

 Acid Communism calls for the resumption of the momentum of 60’s and 70’s counterculture. The spectre of this period – ‘a time when people really lived, when things really happened’ – offers a return to the open modes of consciousness that defined countercultural thought and promised unbridled freedoms, freedoms which Fisher again argues have been thwarted by the project of neoliberalism. Fisher writes that the 60’s still haunts us today because the futures projected by the counterculture have failed to happen – another future lost. The exploration and experimentation of new modes of consciousness in this period turned the metaphysical into the mainstream and ‘promised nothing less than a democratisation of neurology itself’. To re-ignite the psychedelic, spiritual and social imagination of the counterculture today would allow us to interrogate the very conditions that subjugate us to the temporal loop and reduce us into somnolent agents of mindless cyberspace. Going back to the notion of depression as a suspicion of modern life’s inherent absurdity, adopting new modes of thought and perception can make us lucid to just how ridiculous our lives today really are. Fisher’s commentary on Jonathan Miller’s Alice’s Adventures in Wonderland is particularly evocative: ‘In the solemn and autistic testiness of the adults who torment and perplex Alice, we see the madness of ideology itself: a dreamwork that has forgotten it is a dream, and which seeks to make us forget too’. What Acid Communism proposes is what hauntology yearns for. To reconnect the trajectories of the past to where they should be now, to carry on where the counterculture left off, to continue the mass exploration into new ways of seeing and thinking, to find the energy needed to break out of the cultural impasse and to invent the futures that are unimaginable now but were once seemingly inevitable.

 However, just like the counterculture, Acid Communism is an unfinished project. Fisher committed suicide in early 2017, leaving behind just a draft of the introduction. Acid Communism has become hauntological in itself, leaving us to wonder what new futures could have been imagined if the book was completed and if Fisher lived on and continued to confront our absurd postmodern (un)reality. The phantom that remains, the phenomenal body of work that he left behind, collected in books, articles, lectures and in the databanks of k-punk, haunts us because Fisher’s philosophical resistance, (cyber)punk attitude and unrelenting intellectual creativity continues to be needed and the ideas are only becoming more pertinent.

 Further into the depths of cultural inertia, hauntology is now more important than ever. To keep the wound open resists accepting the continuation of the depressing conditions of the 21st century. But having only ever known time in stasis, it’s hard to be melancholic for a cultural trajectory that I’ve never been a part of. Perhaps the only hauntological trace that can truly resonate for me is Fisher himself. It’s no coincidence that this first blog post is about him. Fisher writes that beginning his k-punk blog was a way of working through his depression and my reasons for writing are similar and directly inspired by his work (the title of this blog comes from a phrase Fisher used to describe the bleakness of depression). Moving through my early twenties has frequently felt unbearable as I’ve become more conscious to how meaningless life is, or rather, how meaningless life now feels. Looking to the future is often an unsettling process in that it’s difficult to imagine anything positive. This sense of precariousness isn’t unique to this time. Yet, I wonder if growing up in the 21st century isn’t wrought with uncertainty but, rather, with a certainty that things will always be empty. Fisher introduced me to alternative possibilities from this painful existentialism. His work is all about uncovering traces of the Outside, finding the future in the strangest of places. Through Fisher I started thinking beyond again, reconnecting with the weird dreamworlds of my childhood.

 The loss of Fisher leaves us with an imperative to continue the project, to continue tracing hauntological spectres, cultural fragments and new (or forgotten) ways of thinking into awakening the future. If we can’t immediately conjure up the counterculture, then we can continue the trajectory of the more immediate ghost that is Fisher’s spirit of resistance. This feels as difficult as it is crucially important. For my generation, depression is inborn, life feels immobile, defeat is hardwired. However, whilst Ian Curtis found confirmation of life’s futility in Stroszek, David Lynch was watching the very same transmission and reportedly was filled with joy and inspiration which motivated him through the difficulties of filming The Elephant Man. This story speaks to Fisher’s optimism at the end of Capitalist Realism: ‘The long, dark night of the end of history has to be grasped as an enormous opportunity[…] From a situation in which nothing can happen, suddenly anything is possible again.’ Life has become malleable, and the void should be seen as a blank canvas. The challenge is to dream again. To find a way to detach ourselves from the numbness and insomnia of cyberspace and the dopamine-laced seduction of the pleasure principle. Exploring the depths of consciousness is not just an experiment of isolated self-discovery, it’s a mode to rediscover a universal humanity. Disconnection becomes connection. Somewhere in the mind lies a communal future and, at a time when there seems to be no such thing, the answer may be unexpected, strange and just what we need.

 Thanks Mark, I miss you.

[teatimecrumpetsandsugar]

ethereal (voltron fantasy/royalty AU) (set up; part zero)

Heyo! It’s your friendly neighborhood Voltron fanfic aficionado- now your friendly neighborhood Klance writer but that’s honestly besides the point I don’t even know why you’d bring up my increasing obsession with them in this Klance fanfic that I swear everyone else will be in, too-

Today, I’ll be writing from a fantasy royalty AU with my favorite show cast ever, even though it may or may not be solely because I want to put water elemental!king!Lance in pretty dresses and makeup and just go crazy with my descriptions of gowns and other things.

I imagine, here, Lance would be from a kingdom with strong ties to Pidge’s kingdom, who has strong ties with Hunk’s kingdom, making them a powerful trifecta. I also imagine that Keith and Lance’s kingdoms are on very thin ice with one another, so Pidge encourages Lance to sit down with fire elemental!king!Keith. 

I also imagine that Pidge’s kingdom is closely allied with Allura’s and that the two of them grew up together, while she didn’t meet Hunk or Lance until she became queen. Also, I’d like to have my beloved Ruler Pidge go by she/they pronouns, simply because I see a lot of myself in the way she dresses and carries herself and I actually believe that these pronouns would fit her, alongside all pronouns.

Hunk and Lance likely grew up together in a very close ally ship and continue to be close friends well into adulthood because that’s just how they are. I can imagine Lance is very vaguely aware of Allura’s kingdom and would never dream of picking a fight with hers since, by default, allying with Pidge made him allies with Allura, but he probably doesn’t know her very well pre the canon timeline because I kind of want to build that relationship from the ground up to make up for what the show did to me-

Keith is definitely allied with Shiro, and Pidge and Shiro were always friends through her older brother, who, along with her father, abdicated from the throne and joined an adventurer’s guild instead (because they believed that Pidge would be a better fit for a ruler and decided that, given how they are, reconnaissance and exploration fit them better. She agreed with this insight, deciding to rule the kingdom the best way she knew how). Shiro, being a much more experienced king and friends with their brother, likely prepared them for the role as they grew into it; the two are on friendly terms, but allied isn’t exactly the right term as none of the people in their alliance knew Keith, so they weren’t sure they could ally with him. 

Lance met Keith at a gala years into his reign; they did not get along.

The system of Magic here will likely be dictated by what element one is born in the kingdom of, (i.e., Lance’s kingdom being the Aqua Kingdom, Pidge’s being the Spiritus Kingdom) and the strength of it in each person will be chosen based on a random set of variables that usually depends on the mood of the Gods corresponding to each element.

Lance- Water (Aqua Kingdom)

Keith- Fire (Ignis Kingdom)

Pidge- Life (Spiritus Kingdom)

Hunk- Earth (Terra Kingdom)

Shiro- Moon (Luna Kingdom)

Allura- Light (Lux Kingdom)

I imagine the reason an alliance is called for with Keith and Shiro’s kingdoms is because a traitor to Allura’s kingdom, either Lotor is planning on starting an entire mutiny with the ranks he’s managed to gather and then, consequently, conquer all of the rest of the kingdoms by force in the name of a long-dead kingdom- the Tenebris kingdom. His parents having died in the midst of a total economic crash caused by a codependent relationship with Allura’s kingdom whilst it was under her father’s rule, he was taken in by the state of Lux by Allura’s request, since they grew up together; unfortunately Lotor held lingering feelings of resentment- towards Lux, for causing the destruction of the only thing he could’ve ever considered his own by right, and towards his parents for always making him feel as if he was of no worth. He wants to conquer the entire world just to prove to himself that he is worth something, though, unfortunately, he’s on a path straight to death.

Might redeem him, might kill him off, might exile him- who knows at this point?

Hunk, I imagine, was a commoner who won the title of king through a series of magic-based trials (upon the death of the last ruler) and now keeps his entire family in the palace with him, using his title to take care of his family and citizens as a benevolent ruler. This likely happened when he was quite young- likely when he was 9 or 10, since magic is an innate thing and, in this kingdom, it’s tested in the youngest members of the kingdom in order to deem who is the most connected to their Goddess Terra.

Allura inherited her title when her own father died in the conflict with Tenebris- he went to battle with the people they’d unintentionally doomed in order to protect his daughter and his people, and died in the process; similar to her story in Voltron except her kingdom survives and Lotor and a select few survivors of the Galra become refugees.

Keith became king by beating the previous king’s son in a battle- his mother, being one of the higher ups in the government, sent word to him that the prince didn’t want to be king, so Keith wound up challenging him for the title. He won, successfully making his way into the world of prestige and getting closer to his mother. The prince left the kingdom shortly after- it’s believed that he ran away to be with someone, but no one is quite sure. All anyone knows is that he’s happy.

Lance wound up being king at a really young age- I’m imagining that, prior to his reign, his kingdom was incredibly strictly patriarchal. The previous king likely only had daughters, and the day of his death, Lance was born with incredibly powerful water magic. As a result, at the age of 6 years old, he was forcibly taken from his poor family and raised strictly to be a perfect king- however, he still saw his sister Veronica frequently in secret, the two of them sneaking around to eat baked goods and try on dresses together. When the palace staff found out, they tightened security and warned Veronica that she was no longer allowed to see him unless she wanted to be publicly executed. After his coronation (at age 8), however, he started making drastic changes to the laws that made the laws against commoners interacting with royalty more lax, and, once allowed to dress himself, started wearing dresses and makeup because it reminded him of home and made him feel as beautiful as he knew he was. He gets quite homesick quite often, and he’s still battling to get his family into the palace with him- he has, however, stripped the kingdom of its strict patriarchy. He constantly tells the kingdom that he hopes to one day pass the throne down to his own future daughter and still keeps the three princesses as his trusted advisors because he believes what happened to them was horribly unjust. The story will be told primarily from his perspective.

Shiro became ruler of his kingdom by fighting his way through gladiator ranks when he was only thirteen, winning the entire kingdom by brute force alone and leaving him with a lot more experience and trauma than he’d have liked. Being the oldest of the current generation of rulers and having inherited a kingdom that was closely related to Pidge’s and Keith’s, he guided them both through the process of becoming a ruler and the process of ruling, no matter how difficult it gets. It’s taken far longer with Keith than it has Pidge, since Pidge was raised a royal and has an innate sense of leadership and Keith is... interesting at the whole being a royal thing. Shiro, having grown up with Keith’s mother on the streets of the kingdom of Tenebris, was more than happy to take Keith under his wing- it helps the both of them come out of their shells more, so they have a mutual appreciation for one another.

I imagine this world will be vaguely futuristic and medieval at the same time- they’ll be able to have video conferences and reach other via communicators, holographic calls, things of that nature; but they’ll also be pretty old-fashioned in their manners of dress, their social systems, their currencies, and the vast majority of their laws. I hope that makes sense.

I wonder if it’s visible here that I spent three hours winging this and started getting more and more into it as I went, or if it’s obvious that I spend most of my time working with really obscure fantasy concepts. 

BAHDHAAHAHA I HOPE YOU ALL ENJOY THIS- 

If you’ve got any suggestions for relationship dynamics (platonic, romantic, or otherwise), any pitches for traits you think the characters may have based on their slightly altered backstories, or any feedback in general, feel free to share- I hope you all find this as fascinating as I did while I was writing it!

Also, @keefsteefs It’s happening, I’m doing it, it’s gonna be so fricking awesome-

[earth-electric]

The 12: Work Culture, Death Cult, & Endgame

The 12 is a crime organization and shadow government. They are named after the 12 hidden figures at the top and have many working under them. They have an agenda requiring the destabilization of all governments, select businesses, and societal resources with their main focus and central hub being Europe and Russia. This is aimed to create chaos, but this is not the endgame.

There is only one race of people in history who have managed to have world domination, before that many others have made an attempt: the Roman Empire, Ottoman Empire, etc. and many other groups, nations and people who have been inspired to seek power and control have succeeded in some part of the world at one point or another. The 12 is just another one looking for their own power grab, which some would say they already have, but they are aiming for the jackpot.

The 12 have been around for decades, they at least have existed since the late 80s, so let’s say since the later half of the cold war. But what makes the 12 so different from any other mob/mafia, crime ring, secret society, etc. One thing is clear they have been planning for a long time, and their domino's are falling clean and precise, but since the season 2 finale (and season 3 finale), their cleanly laid out plan is going sideways. This is my attempt to piece together the 12, and analyze its nucleus. Let’s get into it!:

Work Culture:

The 12 is strictly hierarchical, it’s a secret organization that infiltrates any and every sector deemed important. It acts also as a political or religious operation, there is a shared belief and reward system. Keep in mind that the 12 is decentralized, meaning there is no one way of attack that brings them down. They are a 12 headed dragon.

There are 3 main hierarchy’s within the 12; the Masterminds, the Puppeteers, and the Puppets:

The Masterminds:

They are IT. They are the multi organ of this organization. The 12 is run by a group of people who have deep, old connections and old money. They are an exclusive, elitist, an almost ‘aryan-esque’ type deal. They are the privilege, the uber wealthy, the entitled, they are not in touch with the rest of humanity. They have a shared vision, a grand delusion, and the resources and plans to get it. There is a question on whether they get their hands dirty and how anonymous they are, but fortunately they have the Puppeteers for that.

The Puppeteers (keepers,etc):

These ‘managers’ are fairly high up in government and business sectors. They also have the same characteristics and backgrounds of their Masterminds. They are many questions about them as well, their job description is rather vague.

We can summarize that a Keepers job is to help make their bosses dream become a reality, of course with rewards. I believe they also know the 12’s identity and keep them safe and hidden. When all destabilizes they’ll be there to make sure the power flows where it should. Raymond and Paul could have been keepers, but we don’t know for sure do we.

The Puppets (Handler, Informants, Assassins, etc.):

This is straight forward. They do the dirty work, run the lower operation, get the dirt, and kill the targets and so it goes. Many are the readily disposable and replaceable. Notice that many among the 12 are apart of government offices. This lower tier has many government agents, like Konstantin, Dasha, Colonel Zhang Wu and of course Frank (though there’s evidence he may have been in deeper). This group also has a sub hierarchy, as handlers and informants are above assassins.

Death Cult:

What mentality does the 12 function, it’s almost occult, hence the use of ‘the 12, the all powerful number’. A cult is not just strictly defined as religious or spiritual group of beliefs but be defined as philosophical belief, a shared common interest in a personality, objects, or goal. Will like to say that the 12 is not a typical cult, but crime organizations, mafias, and secret societies etc. all have characteristics that are considered cultish. Heck fandom is considered to have cult mentality characteristics.

But what are the 12 specifically ‘worshiping’? What is their shared goal, their shared vision? The cult of capitalism, elitism and white supremacy; so basically money and power and perverse utopia. The 12 is what I call a Death Cult, now this is not used in the traditional sense where a religious cult that worships death and partakes in mass homicides and suicides.

A death cult is a perfectly distinguishes of the 12, as this is an organization you can’t get out of alive. In a death cult, no lives matter just the belief just the goal. They are willing to sacrifice everything around them except themselves to achieve their agenda, and if they go down they’ll take everyone down with them. Not all in the 12 are into the agenda, but are there for the money, the rewards, and the power. Example, Villanelle has no stake in what they believe, she just wants the money, benefits, and for a brief period the power.

The 12 infiltrate, recruit, and divide and conquer - sound familiar? They are everywhere in business and government with their hand in different honey jars strategizing their plans. They have a deadline though, and their plan is (was) going very well.

This culture and cult of wealth, power, and white supremacy, what do they want?

Endgame:

What really is the endgame, it’s not just chaos, that’s just the tool. When there are times of chaos and turmoil it’s easier to seize power. As history has recounted time and time again of political factions rising to power during economic lows, disease, and unrest, that’s where the power is a free for all. Coup’s happen all the time, during the past 2 years at least 4 attempts and successes have happened around the world.

If you want to build a new world, chaos is where it’s at.

Really it’s a grand delusion, and not rooted in reality, but with enough power, money, and of course “destabilizing from the ground up”. This vision can become a sick reality. What do all rich elitists, power hungry, white supremacists want; they want the world at their fingertips. They want perfection (eugenics), they want ‘law and order”, they want their version of utopia that they can rule, control, and exploit.

This may be a fictional universe but we are actually living in a world where a certain race and class of people actually succeeded in world domination *cough*

Final Thoughts:

So yes the 12 are the mustache twirling villain, the Dr. Evil seeking world domination. The 12 is a dream shadow organization and terrorist group that conspiracy theorists would jerk off to. But they are dumbasses who let two lesbians go buck wild. The 12 in my eyes are sorely lacking, supposedly this all powerful shadow government with all their resources and what not to take over the world and their just a looming shadow with no bite just a blah subplot to the actual story line which is Villaneve. And I’m not complaining but the 12 plot drives me up the wall with questions, hopefully season 4 let’s the Villaneve plot and the 12 subplot converge more and not leave it unsatisfactory.