#the role of the myth in the alienated society

[queen-mabs-revenge]

found 'the way' a really interesting piece of speculative fiction exploring the idea of anti-migrant xenophobic violence being turned inwards towards 'legitimate citizens' when interests of capital are threatened by struggle, but this sequence in the last episode def stood out to me as a neoluddite.

feels connected to this quote from dan mcquillan's 'resisting ai - an anti-fascist approach to artificial intelligence':

Bergson argued that if one accepts a ready- made problem in this way, "one might just as well say that all truth is already virtually known, that its model is patented in the administrative offices of the state, and that philosophy is a jig- saw puzzle where the problem is to construct with the pieces society gives us the design it is unwilling to show us." (Deleuze, 2002, cited in Coleman, 2008) In other words, however sophisticated or creative AI might seem to be, its modelling is stuck in abstractions drawn from the past, and so becomes a rearrangement of the way things have been rather than a reimagining of the way things could be. AI has, in effect, an inbuilt political commitment to the status quo, in particular to existing structures that embed specific relations of power. The absence of different concepts leaves out the possibility of conceiving that things could be arranged differently.

[namisweatheria]

One Piece means a lot to me as a disabled person, which I think would be pretty surprising to anyone who only has a surface understanding of it. The supposed central theme of "follow your dreams" would be pretty alienating to someone like me, right? It really, really would be, if that's what it was actually about.

However, that ignores that Luffy's dream is to be the most free person in the world. And to attain that goal, the first thing he does is find friends to live life with. Over and over again, from the very beginning, he takes on their burdens, all in the name of being the most free.

Do you see what that would mean to me, as someone who needs more help to get by than is considered culturally normal, to the point that it puts me in a whole socially manufactured category of "other"? Not to mention, because of the infantilization of me due to that category, because of being forced so squarely into the "cared for" role, taking care of other people is deeply meaningful and empowering for me. However, the myths of independence and universal natural ability often make it emotionally difficult for my loved ones to accept that care.

The fear of asking for help, the guilt of being cared for, the weight of someone you loved who could not be as free as you, the insecurity of not contributing enough, the fear that you were born wrong, the self-hatred that says you are not worth the effort, Nami Sanji Zoro Usopp Robin Chopper Ace they all explore the painful obstacles to free connection. Through deeply impactful stories that weave beautifully into the larger one.

All centered around this one person who views loving them and living with them and carrying them as essential to his freedom. Who cannot, for countless reasons, live a normalized life of Structured Relations. Who views exploring and bickering and suffering and laughing with them as the ideal way to live. Who repeatedly puts his life and limbs on the line to do so.

To me, it is an ultimate privilege and freedom to carry other people's burdens. To care for them and live with them. This is central to my whole perspective, and is completely informed by my life experience as a disabled person. I rarely see it reflected back to me. Let alone as powerfully and beautifully as Luffy does.

Nor the other half of it, of wanting to create this life with people in ways that aren't socially normal or approved. Of creating many varied lifelong intimate relations among equals, rather than conforming to the expectation of choosing One Person to live life with and then Creating More.

The utter lack of roles and norms is just as integral and powerful to the exploration of freedom and connection! It is meaningful to me as a queer person, yes, but even this is deeply influenced by my disability. I could never be that One Person, despite everything I have to offer, there is logistically far too much that I cannot do to be someone's equal partner in this society that demands so much from all of us. However, even if I could, I wouldn't want to! It doesn't make any sense to me to only have two people navigate life together on such intimate terms. Can't the demands of society be more comfortably met in a group? Isn't life more fun that way?

We are taught that we can and must do everything ourselves, I just happen to be one of the people that never had a chance to buy into that lie. To learn very early not just the necessity of interdependence, but the joy in it. To learn that it is most comfortably lived with more people involved. To me, close relationships are, love is, a natural extension of that understanding. One Piece celebrates interdependence constantly from the start, while never pretending that it is always easy.

The obstacles to free connection that I mentioned before, they are interspersed throughout the story, and they are always met with "I do the things you can't do, and you do the things I can't do." With, "Of course I can't use swords you dumbass! And I can't cook either! I don't know a damn thing about navigation! And I can't lie!"

These are intentionally impactful moments, and they define the series. I found it very fitting that the Fan Letter focused on a character who was empowered by Nami to feel free and live adventurously despite not being the most physically capable. The character is able by our definition, but the story is very affirming in a disability way, and it was extremely One Piece. I loved how it acknowledged this deep connection between One Piece and the lived reality of disability and celebrated it as integral as it is.

I also believe that absolutely none of this is intentional. It is simply an earnest exploration of human relationships, emotions, and behavior, and it naturally arrives at a radical and disability-affirming viewpoint. Because we are the monkey wrench in the deeply unhealthy (lol) and dominant line of thinking that independence is all. So naturally anything that also disputes that thinking has a disabled-perspective feel to it. The best part is how much it doesn't give a fuck! One Piece is aggressively against conformity in human relationships, in a way that is hard to find in our new world of self-conscious authors.

It's also, you know, the worst part, in terms of all the outrageous bigotry and offensive character design, but god damn it if it doesn't elevate the good parts to unbearable heights. Even the bad character designs can sometimes be more impactful for their intentional "ugliness", when those characters are inevitably taken seriously despite their appearance and the stereotypes they play on, it hits hard every time. I do have a simple hatred for many choices, there is no pay-off for much of the awful problems in numerous character designs and dialogue. But no matter how upset I can be by those things, in the end they can't succeed in pulling me away from One Piece. It's just so crazy and unique and great and terrible and beautiful and I LOVE IT.

[6thofapril1917]

sarie ethnicity musings (with historical context!!)

It’s hard to overstate just how much Sarie’s Jewishness impacts her as a character, specifically how she views herself in relation to other people. Afrikaans-speaking Jews (Boerejode) lived mainly in rural areas where knowledge of Afrikaans would be needed in daily life (mainly the rural Cape and the Transvaal). However, the biggest waves of Jews immigration came from Lithuania in the 1880s and 1890s, followed by an influx of German Jews in the 1930s. Most of these immigrants (with the exception of people like Sarie’s mom who married into Afrikaans-speaking families) settled in cities like Cape Town, Johannesburg, and Durban, where knowledge of Afrikaans wasn’t needed. So right off the bat, Sarie is alienated from the vast majority of her community by virtue of being Afrikaans-speaking.

But that doesn’t mean she belongs among the Afrikaans-speakers, either! White Afrikaans-speaking (Afrikaner) identity is fundamentally tied to adherence to a deeply-rooted Calvinist tradition (non-white Afrikaans-speakers are generally split between Calvinism and Islam). For a nationalist hardliner, it’s impossible for a Jew (or even a Catholic or an irreligious person) to be considered an Afrikaner, regardless of how White or Afrikaans-speaking they are. And in the 1930s and 1940s, these kinds of hardliners were everywhere.

The intensification of Afrikaner nationalism in this period would culminate in the accession to power of the National Party in 1948, which would go on to enjoy both the near-unanimous support of Afrikaners as well as considerable support (albeit less fervent and at times more tacit) from white English-speakers for the next forty-odd years. Expanding on the structures left behind by English colonial rule, the successive National Party governments would institutionalize the draconian policies of mass disenfranchisement, arbitrary displacement, censorship, economic disempowerment, imprisonment, and segregation — all enforced through brutal violence against non-white populations — that we know as apartheid.

Sarie is born at the tail end of 1921, meaning she comes of age in the mid-to-late 1930s. This is where it’s necessary to elaborate on the role that the Depression played in the upswing of Afrikaner nationalism. Lord Kitchener’s scorched-earth policy in the second half of the 2nd Anglo-Boer War (1899-1902) destroyed thousands of Afrikaner farmsteads across the northern Cape, Orange Free State, and Transvaal. Afrikaners had always been an agrarian people; in 1947, less than thirty percent of all Afrikaners worked outside of agriculture. The loss of land forced a majority of mid- and small-scale Afrikaner farmers to either become sharecroppers for English and wealthier Afrikaner landlords, or go into mine or factory work in the cities and towns along the Rand. And as in all societies, these groups were hit hard by the Depression, leaving many Afrikaner workers, poor to begin with, destitute (farmers, especially wool farming families like Sarie's, would also be significantly affected). Suddenly, Afrikaners found themselves living in the same slums, standing in the same job lines, and eating the same food as their Black counterparts — and this is what sparked alarm in the middle-class and wealthy Afrikaner establishment.

Fearing that Afrikaner destitution would erode the myth of white supremacy which legitimized minority rule (or, to take a more Marxist perspective, that the poor Afrikaners would gain class consciousness), Afrikaner nationalists and their English supporters spent untold amounts of time and effort trying to rectify this supposed reversal of the “natural” racial hierarchy. This would culminate in the Carnegie Commission of Investigation on the Poor White Problem in South Africa, a 1932 report by the Carnegie Corporation which recommended racial segregation as a solution to the “problem” Throughout the 1930s, Afrikaner nationalists would appeal to the mythical Voortrekker (pioneer) past to foster increased national affiliation. This would culminate in the 1938 Voortrekker Centenary, which saw Afrikaners reenact the trek from the Cape to the interior taken by their ancestors a century earlier.

Sarie would have felt this increase in nationalism acutely, not just as someone whose religious affiliation excluded her from the mainstream Afrikaner milieu, but as a woman. The ideal Afrikaans woman, the “boeremeisie” (farm girl) or “volksmoeder” (mother of the people), was, in the words of author Lize van Robbreck’s high school principal, “proper, humble, and chaste.” Van Robbreck was the daughter of Catholic Flemish parents, and while she had spoken Afrikaans her whole life and been raised on a steady diet of folk dance and traditional songs, in her Afrikaans high school she realized that her Catholic heritage fundamentally differentiated her from her peers. “I could never be one of them, no matter how hard I tried.” Sarie, as both a Jew and as a woman who is neither proper, humble, nor chaste, already finds herself distinctly isolated from the other girls at her school.

And yet, at the same time, I think that Sarie does, to an extent, resent this exclusion. While she frowns on the racial discrimination and antisemitism inherent in Afrikaner nationalism of this era, and as much as she takes pride in going against the grain (manifesting in an admittedly not-like-other-girls attitude towards her fellow Waasies), a part of her is still desperately searching after the validation from her peers, the validation of inclusion, that she was never going to be able to receive. This, I think, is what fuels her continuous affirmation of her South African — and Afrikaans/Boer — identity amongst her fellow soldiers in the SAS. In the SAS there’s nobody who can call her out, who can deny her Boer identity — even if it’s just by virtue of the fact that they don’t know enough to say otherwise. However, I don’t think that Sarie herself would realize that this is what’s pushing her — to her, she’s just explaining her identity with the same aggression she has always had to use to justify herself. I think that there's a reason that Sarie only ever refers to herself as a Boer or a Boerejood, and never, ever, as an Afrikaner.

I’m probably going to follow this up with a whole other essay just about her gender but I spent all of today flying home and there’s hockey on TV and I’m tired so this is all you’re getting for now. Thanks for reading this absolute fucking thesis of an OC post <3

[dailyanarchistposts]

What are some anarchist critiques of humanism?

alc

Humanism facilitates ecological collapse. Belief in the right of human supremacy over all other species (whether explicitly for domination or under the guise of stewardship) has brought us to the brink of an ecological collapse that will lead to a world of polluted wastelands and destroy most species on Earth, including the human species. Divorc-ing ourselves from values of aliveness, wildness, and regeneration has achieved disastrous consequences for the majority of the human species as well as all other species on Earth and all known habitats.

Humanism furthers alienation. Belief in human separation from “nature” has forced humanism us into a roles that foster neuroses and madness; an alienated existence inflicts increasing psychological and spiritual harm to we who live and more and more in a sterile, deadened, mechanical, symbolic world of control.

Humanism believes in speciesist Dominion. The social construct of property arises from a humanist perspective that treats other species and landbases only as utilitarian to certain humans rather than possessing even the most rudimentary levels of intrinsic worth (spirituality), self-ownership (philosophy), consideration for ecological contribution (functionalism), or belief that they have no superior or subordinate value (nihilism/egoism).

Humanism rationalizes abuse. To do this humanists arbitrarily elevate some measure (eg intellect, rationality, tool use) or content (eg soul, nervous system) to justify authoritarian behavior toward anyone classified as external. Such criteria change to rationalize the desire for authoritarian behavior as desired. Humanism makes excuses and rationalizations for human behaviors toward other species (slavery, extermination) that humanists would never concede to other entities (e.g. aliens or ma-chines) with greater of even the agreed-upon measures or contents. It’s an identity defense system, not a moral truth.

Humanism speaks the Myth of Progress. Humanists almost always believe in the Myth of Progress, the belief that the state of humanity is always positively improving socially or technologically in a straight, forward, unidirectional line toward utopia, or at least claim this pattern has occured so far with the development of the Neolithic Revolution. Humanists believe that no other species does this, that humans are the subject and consciousness of the cosmos, and therefore everyone and everything else is an resource to exploit.

Humanism acts as the modern religious authority. Humanism replaces God at the throne of authority with a particular and unquestioned image of the human species (the rational, productive man), and creates a new clerical class of scientists, technicians, bureaucrats, and others that mediate and divvy out Progress.

Humanism has racist, colonialist mythology and history. Humanism has constructed myths of an external environment and demonizes a concept of nature that it perceives as hostile to human aims. Humanism therefore has easily accommodated racism, as it is anti-nature and therefore to some extent anti-any-ethnicity-that-resembles-nature, such as savages, witches, barbarians, cavemen, Indians, Negroes, and supported those who embody a struggle against nature, such as pilgrims, pioneers, mountain men, Victorian-era masculine hetero males, Western scientists, who just happened to also be the colonizers.

Humanism hates wildness. Humanists usually love the features of urban society that biotically cleanse landscapes to replace them with monuments to the greatness of Man and and testaments to the glory of Industry, artifacts of repression.

Humanism hates aliveness. Humanists usually posses an intense attachment to mass society and technophilia and drawdown of non-renewables, and false notions that “Everything is natural” or “That which is natural is subordinate”, and “Technology is neutral”. On a spectrum of (a) all life-forms and landbases have value, to (b) only humans and their settlements and artifacts and symbols have value, to (c) only industrial technology has value, humanists are a lot closer to (c) than they’d like to admit, and have justified or rationalized the eradication or subjugation of “backward” peoples and entire species or habitats for increasing technical complexity (see: Marxists, transhumanists). For the most part, humanists today can more easily come to terms with having no more traditional indigenous people on Earth, no more migratory songbirds on Earth, no more old growth forests on Earth, than having no more com-puters on Earth.

Humanism inherits ignorance & arrogance. Humanist rhetoricians therefore often just cloak colonialism and dominion, taking them for granted or ap-plauding them without giving room to radical critiques of their origins, histories, and trajectories, and in fact suppressing dissidents historically.

Humanism acts as another concept of sacrifice for control.

Stirner: How is it with mankind, whose cause we are to make our own? Is its cause that of another, and does mankind serve a higher cause? No, mankind looks only at itself, mankind will promote the interests of mankind only, mankind is its own cause. That it may develop, it causes nations and individuals to wear themselves out in its service, and, when they have accomplished what mankind needs, it throws them on the dung-heap of history in gratitude.

Humanism has a cold heart. Some anarchists have trouble confining our humanism position to slavery and extermination to just 1 in 8,700,000 species, during a mass extinction no less.

[feminist-furby-freak]

The Woman-Identified Woman

by the Radicalesbians (1970)

What is a lesbian? A lesbian is the rage of all women condensed to the point of explosion. She is the woman who, often beginning at an extremely early age, acts in accordance with her inner compulsion to be a more complete and freer human being than her society - perhaps then, but certainly later - cares to allow her. These needs and actions, over a period of years, bring her into painful conflict with people, situations, the accepted ways of thinking, feeling and behaving, until she is in a state of continual war with everything around her, and usually with her self. She may not be fully conscious of the political implications of what for her began as personal necessity, but on some level she has not been able to accept the limitations and oppression laid on her by the most basic role of her society--the female role. The turmoil she experiences tends to induce guilt proportional to the degree to which she feels she is not meeting social expectations, and/or eventually drives her to question and analyze what the rest of her society more or less accepts. She is forced to evolve her own life pattern, often living much of her life alone, learning usually much earlier than her "straight" (heterosexual) sisters about the essential aloneness of life (which the myth of marriage obscures) and about the reality of illusions. To the extent that she cannot expel the heavy socialization that goes with being female, she can never truly find peace with herself. For she is caught somewhere between accepting society's view of her - in which case she cannot accept herself - and coming to understand what this sexist society has done to her and why it is functional and necessary for it to do so. Those of us who work that through find ourselves on the other side of a tortuous journey through a night that may have been decades long. The perspective gained from that journey, the liberation of self, the inner peace, the real love of self and of all women, is something to be shared with all women - because we are all women.

It should first be understood that lesbianism, like male homosexuality, is a category of behavior possible only in a sexist society characterized by rigid sex roles and dominated by male supremacy. Those sex roles dehumanize women by defining us as a supportive/serving caste in relation to the master caste of men, and emotionally cripple men by demanding that they be alienated from their own bodies and emotions in order to perform their economic/political/military functions effectively. Homosexuality is a by-product of a particular way of setting up roles ( or approved patterns of behavior) on the basis of sex; as such it is an inauthentic ( not consonant with "reality") category. In a society in which men do not oppress women, and sexual expression is allowed to follow feelings, the categories of homosexuality and heterosexuality would disappear.

But lesbianism is also different from male homosexuality, and serves a different function in the society. "Dyke" is a different kind of put-down from "faggot", although both imply you are not playing your socially assigned sex role. . . are not therefore a "real woman" or a "real man. " The grudging admiration felt for the tomboy, and the queasiness felt around a sissy boy point to the same thing: the contempt in which women-or those who play a female role-are held. And the investment in keeping women in that contemptuous role is very great. Lesbian is a word, the label, the condition that holds women in line. When a woman hears this word tossed her way, she knows she is stepping out of line. She knows that she has crossed the terrible boundary of her sex role. She recoils, she protests, she reshapes her actions to gain approval. Lesbian is a label invented by the Man to throw at any woman who dares to be his equal, who dares to challenge his prerogatives (including that of all women as part of the exchange medium among men), who dares to assert the primacy of her own needs. To have the label applied to people active in women's liberation is just the most recent instance of a long history; older women will recall that not so long ago, any woman who was successful, independent, not orienting her whole life about a man, would hear this word. For in this sexist society, for a woman to be independent means she can't be a woman - she must be a dyke. That in itself should tell us where women are at. It says as clearly as can be said: women and person are contradictory terms. For a lesbian is not considered a "real woman. " And yet, in popular thinking, there is really only one essential difference between a lesbian and other women: that of sexual orientation - which is to say, when you strip off all the packaging, you must finally realize that the essence of being a "woman" is to get fucked by men.

"Lesbian" is one of the sexual categories by which men have divided up humanity. While all women are dehumanized as sex objects, as the objects of men they are given certain compensations: identification with his power, his ego, his status, his protection (from other males), feeling like a "real woman, " finding social acceptance by adhering to her role, etc. Should a woman confront herself by confronting another woman, there are fewer rationalizations, fewer buffers by which to avoid the stark horror of her dehumanized condition. Herein we find the overriding fear of many women toward being used as a sexual object by a woman, which not only will bring her no male-connected compensations, but also will reveal the void which is woman's real situation. This dehumanization is expressed when a straight woman learns that a sister is a lesbian; she begins to relate to her lesbian sister as her potential sex object, laying a surrogate male role on the lesbian. This reveals her heterosexual conditioning to make herself into an object when sex is potentially involved in a relationship, and it denies the lesbian her full humanity. For women, especially those in the movement, to perceive their lesbian sisters through this male grid of role definitions is to accept this male cultural conditioning and to oppress their sisters much as they themselves have been oppressed by men. Are we going to continue the male classification system of defining all females in sexual relation to some other category of people? Affixing the label lesbian not only to a woman who aspires to be a person, but also to any situation of real love, real solidarity, real primacy among women, is a primary form of divisiveness among women: it is the condition which keeps women within the confines of the feminine role, and it is the debunking/scare term that keeps women from forming any primary attachments, groups, or associations among ourselves.

Women in the movement have in most cases gone to great lengths to avoid discussion and confrontation with the issue of lesbianism. It puts people up-tight. They are hostile, evasive, or try to incorporate it into some ''broader issue. " They would rather not talk about it. If they have to, they try to dismiss it as a 'lavender herring. " But it is no side issue. It is absolutely essential to the success and fulfillment of the women's liberation movement that this issue be dealt with. As long as the label "dyke" can be used to frighten women into a less militant stand, keep her separate from her sisters, keep her from giving primacy to anything other than men and family-then to that extent she is controlled by the male culture. Until women see in each other the possibility of a primal commitment which includes sexual love, they will be denying themselves the love and value they readily accord to men, thus affirming their second-class status. As long as male acceptability is primary-both to individual women and to the movement as a whole-the term lesbian will be used effectively against women. Insofar as women want only more privileges within the system, they do not want to antagonize male power. They instead seek acceptability for women's liberation, and the most crucial aspect of the acceptability is to deny lesbianism - i. e., to deny any fundamental challenge to the basis of the female.

It should also be said that some younger, more radical women have honestly begun to discuss lesbianism, but so far it has been primarily as a sexual "alternative" to men. This, however, is still giving primacy to men, both because the idea of relating more completely to women occurs as a negative reaction to men, and because the lesbian relationship is being characterized simply by sex, which is divisive and sexist. On one level, which is both personal and political, women may withdraw emotional and sexual energies from men, and work out various alternatives for those energies in their own lives. On a different political/psychological level, it must be understood that what is crucial is that women begin disengaging from male-defined response patterns. In the privacy of our own psyches, we must cut those cords to the core. For irrespective of where our love and sexual energies flow, if we are male-identified in our heads, we cannot realize our autonomy as human beings.

But why is it that women have related to and through men? By virtue of having been brought up in a male society, we have internalized the male culture's definition of ourselves. That definition consigns us to sexual and family functions, and excludes us from defining and shaping the terms of our lives. In exchange for our psychic servicing and for performing society's non-profit-making functions, the man confers on us just one thing: the slave status which makes us legitimate in the eyes of the society in which we live. This is called "femininity" or "being a real woman" in our cultural lingo. We are authentic, legitimate, real to the extent that we are the property of some man whose name we bear. To be a woman who belongs to no man is to be invisible, pathetic, inauthentic, unreal. He confirms his image of us - of what we have to be in order to be acceptable by him - but not our real selves; he confirms our womanhood-as he defines it, in relation to him- but cannot confirm our personhood, our own selves as absolutes. As long as we are dependent on the male culture for this definition. For this approval, we cannot be free.

The consequence of internalizing this role is an enormous reservoir of self-hate. This is not to say the self-hate is recognized or accepted as such; indeed most women would deny it. It may be experienced as discomfort with her role, as feeling empty, as numbness, as restlessness, as a paralyzing anxiety at the center. Alternatively, it may be expressed in shrill defensiveness of the glory and destiny of her role. But it does exist, often beneath the edge of her consciousness, poisoning her existence, keeping her alienated from herself, her own needs, and rendering her a stranger to other women. They try to escape by identifying with the oppressor, living through him, gaining status and identity from his ego, his power, his accomplishments. And by not identifying with other "empty vessels" like themselves. Women resist relating on all levels to other women who will reflect their own oppression, their own secondary status, their own self-hate. For to confront another woman is finally to confront one's self-the self we have gone to such lengths to avoid. And in that mirror we know we cannot really respect and love that which we have been made to be.

As the source of self-hate and the lack of real self are rooted in our male-given identity, we must create a new sense of self. As long as we cling to the idea of "being a woman, '' we will sense some conflict with that incipient self, that sense of I, that sense of a whole person. It is very difficult to realize and accept that being "feminine" and being a whole person are irreconcilable. Only women can give to each other a new sense of self. That identity we have to develop with reference to ourselves, and not in relation to men. This consciousness is the revolutionary force from which all else will follow, for ours is an organic revolution. For this we must be available and supportive to one another, five our commitment and our love, give the emotional support necessary to sustain this movement. Our energies must flow toward our sisters, not backward toward our oppressors. As long as woman's liberation tries to free women without facing the basic heterosexual structure that binds us in one-to-one relationship with our oppressors, tremendous energies will continue to flow into trying to straighten up each particular relationship with a man, into finding how to get better sex, how to turn his head around-into trying to make the "new man" out of him, in the delusion that this will allow us to be the "new woman. " This obviously splits our energies and commitments, leaving us unable to be committed to the construction of the new patterns which will liberate us.

It is the primacy of women relating to women, of women creating a new consciousness of and with each other, which is at the heart of women's liberation, and the basis for the cultural revolution. Together we must find, reinforce, and validate our authentic selves. As we do this, we confirm in each other that struggling, incipient sense of pride and strength, the divisive barriers begin to melt, we feel this growing solidarity with our sisters. We see ourselves as prime, find our centers inside of ourselves. We find receding the sense of alienation, of being cut off, of being behind a locked window, of being unable to get out what we know is inside. We feel a real-ness, feel at last we are coinciding with ourselves. With that real self, with that consciousness, we begin a revolution to end the imposition of all coercive identifications, and to achieve maximum autonomy in human expression.

[thethirdromana]

I was gonna ask you some stuff about Quincey and the aftermath of the Civil War, but that wasn't really near the 1890s so idk if it's relevant.

Also similar to Mina maybe supporting eugenics I would imagine Seward probably engages in a lot of pseudosciences

But more interestingly, what do you think Dracula's politics would be? He's pretty removed from human society by being a vampire and his home in Transylvania is pretty remote, but he was still a nobleman there and he was moving to England, which he planned to conquer. I'm curious where he'd fall, when pretending to be and working with (?) humans in Romanian politics (if you feel like researching it) and English politics. Another cool layer to this is if you subscribe to the popular theory that he's really Vlad the Impaler. What would a warlord from the mid-1400s think of the politics 400 or so years later? That's barely even thinking about him being a vampire.

Also, what would Renfield's politics be like?

Quincey and the aftermath of the Civil War is a fascinating question that I will definitely leave for someone who knows more US history than I do.

Dracula, on the other hand... first of all, the relevant set of politics is Hungarian, not Romanian. Transylvania was part of Austria-Hungary in the 1890s. There's actually an interesting story here, in that vampire myth was originally associated primarily with Hungary. Then Bram Stoker set Dracula in Transylvania, which became part of Romania in 1920, and Romania ended up inheriting vampire myths in the process. Which has generally done the Romanian tourist industry no harm at all. (Though when I was in Bucharest last weekend, my lovely tour guide, Andrea, was clearly a bit annoyed by people asking about it).

Anyway, we have a decent sense of what Dracula's politics are, because he spells them out on May 8: he's proud to be part of a fighting, conquering race, he values "warlike days", he disdains peasants, and he generally holds that might makes right.

Given his pride in "beating the Turk on his own ground", I think we can assume that he didn't approve of Austria-Hungary's neutrality in the Russo-Turkish War in 1877-8.

In some ways he fits into contemporary society. He is a boyar, one of the highest rank of feudal nobility, who retained a great deal of power in 1890s Austria-Hungary. Where in the UK the growth of industry made the middle classes wealthier, in Austria-Hungary that wealth often went straight back to the nobility. Just six percent of the population had the right to vote in general elections, compared with 18% in the UK (meanwhile New Zealand had universal suffrage from 1893).

But Dracula is still a product of an earlier time. He wants to increase his power through conquest, not through modernising his estate or being appointed to the board of directors of a bank. And while Austria-Hungary did grow through conquest (occupying Bosnia and Herzegovina in 1878, for instance), it wasn't at nearly the same scale as other contemporary empires - for example, Austria-Hungary didn't take part in the Scramble for Africa.

Honestly, it makes perfect sense that Dracula would want to come to Britain. If he wanted conquest, carried out with indifference to cruelty, he would have got on extremely well with Cecil Rhodes. To an extent this is what the story of Dracula is about: what if foreigners came to Britain and did to us what we do to them? The War of the Worlds, published at the same time, asks essentially the same question but with aliens.

(This is the bit where someone comes along and says yes, but don't forget that Bram Stoker was Irish. Which is true, but he was also a supporter of the British Empire.)

As for Renfield, most of what we learn about his politics comes from October 1. He's from high society and is a member of the Windham Club. He celebrates the roles Quincey, Van Helsing and Arthur play "by nationality, by heredity, or by the possession of natural gifts" - in other words, he seems to be open to people advancing themselves through meritocracy, but also through hereditary rights. To me, this reads as conservative, but not reactionary.

One thing that does strike me is that his point about Texas - celebrating its admittance to the Union - relates to history that was 50 years old at that point (Unless I'm misunderstanding the reference?). Renfield is 59 during the events of Dracula. Is the implication here that he's stuck in the past? We don't know how long he's been institutionalised, but since his memories of Arthur's father relate to youthful drinking games, it could be 30 years or more. He may be disconnected from contemporary politics - and given how much the world changed in the late 19th century, that could make for quite a shock if he'd ever had the chance to learn more.

As ever, I'm not a historian, and other people should feel free to offer corrections.

[ripeteeth]

“By a scruple of illusion quite proper to a period and a social class too weak both for pure reason and for mythical powers, the intermission audience (evidently bored) declares these unreal faces to be those of ‘town’ and thereby acquires the rationalist good conscience of assuming a man behind the actor; but at the very moment of despoiling the mime, the Harcourt studio summons up a god, and thereby , for this bourgeois public that is both blasé and living on lies, everything is satisfied.

As a consequence the Harcourt photograph is, for the young actor, an initiation rite, a guild diploma, his true professional carte d’identité. Is he properly enthroned if he has not yet encountered the sacred Harcourt Image? This rectangle which first reveals his ideal head, his intelligent, sensitive, or witty expression, depending on the role he offers to life, is the formal document by which the whole of society agrees to separate him from its own physical laws and assures him the perpetual revenue of a countenance which receives as a gift, on the day of this baptism, all the powers ordinarily denied, at least simultaneously, to ordinary flesh: a changeless splendor, a seduction pure of all wickedness, an intellectual power which is not the necessary accompaniment to the ordinary actor’s art or beauty.

Which is why the photographic portraits by Thérèse Le Prat or Agnès Varda, for example, are avant-garde: they always bequeath the actor his fleshly face and enclose it frankly, with an exemplary humility, in its social function, which is to “represent” and not to lie. For a myth as alienated as that of actors’ faces, this choice is quite revolutionary: not to embellish their lobbies with classic Harcourts — titivating, languishing, angelized, or virilized (according to sex) — is an audacity few theatre managers can afford.”

Roland Barthes, The Harcourt Actor from Mythologies

[mineofilms]

The Myth of the Annunaki

In the great annals of human history, ha, anal, mostly made up of fiction, few subjects stir the imagination and ad to the aluminum foil shortage as profoundly as the Annunaki. Shrouded in myth and enigma, these ancient deities from Mesopotamian lore have sparked debates, inspired theories, created fiction, and captivated minds across the centuries. From their origins in the fertile crescent of ancient Sumer to their role in modern speculative fiction, the Annunaki embody a rich tapestry of myth, history, and imagination. This exploration delves into their ancient roots, their controversial modern reinterpretations, the fascination evoked by our imagination, and our ability to want things to be real so bad, that we’ll just take as many liberties as possible; even if all the evidence and logic say a thing like this couldn’t be real. Or could it?

The Ancient Mesopotamian Origins of the Annunaki

Our journey begins in the cradle of civilization: ancient Mesopotamia, a region that flourished between the Tigris and Euphrates rivers. Here, the Annunaki first appeared in the mythologies of the Sumerians, who are considered the earliest civilization that could write. The term "Annunaki" itself is often translated as “those who came from the heavens” or “those of royal blood.” This intriguing terminology hints at their elevated status and their perceived connection to the divine or extraterrestrial. In Sumerian mythology, the Annunaki were a pantheon of deities, or the gods of a people, who played crucial roles in the creation of our world and the regulation of its life. They were seen as powerful and unpredictable beings, with the ability to both bestow blessings and wreak havoc upon humanity. The mythological texts from this period reveal that the Annunaki were not abstract concepts but tangible entities with distinct personalities and roles. One of the key sources for understanding the Annunaki is the “Enuma Elish,” the Sumerian creation epic. This ancient narrative describes the primordial chaos from which the world emerged. This myth reflects the Sumerians' worldview, where divine power maintained the balance between chaos and order. The Annunaki's role in Sumerian society extended beyond mere mythology. They were believed to oversee the natural world and human affairs, acting as intermediaries between the gods and the people. Their stories served to justify the divine authority of kings and priests, reinforcing the idea that the rulers were chosen by the gods to maintain cosmic balance from the chaos. This divine connection legitimized the socio-political structures of ancient Mesopotamian civilization.

The Annunaki Reimagined: From Gods to Aliens

In the 20th century, the Annunaki transitioned from divine beings of ancient myth to subjects of modern speculation and conspiracy theories. This transformation was spearheaded by figures like Zecharia Sitchin, whose works have left a permanent mark on how we perceive these ancient myths. Sitchin’s ideas are detailed in his book “The 12th Planet,” where he presents the Annunaki as extraterrestrial visitors from a distant planet named Nibiru. Sitchin’s hypothesis posits that the Annunaki arrived on Earth approximately 450,000 years ago (447,976 BCE). According to his theories, their primary mission was to mine gold, which they needed to repair the failing atmosphere of their home planet, Nibiru. There is some scientific data out there that gold particles can help build up a planet’s atmosphere. There are some intriguing parallels in scientific discussions about the potential uses of gold in atmospheric engineering. Gold is a highly reflective metal with excellent conductive properties, making it suitable for various technological applications. Some we know of and use while others are still in the planning stages. Research has suggested that dispersing gold nanoparticles in the upper atmosphere could theoretically increase a planet's reflectivity, or albedo, thereby reducing the amount of solar energy absorbed and mitigating global warming. Additionally, gold's conductive properties might enhance the electrical conductivity of the ionosphere, potentially stabilizing atmospheric conditions and protecting against solar radiation. While Sitchin's narrative lacks actual real concrete proof, the concept of using gold to address planetary environmental challenges taps into ongoing scientific exploration of innovative geoengineering solutions. Sitchin’s interpretation of ancient texts suggests that the Annunaki’s arrival marked the beginning of human civilization. He argues that these beings not only influenced early human societies but also engineered Homo sapiens through genetic manipulation. This theory, while compelling to many, is highly contentious. Sitchin’s methods and interpretations have faced substantial criticism from the academic community. It's important to note that Zecharia Sitchin lacked formal training in ancient languages and archaeology. His educational background was in economics and journalism, not in the fields relevant to his claims about Sumerian texts and ancient history. This lack of formal expertise has led many academics to criticize his translations and interpretations as speculative and unsubstantiated. His methodology and conclusions have been scrutinized for deviating from established scholarly standards, which is why his work is often labeled as pseudoscience. Pseudoscience literally means science with made-up methodologies and made-up facts. Archaeologists and historians argue that there is no credible evidence supporting the existence of Nibiru or the extraterrestrial origins of the Annunaki. His translations of Sumerian texts are flawed and his theories often stretch the evidence beyond credible limits. Despite this, Sitchin’s ideas have captivated a broad audience, fostering a popular narrative that blends ancient mythology with science fiction. His theories have become a cornerstone of the ancient astronaut hypothesis, which suggests that extraterrestrial beings visited Earth in ancient times and influenced human development. This concept resonates with our fascination with the possibility of life beyond Earth and our desire to explore the unknown or at the very least have an answer where one cannot possibly exist or be factual.

Sitchin’s Controversial Claims: Ancient Astronauts or Misinterpreted Texts?

Sitchin’s theories, particularly those presented in “The 12th Planet,” offer a provocative reimagining of the Annunaki. Sitchin suggests that Nibiru, the Annunaki’s home planet, follows a long, elliptical orbit that brings it close to Earth every 3,600 years. This periodic return, according to Sitchin, allowed the Annunaki to visit Earth and influence human civilization. Sitchin’s narrative begins with the Annunaki’s arrival on Earth, where they established the city of Eridu as their base of operations. Eridu, according to Sitchin, was the first city ever built by these ancient astronauts, serving as a center for their gold mining operations. Over time, the work on Earth became increasingly burdensome and dangerous for the Anunnaki, leading to a significant labor shortage. The Anunnaki’s own workers, who were initially tasked with these duties, were becoming overworked and dissatisfied. We will talk about the Igigi a little bit later. The idea was to create a new species that could handle the manual labor on Earth while the Anunnaki themselves could focus on more critical tasks or return to Nibiru. This led to the concept of bioengineering a creature that would serve as a workforce. The Anunnaki began experimenting with the DNA of the indigenous hominid species, Homo erectus. Through advanced genetic techniques, they combined their own DNA with that of Homo erectus to create a new hybrid species. This genetic manipulation was intended to produce beings with intelligence and physical capabilities suitable for labor. The first attempts at creating this new species were, according to Sitchin, less successful than anticipated. These early hybrids were described as "hideous creatures," struggling to meet the Anunnaki’s requirements for both labor and functionality. These early beings were likely flawed, either in their physical form or in their ability to perform the tasks required of them. Undeterred by their initial failures, the Anunnaki refined their genetic experiments. After several iterations and adjustments, they succeeded in creating a more viable and efficient version of their hybrid creation: Homo sapiens, the modern human. These beings possessed the intelligence, strength, and adaptability necessary for the laborious tasks demanded by the Anunnaki. Once successful, the Anunnaki established Homo sapiens as their labor force, overseeing them and guiding their development. This new species was tasked with performing the menial and physically demanding work that the Anunnaki had initially sought to avoid.

While there are some intriguing gaps and mysteries in human evolution, like missing fossils and sudden advancements in early cultures, scientists believe these are just natural parts of a long, gradual process rather than evidence of any external intervention. One fascinating example is the emergence of our 23rd chromosome, which resulted from the fusion of two ancestral chromosomes that our primate relatives still have as separate chromosomes. This fusion is visible in our DNA through the presence of telomere sequences and a vestigial centromere in the middle of chromosome 2, showing a natural evolutionary change rather than a direct “kick-start” from another species. However, it does bring up more questions than it does answers that all of a sudden this change occurred with no rhyme or reason. “Any sufficiently advanced technology is indistinguishable from magic” - Arthur C. Clarke. Sitchin’s theories also include a dramatic account of the great flood from the bible, which he attributes to the gravitational effects of Nibiru’s orbit. This flood, he argues, was foreseen by the Annunaki, who warned a human named Ziusudra (or Utnapishtim in the Epic of Gilgamesh and/or Noah from the Great Flood of the Bible.) to build a boat to survive the deluge. After the flood, Sitchin posits that the Annunaki played a role in the rebirth of human civilization, teaching essential skills such as agriculture and animal husbandry; which is just a fancy term for focusing on the breeding and care of animals raised for farming and construction. While these ideas are intriguing, they have been met with skepticism from mainstream scholars. Critics argue that Sitchin’s theories lack rigorous academic support. Despite this, Sitchin’s work has had a significant cultural impact, inspiring a new wave of interest in ancient astronaut theories and alternative history. It also has become a business, which opens up its own can of worms on the subject.

The Modern Legacy of the Annunaki: From Books to Podcasts

The Annunaki mythos continues to capture the imagination of contemporary audiences through a variety of media. One prominent figure in this modern exploration is Billy Carson, whose work delves into ancient civilizations and the Annunaki’s role in shaping human history. Carson’s insights, particularly as discussed on “The Joe Rogan Experience (#2160),” explore how ancient myths might reflect actual historical events involving advanced beings. Carson argues that the Annunaki myths could be more than mere stories, suggesting that they might represent a blend of historical events and spiritual beliefs. His theories offer a contemporary perspective on the Annunaki narrative, examining how ancient myths might encode real encounters with extraterrestrial visitors. Carson’s discussions with Joe Rogan explore the idea that ancient texts from Sumerian culture, and other ancient civilizations, might document actual interactions with advanced beings. This perspective aligns with the broader ancient astronaut hypothesis, which suggests that myths of gods descending from the heavens could reflect historical contact with extraterrestrial civilizations. Billy Carson's theories are derived from Zecharia Sitchin's work. So take it with a grain of salt.

The Igigi in Annunaki Lore

The Igigi, as envisioned in contemporary speculative fiction, are often compared to the Greys of UFO lore—those mysterious, otherworldly beings who have captivated the imaginations of some and terrified others. Here, we encounter a striking physical resemblance that underscores their role within the Annunaki’s grand design. A concurred race from an early Annunaki invasion, these tall, slender beings, their forms reminiscent of the Greys with their short stature and large, almond-shaped eyes. Their skin, a subtle gray hue, reflects an alien quality, hinting at a nature that is both familiar and profoundly otherworldly. Their appearance serves as a visual manifestation of their role as intermediaries between the Annunaki and the cosmos. Dressed in functional, utilitarian garments, the Igigi’s attire speaks to their subservient status. These simple, perhaps even austere outfits might be adorned with symbols or insignia, marking their place within the Annunaki’s hierarchical system. Their clothing, devoid of adornment, reinforces their role as laborers rather than equals. The Annunaki and the Igigi are often mentioned as being one in the same but are actually two distinct separate alien species. At least as far as the lore goes.

• Tools of the Trade: Often depicted wielding advanced, enigmatic technology, the Igigi’s tools and equipment hint at a civilization far more advanced than that of humans. These artifacts, sleek and enigmatic, serve as symbols of the Annunaki’s technological prowess and the Igigi’s role in maintaining their dominion over Earth. Some say the tools leftover after the Annunaki left helped build the first, really large pyramids. The more present-day we get with the pyramids the less technologically advanced they are. Where the farther back we go, the bigger and more extravagant the pyramids become. The Igigi are often envisioned as the Annunaki’s labor force, tasked with monumental projects from the construction of grand temples to the maintenance of celestial machinery. This portrayal aligns with ancient mythological themes of divine beings employing subservient races to fulfill their plans.

• Subordinate Yet Significant: Within this narrative, the Igigi occupy a space that is subordinate yet distinctly advanced. They are positioned as beings with greater skills or knowledge than humans, suggesting a complex, multitiered structure of existence in which they play a crucial role in the Annunaki’s rein.

• Cultural Reflections: The Igigi physical form, their role in the Annunaki hierarchy, and their place in modern speculative fiction all serve as lenses through which we can explore deeper existential questions. The Igigi invites us to reflect on the nature of servitude, the structure of divine power, and our own place in the grand scheme of existence. We find ourselves drawn into cosmic feelings and thoughts that challenge and inspire us. It also scares us to our core foundation that we may just be an insignificant race of worker ants.

The Enuma Elish and Its Cosmic Significance

The Enuma Elish is an ancient Mesopotamian/Sumerian creation epic that dates back to the late second millennium BCE, (2000 BCE to 1001 BCE.) This epic is more than a religious text; it is a reflection of the Sumerians' understanding of the universe and their place within it. In the Enuma Elish, the universe begins in a state of primordial chaos, where Tiamat, the goddess of the saltwater ocean, battles the god Marduk, who represents the forces of order and creation. Marduk’s victory signifies the establishment of the cosmos, with the world being created from Tiamat’s body. This mythological narrative embodies the Sumerians' view of the divine as a force that imposes order upon chaos, a theme that echoes throughout Mesopotamian religion and governance. The epic also illustrates the Sumerians' concept of divine kingship. Marduk’s ascension to supremacy among the gods symbolizes the divine right of kings to rule over the human realm. The Annunaki’s role as divine judges and rulers reflects this belief, showing how mythology was intertwined with political and social structures in Sumerian society.

The Great Flood: Myth and Reality

One of the most enduring aspects of the Annunaki narrative is the story of the Great Flood, which appears in various ancient myths, including the Epic of Gilgamesh. According to Sitchin, this flood was a cataclysmic event caused by Nibiru’s orbit and was a pivotal moment in human history. The flood story serves as a metaphor for both destruction and renewal. It represents the cyclical nature of existence, where the end of one era leads to the beginning of another. This mythological theme is reflected in other ancient cultures, such as the biblical flood narrative of Noah’s Ark, highlighting a shared human fascination with the idea of divine intervention in shaping history. This also gives insight that other branches of humanity survived the Great Flood. Not many pockets, but some did. There was not much left. Pockets of survivors here/there. The Annunaki began to help humanity rebuild, but in a limited way. Showing humans some science but leaving much of it in the dark. We turn the light switch on, but don’t know why it works. Just that it works and we have some idea how to fix the switch when it breaks, but we cannot literally build a new one as they did. Just our badly back-engineered knowledge of the thing. This seems even more prevalent today.

The Fascination with the Annunaki

We question our understanding of the past and explore the possibilities of what lies beyond our world, our understanding. The Annunaki’s legacy is not confined to academic study or historical research. They continue to inspire a wide range of creative works, from books and documentaries to podcasts and films. Some intended to be works of fiction while others try to paint the picture as this really did happen in our distant past. This ongoing fascination reflects a deep-seated human desire to connect with the mysteries of existence and to explore the unknown.

Embracing the Enigma - “You Are Bugs…”

The Annunaki’s story, rooted in the myths of ancient Mesopotamia and reimagined through modern theories, offers a rich and multifaceted narrative that invites us to explore the boundaries of our knowledge and imagination. As we delve into the history and speculation surrounding the Annunaki, we confront not only ancient mysteries, but also the limits of our perception and the possibilities of what might lie beyond. Whether viewed as gods, aliens, or metaphorical figures, the Annunaki challenge us to embrace the enigma of our origins and to seek out the answers to the great questions of existence. The Annunaki’s journey from ancient Mesopotamian myths to contemporary theories highlights the enduring allure of these celestial beings. Their story encourages us to explore the unknown and to question the narratives that shape our understanding of the universe. The Annunaki stand as a testament to the power of myth and the endless possibilities of the human imagination.

If beings like the Greys, Anunnaki, and Igigi are real, the implications for mankind could be deeply terrifying and unsettling. The existence of such advanced entities would create a profound power imbalance, leaving humanity vulnerable to their superior technology and intellect, which might challenge our beliefs about our own significance and place in the universe. The fear of being controlled or manipulated by these beings could evoke a sense of existential dread, as we might question the very meaning of our existence, existence in general, and the potential for extinction or enslavement of our species. Historically, the idea that these beings might have shaped our civilizations and beliefs from the shadows would undermine our understanding of our past and cast doubt on our sense of free will and autonomy as the dominant species on this planet. The terror of the unknown—where their intentions are indecipherable and could involve invasive experiments or even global invasions—would stir fears of being watched, violated, or destroyed. This fear would also have a global psychological impact, leading to anxiety, paranoia, and a crisis of identity as we confront the reality that we might be insignificant in the grand cosmic scheme. “You are bugs…” ~Liu Cixin, The Three-Body Problem. Philosophically, the existence of such beings would provoke deep questions about our own morality of our collective behavior in the past 3,000 years, the morality of their actions, and our own role in the universe. Challenging our beliefs about existence and ethics. This realization of the Greys, Anunnaki, and Igigi as real entities would force us to face an unsettling truth about our vulnerability, the reliability of our historical narratives, the very nature of our existence in the cosmos, and that God exists and created us in its own image. Perhaps to just hear our screams. Even God cannot hear bugs scream, in space.

All the information here was derived from the main outline below. If anyone wanted a very short telling of this tale via a basic timescale outline, there is one below.

"I felt an absolutely indescribable sense of menace. It was hell on earth to be there, and yet I couldn't move, couldn't cry out, couldn't get away. I'd lay as still as death, suffering inner agonies." ~Whitley Strieber, “Communion” 2/25/1987

The Myth of the Annunaki by David-Angelo Mineo 7/1/2024 3,336 Words

Outline: Ancient Timeline of Earth

The Annunaki Myth, Religious Myths, and Modern Innovations

Ancient Timeline of Earth and Mankind: The Annunaki

Pre-Earth Events

Primordial Era

The Enuma Elish describes the creation of the world starting with the primordial gods Apsu (freshwater) and Tiamat (salt water). Their mingling leads to the birth of younger gods, including Ea (Enki), who defeats Apsu and later Tiamat, establishing order from chaos.

Arrival of the Annunaki

Circa 450,000 years ago

According to Sitchin’s "The 12th Planet," advanced beings called the Annunaki arrive on Earth from their home planet, Nibiru. Nibiru’s elongated orbit brings it into the inner solar system approximately every 3,600 years.

Establishment of Eridu

Circa 445,000 years ago

The Annunaki establish Eridu, the first city on Earth, in southern Mesopotamia. Enki, the god of wisdom, water, and creation, oversees the development of Eridu as a base for mining operations.

Gold Mining and the Creation of Man

Circa 300,000 years ago

The Annunaki face labor shortages and hardships in their gold mining operations. Enki and the goddess Ninhursag create Homo sapiens by genetically modifying Homo erectus with Annunaki DNA. The first humans, known as "Lulu," are created to serve as workers for the Annunaki.

The Deluge (Great Flood)

Circa 13,000 years ago

The Epic of Gilgamesh and Sitchin’s writings describe a great deluge caused by the gravitational pull of Nibiru passing near Earth. Enki warns Ziusudra (Utnapishtim and/or Noah) to build a large boat to save himself, his family, and various species from the flood.

Post-Flood Reconstruction

Post-Flood Era (circa 10,000 BCE)

The Annunaki help humanity rebuild civilization after the flood. Agriculture, animal husbandry, and advanced knowledge are shared with humans. Key cities such as Ur, Uruk, and Nippur are established and flourish.

Rise of City-States and Kingship

Circa 3,000 BCE

Sumerian city-states rise to prominence, each with a patron god or goddess. Kingship is seen as a divine institution bestowed by the Annunaki. Inanna (Ishtar) becomes a significant deity, known for her power, beauty, and political influence.

The Epic of Gilgamesh

Circa 2,600 BCE

The historical King Gilgamesh of Uruk embarks on a quest for immortality. The epic narrative includes interactions with gods and mythical creatures, reflecting the close relationship between humans and the divine.

Decline of Annunaki Influence

Circa 1,000 BCE and onward

The direct influence of the Annunaki wanes as human civilizations grow more independent. The memory of the Annunaki becomes mythologized in various cultures, giving rise to numerous legends and religious narratives.

Comprehensive Timeline: Annunaki Myth, Christian Bible, and Western Civilization

Ancient Mythological and Religious Accounts

Early Sumerian Civilization (c. 4500-1900 BCE)

The Annunaki are a group of deities linked to the Sumerians, Akkadians, Assyrians, and Babylonians. They are depicted as judges of the underworld and creators of mankind. Primary sources include Sumerian texts such as the Enuma Elish and the Epic of Gilgamesh.

Ancient Mesopotamian Mythology (c. 1900-539 BCE)

The Annunaki myth expands in Babylonian and Assyrian mythology. The Annunaki are positioned below higher gods like Anu, Enlil, and Ea/Enki.

Egyptian Civilization

Old Kingdom of Egypt (c. 2686-2181 BCE)

Egyptian mythology includes gods like Ra, Osiris, and Isis. Creation myths often involve gods emerging from primordial chaos. Construction of pyramids, including the Great Pyramid of Giza.

New Kingdom of Egypt (c. 1550-1070 BCE)

Heightened worship of gods like Amun-Ra. Pharaohs are considered divine or semi-divine. Cultural achievements include the expansion of the empire, construction of temples, and advancements in art and literature.

Greek Civilization

Classical Greece (c. 508-323 BCE)

Greek mythology features gods like Zeus, Hera, and Athena. Creation myths include the Titans and Olympians. Contributions by Socrates, Plato, Aristotle lead to the development of early scientific thought.

Hellenistic Period (c. 323-31 BCE)

Greek culture spreads throughout the Mediterranean and Near East following the conquests of Alexander the Great. Syncretism leads to the blending of Greek and local deities and myths.

Roman Civilization

Roman Republic (c. 509-27 BCE)

Roman gods parallel Greek deities, e.g., Jupiter (Zeus), Venus (Aphrodite). Political developments include the establishment of the Republic and the codification of Roman law.

Roman Empire (27 BCE-476 CE)

Emergence and spread of Christianity, including the crucifixion of Jesus Christ (c. 30 CE). Cultural achievements include extensive road networks, architectural marvels like the Colosseum, and legal advancements.

Development of Europe

Early Middle Ages (c. 476-1000 CE)

Christianity becomes dominant in Europe. Monasticism and the establishment of the papacy. Development of feudalism and manorialism.

High and Late Middle Ages (c. 1000-1500 CE)

The Crusades: Religious wars aimed at reclaiming the Holy Land. Cultural revival includes Gothic architecture, universities, and scholasticism.

Renaissance (c. 1300-1600 CE)

Rebirth of classical knowledge: Revival of Greek and Roman knowledge. Advancements in art, science, and exploration. Humanism focuses on human potential and achievements.

Formation of Modern Western Culture

Reformation and Enlightenment (c. 1500-1800 CE)

Martin Luther’s 95 Theses (1517) sparks the Protestant Reformation. Scientific developments by Copernicus, Galileo, and Newton. The Enlightenment emphasizes reason, individualism, and skepticism of authority.

Formation of England and Modern Europe (c. 800-1800 CE)

Formation of early English kingdoms. The Norman Conquest (1066) establishes Norman rule. The development of modern nation-states in Europe.

Industrial Revolution and Modern Era (c. 1800-Present)

Technological advancements, urbanization, and economic changes. Influence of Western culture globally, driven by economic, technological, and cultural factors. Continued advancements in science and technology. Widespread debunking of pseudo-scientific theories like Sitchin’s Annunaki hypothesis.

Integration of Annunaki Myth and Christian Bible

Modern Interpretations and Pseudo-scientific Theories (1976 onwards)

Zecharia Sitchin proposes that the Annunaki are extraterrestrial beings from the planet Nibiru, influencing early human history. Sitchin’s theories are widely discredited by scholars and scientists.

Cultural Impact and Ongoing Beliefs (2000s-Present)

Annunaki and Nibiru myths influence books, movies, and online discussions. Christian themes remain prevalent in Western culture, influencing literature, art, and media. Despite scientific debunking, belief in Sitchin’s theories persists in some communities.

[jasminewalkerauthor]

Deep dives into folklore: changelings

Changelings are a captivating element of folklore across various cultures, with stories of these enigmatic creatures appearing in European traditions and beyond. The changeling myth revolves around the idea that fairies, elves, or other supernatural beings would abduct human children, replacing them with their own offspring or elderly individuals. These substitutes would appear identical to the human children they replaced but would often behave strangely, causing confusion, fear, and distress among families. Understanding the changeling myth requires exploring its origins, its role in society, and its impact on cultural beliefs and practices.

The changeling myth likely originated in pre-modern societies as a way to explain unexplained or distressing occurrences, particularly related to children. This may include:

Infant Illness and Developmental Disorders: In times when medical knowledge was limited, unexplained changes in a child's behavior, health, or appearance (such as sudden illness, developmental delays, or behavioral issues) could have been attributed to a changeling.

Cultural Beliefs in Supernatural Beings: Many societies believed in the existence of fairies, elves, and other supernatural beings who inhabited the natural world alongside humans. These beings were often seen as mischievous or malevolent, giving rise to stories of abduction and replacement.

Fear of the Unknown: The changeling myth reflects a deep-seated fear of the unknown and uncontrollable aspects of life. The concept of a child being replaced by a supernatural entity could represent broader anxieties about loss, change, and the mysteries of existence.

The changeling myth had a profound impact on society in several ways:

Treatment of Children: In some cases, suspected changelings were mistreated or even harmed in an attempt to expel the supernatural being and bring back the real child. This was often based on the belief that the changeling would reveal itself under duress.

Impact on Mothers and Families: The myth could lead to blame and ostracization of mothers if their child exhibited unusual behavior or illness. This added to the emotional burden and challenges faced by families.

Cultural Narratives: Changelings became a common motif in folklore, literature, and art. Stories and ballads often depicted the struggle of families to reclaim their children or the strange behavior of changelings.

Symbolism and Metaphor: The changeling myth has been interpreted symbolically in modern times, representing feelings of alienation or otherness. It can be seen as a metaphor for the challenges of parenting a child with special needs or the experience of not fitting into societal norms.

In contemporary culture, the changeling myth continues to resonate, finding its place in literature, film, and other media. Modern interpretations often explore themes of identity, transformation, and the boundaries between reality and fantasy. Additionally, the changeling myth serves as a reminder of the dangers of superstition and the importance of understanding and compassion, especially for those who may be different or marginalized.

The changeling myth is a multifaceted and enduring element of folklore that has influenced cultural beliefs and practices throughout history. It reflects the deep-seated fears and anxieties of past societies while continuing to captivate the imagination today. By understanding the origins and impact of the changeling myth, we can gain insight into the complexities of human experience and the ways in which folklore shapes our perceptions of the world.

[busybeezartaccount]

Creepypasta origins:

This is the re-written origins for the creepypasta characters that will be used in the au Over The Treeline. Again, this is an au. So, interpretations of existing characters will not be accurate but inspired by their original stories. I will be trying my best to make characters as canon as possible. I hope you do enjoy it, though. I have a lot of ideas for this au.

The Slender Man:

WARNING(s) : Mentions of k1lling

His origins are unknown to the human world. Is a being possibly of alien origin? Maybe he could be a being from hell? A scientist perhaps to an unfortunate discovery? His story will stay unknown to the world for years to come. He has met all sorts of creatures throughout the entirety of their lifetimes. He is but a lonely giant who has been portrayed by society as a monster for the duration of his lifetime. It’s so this revelation of his lonesome life that he will let them believe he is a monster. He’s slowly beginning to think that maybe he is one.

He believes at some point in time that he was of the human mind or perhaps something evolved from that sense. Time. A thing in his life he can’t quite put together. At some point, he remembered he should have perished. But why hasn’t he? It all comes and goes in pieces. Like fragments scattered across the dimensions of time. What is he?

Even he can’t figure out what kind of monstrosity he is. Even Penelope can’t put it into words. She is as lost as him. But he admires that she tries to study for his sake. She hopes to find out what he is for him. The only woman in existence and time that would show him the proper amount of humanity. A broken soul. Just as he.

It’s selfish of him. But he is truly grateful to have her as his friend in their cursed lifespans of eternity.

The fragments worsen as he forgets himself and what he once was. The only things he can remember at this point in life are the symbols of what he deemed unearthly and the fear that coursed through his entire being at that moment. He continues to grow frustrated and paranoid. It angers him of what he cannot remember. Life was and has been cruel to him. Refusing to answer the one question he craves the most. What is he?

He exists and burdens the lives of others. A haunting image that courses through the lives of daughters and sons. A boogie man.

Even he has fallen into the role of this boogie man. Tormenting souls on occasion in hopes he can feel alive once more. But it always ends with another lost soul to the hands of life's cruel fate. Never satisfying him with what he craves to feel once more. It’s like whatever carved him into what he is, forgot to fill in what he craves. To feel alive. He wants this curse to end. What did he do? Whatever went wrong to end him up like this?

And why would she stay to help him?

Penelope is a bright and smart living soul, but even without the means to see or listen. He can sense the broken pieces within her. She's a fool. A blasted fool with a big heart. Naive to decide he was the only being she could relate to. There were plenty of other cursed minds on that planet. Why couldn’t she see that? He has killed innocents. He has killed the guilty. He has killed the unfortunate. He truly was a monster. A being of higher expectations for that woman. Dame her. Every time he is angered by her presence he can’t help but feel at the same time the warmth he so craves from his friend. She helps him feel alive. She is his sense. She is his burden. He wishes for her to leave! But he craves her company to live in this cursed land.

In a world that has written nothing but myths and stories of him and has drowned his sense into believing he is but a monster to the world and must fill that role. She brings light of what could’ve been. And that is all he needs, is that sense to live. Their friendship is truly uncanny. But he believes it’s fitting for a being such as him.

“You don’t have to believe what they think of you.” She closes the book of written histories littered in dust. The broken ceiling of the once beautiful manor creaked loudly in the dim light of night. “You fit yourself into a role that you didn’t even make for yourself.” Sliding the delicate novel back into its place on the shelf she turned towards the faceless being on a torn sofa. It looked like it could have once been used for a grand home such as the one they stand in. But it seems even the cruel fate of life had hit this home.

“Do not patronize me.” He speaks even without the proper tools too.

The white-haired woman scoffed. “I am not patronizing you. I am simply expressing my opinions on your troublesome matter.”

“Oh. How kind of you.” He sneers sarcastically at her as he lays himself down to rest on the torn sofa.

Penelope growls with a pout on her lip. Resting her hands on her hips while she watched the creature before her melt pitifully into the destroyed cushions. “You aren’t gonna pout all night on that sofa are you?”

“That is precisely what I have planned for my evening.”

“Ugh. You are a lazy muck.” Penelope stepped around the sofa to stare down at the sad creature. “You have so much potential for a being such as yourself and you have yet to discover that yourself!” The side of her hand chopped down into his side harshly.

It didn’t affect him at all. It was a futile hit that didn’t budge him from his spot at all. She only received a grunt of annoyance from him. “You could make a difference with what you know.” She sat down at his feet. “You are an extraordinary being who has lived through centuries. Surely there is something in there that can be helpful to others.” Penelope stared and hoped he’d understand at the moment of her statements about him.

“How can a being who has tormented society since the age of time be? Extraordinary.” If he had eyes he would roll them at her. It’s insanity to hold such a high title for him. “I’m a walking disaster of consequences and have destroyed the lives of many. How could someone learn from something such as that?”

She could only stare at him as he melted deeper into the cruel and sad reality he had created for himself. “Because I believe that anything earthborn can change. Whether we are lost to the mind of our insanity or have become something that can be as delicate as the breeze in a field of flowers.” Penelope stared up into the broken ceiling as she expressed what she believed. “You have a conscious. I believe the humanity inside you can make a difference. Maybe not now. But maybe someday.”

[just-rogi]

The fucking contrast between being told every day that I’m too much and annoying and need to stop talking and that no one cares about my history facts or tangents by friends- and having my other friend ask me today about the historical canon of book I offhandedly mentioned loving- which he read in a WEEK- and going on an hour tangent about Greek canon of the Iliad/ Odyssey vs the Oresteia and Iphigenia and Post-homerica and how you need to understand the cultural context of gender, family structure and the differences in taboo of patricide vs matricide vs fratricide vs infanticide and the role of women in Greek society and how the dynamics of Iphigenia/Orestes/ Electra/ Agamemnon/Clytemnestra contrast with Media/Aeëtes/ and Absyrtus and Odysseus/ Telemachus/Circe/Telegonus and after realizing I started tangenting about how there is no ONE Greek canon las it was passed down orally and changed as the society around it did (with a sidebar about the accuracy of any ‘direct’ that lacking the same intent as the original and how I believe the most accurate translation of Shakespeare would be one in informal English with contemporary references and humor) and how I personally believe that Circe can NEVER be 100% accurate to Greek canon because it was written from the perspective of a woman- but is absolutely phenomenally accurate to the myth is and by writing sympathetically the perspective of a scorned female character you are adapting the myth for a modern audience as society needed it to change which is 100% in the spirit of Greek mythology and is in that regard a much BETTER translation than a lot of these line for line translation that are completely alien to a modern audience who lacks the context of the complexed social dynamics of Ancient Greek domestic and familial life. I went on an hour long fucking lecture via discord call for THREE friends and when I apologized for talking so much they begged me to keep going and said they give me blanket permission to always assume that they will want to hear any fun history fact I want to share . Like .. fuck. I’m sorry I’m just so frustrated I spent the past year really genuinely believing that everyone really is just sick of me all the time and that no one ever listens to me when I speak so I should just shut up. Im only now realizing how much of a poor match my roomates situation I’m so excited to move in September.

[samaspic31]

"Separate the art from the artist" is so insulting to the artists too actually (and totally irrelevant to the question of financial support of said art, in the age of pirating). Have you ever seen as artist say who they are is irrelevant to their work? Why are you implying that what we create is so unspecific to us that you can ignore us. You are trying to extend the capitalistic alienation from our labour to something inherently resistant to commodification, as much as the system forces its monetization for artists to live (and I wish all domains stopped alienating production from its producers, but it's particularly egregious for art imo). It’s something given or sold to the public for them to give the meaning they see fit, and you can decide to discard the initial/intended meaning for yourself, but it was still born from the artist and specific to them, created with their intentions motivating it, their biases colouring each and every choice, it is ludicrous to argue it can be totally dismissed. Trying to erase our role is downright offensive and akin to failing to credit properly. Copyright law has many flaws, in the sense that it is ill-equipped to handle the fact no art is ever 100% original and builds off existing elements, but it exists for a reason, so that artists get their due, you better believe corporations would not compensate us if they could. And minimizing our place in creation is the same mindset

I think it’s also tied to the myth we're born this way, given talent from birth and therefore not really the inventor but merely the executor of our art, negating the amount of training that goes into building skills, and the intellectual labor necessary for any creative work (see: ai bros acting like artists are hoarding drawing skills??), as well as the disregard shown for artistic industry workers anytime there's talks of unionizing (see : caring more about their marvel movies/video games releasing early than making sure crunch is avoided). Some people don’t like to think in depth about neither the context of what they consume nor the breathing bodies that make it come to life (and I understand, cause honestly it makes a lot of stuff depressing, be it food, clothes or art, but it'snecessary sometimes), and seem to think an artist’s relationship to a piece of work is over, all ties severed the moment they publish it, when it is a lifelong and everchanging relationship that takes labour to bear

On another topid so much of art is made of collaboration and merging intellectual properties and building off other people’s work i would like to beat up the myth of the lone genius artist or the mastermind director who deserves all the credit for his big brain, all projects would be nothing without the teams making them happen and an artist with no fellow creative friends literally will shrivel up so pls start putting all the people working in artistic fields on an equal footing, financially speaking too, i am begging society to stop disrespecting craftspeople too btw-

[cacaitos]

tbh in summarizing completely the observations on intersex characters+avoiding topic diversion i only have two main points:

Gonna call it the Unicorn Treatment in where yeah i guess is uncommon and might raise somewhat intrusive curiosity (in whatever sense or intensity) but also for the noticeable high tendency for the condition to be linked or provoked by unnatural or supernatural causes. unnatural not in the "normal" sense but say, active human or agent intervention, likely with an ulterior goal or reason. so yk, characters that are cientific experiments, gods, demigods, superhumans, angels, aliens, CreaturesTM, mythology (not speaking of actual ancient myths but moders uses for fiction), so on. so they're not usually Just Some Dude that happened to be intersex and that's it (including if IS is a relevant part explored in the story) but an intersexism that signifies their strangeness, un-humaneness (neutral) or alienation from their society in whichever way.

a crazy proportion of them are male characters relative to female ones, from the ones i've personally encountered even just councidentially. female ones i can barely quickly think of 3 and that's giving margin to my forgetfulness. even acounting, probs older, works with the genitalia=gender i.e. IS=nb=androgynousTM issue, they usually gravitate to more masculine roles/presentation (even if in a bishounen/fauxen animanga way). free space for the ones that do so for convinience/security regardless of actual gender.

[mystical-shadows]

The Werewolf in Latvian Myth, Legend, and Folk Beliefs

Latvian folklore is rich with mythical creatures and spirits, and one of the most prominent and intriguing figures in its mythology is the werewolf or vilkatis. The concept of the werewolf appears across various Baltic and Northern European traditions, often linked to ideas of transformation, liminality, and shamanistic practices. In Latvia, the werewolf carries a mix of fear, reverence, and symbolic meaning, reflecting the deeper cultural beliefs about nature, humanity, and the supernatural.

The Werewolf in Latvian Folklore The Latvian word vilkatis combines vilks, meaning "wolf", and vīrs or ats, implying "man" or "creature." In Latvian myth, a vilkatis is a person who can transform into a wolf, either by their own will or due to external curses or forces. Unlike the popular Western image of the werewolf as a bloodthirsty monster, the Latvian werewolf embodies more nuanced roles. Sometimes, the transformation is voluntary and linked to magical or shamanistic practices, while in other cases, it is a curse or punishment.

In Latvian legends, vilkatis is portrayed as both a victim and a perpetrator. Some tales describe them as people who have been cursed to become wolves, forced to roam the forests and live apart from society. Others depict them as people who willingly transform into wolves, often for the sake of accomplishing a difficult or dangerous task, such as hunting or avenging wrongdoings. The vilkatis could also serve as a protector of the village, chasing away evil spirits or guarding livestock.

Transformation and Curses The transformation into a werewolf in Latvian tradition could be caused by several factors. One of the most common ways a person could become a vilkatis was by breaking a taboo or engaging in a forbidden act. Some stories mention specific rituals or the consumption of certain magical herbs that allow the transformation. In some cases, the curse is hereditary, passed down from generation to generation, which ties the werewolf myth to broader themes of ancestral sin or familial curses.

One of the more benevolent interpretations of the vilkatis sees them as individuals cursed by witches or sorcerers. They might be condemned to wander as wolves for a set period—seven or nine years—or until a specific task is fulfilled. In such cases, the curse often ends when someone recognizes the werewolf, usually through some distinguishing mark or behavior, and shows them kindness, thereby breaking the spell.

Symbolism and Cultural Significance The figure of the vilkatis in Latvian culture holds a complex symbolic significance. It represents the boundary between the human and animal worlds, symbolizing a liminal state where one is neither fully human nor fully beast. This transformation reflects ancient shamanistic traditions, where entering an animal's form was seen as a way to connect with nature's primal forces or gain special powers.

Moreover, the werewolf myth reflects the fears and anxieties of rural life. Wolves were common in the forests of Latvia and posed a real threat to livestock and sometimes even humans. The vilkatis may have originated as a way to personify this fear, giving the predator a more human form that people could understand or confront.

In other interpretations, the vilkatis represents a person alienated from society, someone who lives on the outskirts of civilization due to their magical abilities, curses, or social transgressions. As such, the werewolf can be seen as a symbol of the outsider, someone who exists outside the accepted norms of behavior but still plays an essential role in the community by keeping dangerous forces at bay.

The Werewolf in Latvian Beliefs and Traditions Folk beliefs about werewolves persisted in Latvia well into the 19th and even the early 20th centuries. Local people believed that encountering a vilkatis could bring both good fortune and misfortune, depending on the circumstances. In some regions, people would leave offerings at crossroads or in the forest to appease werewolves or protect themselves from transformation. Conversely, stories tell of hunters or village folk confronting werewolves, usually by recognizing the human behind the wolf and either helping them return to their human form or, in darker tales, killing the creature to lift the curse.

The image of the werewolf in Latvian folk beliefs also became intertwined with Christian morality. Some stories associate the vilkatis with demonic forces or as punishment for immoral behavior, reflecting the church's influence on Baltic pagan traditions. Yet, in many cases, the werewolf remains a neutral or even positive figure, one who can straddle both worlds and bring balance to the community.

Conclusion The werewolf in Latvian myth, legend, and folk belief is a multifaceted figure that reflects the deep connection between humans, nature, and the supernatural in Latvian culture. The vilkatis is not merely a monstrous villain but often a complex character whose story reflects the moral, social, and environmental tensions of the time. As such, the Latvian werewolf embodies a rich tradition of storytelling that continues to fascinate and inspire with its layers of meaning and cultural significance.

Personal Note:

When I was a very young child and my elderly grandmother was staying over at our place, she would frequently tuck me in for the night. Grandmom made it a priority to draw the curtains to my window closed on full moonlights. With the clear expression of concern and yes even fear on her face when rays of the moon fell on my bed.

She'd sit down on the edge of the bed and tell me stories of the old Latvian god Vilks (today the general Latvian word for 'wolf') a god of the deep wilds of the forest. Who had once been a Latvian Warrior but learned the power of shapeshifting by way of magick. During a time of invasion he taught this skill to his fellow people and with it, they defeated all foes. Being a shapeshifting werewolf and hero had it's downside. Eventually, your humanity would fade. And you would become a Feral Wolf of Deep Forest.

Grandmom and later Mom made it a point to draw the curtains closed on full moons. For to sleep in moon beams upon the bed. It was the first process of becoming Vilks eventually. Becoming a Feral Werewolf.

Just as soon and Grandmom and Mom would leave. I hopped out of bed and flung those curtains wide open as well as the window!

Hooooooooooowwwwwwwwwlllllll!

[hrcbfmpl]

NieR Automata:

Game:

NieR Automata is a 2017 action, single player, role-playing game from the Drakengard series. It is developed by Platinium Games and published by Square Enix. The game was originally released for the Playstation 4 and Windows via Steam, the following year an Xbox One port was also published. A Nintendo Switch port was also released in 2022.

The Artist for this game is Akihiko Yoshida A Journey through Akihiko Yoshida's Art Style (youtube.com) , known for his work in the Final Fantasy series, and the lead for character design, Uuya Nagai and Toshiyuki Itahana.

The story explores the themes of finding value in life and looking at the reason people kill. It fits into the theme of dreams and destruction or gods, as humans in the game are represented as 'gods' which the Androids are fighting for and it covers the destruction of those gods (humanity). It takes place in a post apocalyptic setting of 11945AD where there is a war between the human-made androids and an invading army of machines created by plant-like Aliens.

The plot revolves around two main characters, 2B and 9S. The two are sent to clear machine threats and discover, on their mission, that the machines are replicating human societies and concepts. There is a God type theme here, in that they have to battle Machines that have named themselves Adam and Eve and, in doing so,2B and 9s learn that the Aliens have been dead for a long time and were killed by the machines they had created after the Machines' intelligence outgrew their own and that Humanity has also perished. Humanity's only hope is a Moon-based server, which holds their genetic remains. 2B syncs with YoRHa, called A2. YoRHa plays a big part in providing the myth of the teams survival to maintain a morale and give androids a god to fight for. 'Become as gods' is a narrative theme in both the game and anime, referring to the humans and the aliens who were the creators of the androids and machines and their progression to becoming more like their creators as they gain emotions.

Anime:

A-1 Pictures animated this. It was directed by Yoko Taro and Ryouji Masuyama. The character designer and animation director was Jun Nagai, and the art director was Hirofumi Sakagami. The artists were Akihiko Yoshida and Kazuma Koda.

In the anime the story is that Earth is invaded by aliens and their Machine Lifeforms and nearly drive humanity to extinction. The humans take refuge on the moon, where they build androids to enable them to retake Earth. I found a really good poster for the anime:

YoRHa No. 2 Type B (2B): I have included images of this character from the game and the anime.

2B is one of the main protagonists, and a soldier for YoRHa, and android task force fighting against alien made machine lifeforms. She wears a blindfold, which i believe may be to indicate how she was brainwashed to not show emotions and follow all orders unquestioningly. The black colours of her design suggest that she is limited to a 'black and white' view of the situation since she firmly believes in what YoRHa command are telling her. When crating 2B, Akihiko was asked to design a character which would be fun to cosplay. 2B is equipped with two weapon slots and an array of weapons to find within the game.

2B in the game:

2B in the anime:

9S:

9S is another one of the main protagonists in Nier, he is the male equivalent of 2B however, he focuses less on melee combat and more on hacking the enemy. 9S is a scouting unit compared to 2B, who is a unit specially designed for combat. This comparison is shown in the game as when you play as 2B, you have two weapons and do not have the ability to hack enemies, however when you play as 9S you only have 1 weapon but can hack enemies to explode, control, pilot, or alternatively; damage them if they have too much health to be destroyed in one hack.

9S in the game:

9S in the anime:

2B's main swords Virtuous Contract and Virtuous Treaty:

These are the two weapons that 2B uses in the starting tutorial and cutscenes, they are also the weapons that are directly tied to her and are used on most of her figures and fan/official artworks.

9S's swords Cruel Oath and Cruel Blood Oath:

These are 9S's main weapons which he is also shown with in most cutscenes/artwork, although it is mainly the Cruel Oath that he is shown with since he only wields one weapon at a time.

Weapon stories:

All weapons in the game have stories in their descriptions which tie either to the characters or to some other background. The main weapons used by 2B and 9S have weapon stories that fit together as if telling the same story from different view points, although 9S's weapon stories show more detail as he shows more emotion in the game and 2B shows much less emotion as all androids are told not to show emotions and she feels she must follow the rules. 9S doesn't care about showing his emotions though.

[fmpfinnm]

The Story Of King Midas & Possible Themes

The story of King Midas is a classic Greek myth that revolves around the consequences of a wish for the golden touch. King Midas, a wealthy and powerful ruler, helped the drunken Silenus, a follower of the god Dionysus. In gratitude, Dionysus offered Midas a reward, and the king wished that everything he touched would turn to gold. Initially delighted with his newfound ability, Midas soon realized the drawbacks as he turned his beloved daughter, food, and even water into gold.

Overwhelmed by the unintended consequences of his wish, Midas pleaded with Dionysus to reverse it. The god instructed him to wash in the river Pactolus to remove the golden touch. Midas followed the advice, and his touch returned to normal.

The story of King Midas offers several themes that could serve as inspiration for a game, this could go further than just directly linked to the story, as these can be expanded on and inference can go further from just the story directly,

Consequences of Greed: The central theme of King Midas revolves around the consequences of greed. A game could explore unchecked ambition and the impact it has on the protagonist and their surroundings.

Value of Relationships: King Midas' realization that his golden touch alienated him from his loved ones emphasizes the importance of relationships over material wealth. A game could focus on the value of connections, forcing players to make choices that balance personal gain with the well-being of their characters' relationships.

Redemption and Second Chances: The story of King Midas also features a redemption arc, as he seeks to undo the damage caused by his wish. A game could explore themes of redemption, forgiveness, and the pursuit of a second chance, allowing players to navigate a character's journey towards self-discovery and positive change.

Power and Responsibility: Midas' wish for the golden touch highlights the concept that great power comes with great responsibility. A game could delve into the ethical dilemmas and responsibilities associated with possessing extraordinary abilities, challenging players to make choices that have far-reaching consequences.

Divine Intervention: The involvement of the god Dionysus in the story introduces the theme of divine intervention. A game could incorporate elements of mythology, where gods or supernatural forces play a significant role in shaping the narrative and influencing the characters' fates.

Isolation and Loneliness: The game could delve deeply into the emotional toll of King Midas' isolation resulting from his golden touch. Players may experience the profound loneliness that arises when material wealth takes precedence over meaningful connections, highlighting the human need for companionship and genuine relationships.

The Quest for True Value: Characters in the game might embark on a transformative journey, seeking to understand the deeper meaning of wealth. This theme could explore the contrast between material possessions and intangible values, challenging players to reflect on what truly brings fulfillment and purpose to their characters' lives.

Sacrifice and Selflessness: The narrative could revolve around characters making difficult choices that require sacrificing personal gain for the greater good. Players might navigate moral dilemmas that emphasize the importance of selflessness, portraying the profound impact such decisions can have on both individuals and society.

Legacy and Impact: The game might focus on the concept of legacy, allowing players to shape the lasting impact their characters leave on the world. Through choices and actions, characters can build a legacy that extends beyond material wealth, exploring the idea that true significance comes from contributing positively to the world.

The Price of Vanity: Vanity could be a central theme, with characters grappling with the consequences of excessive pride and the pursuit of external validation. The game might depict the downfall that accompanies a relentless quest for admiration, encouraging players to reflect on the balance between self-worth and the perception of others.