#the viewpoint is of a person without magic
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Marks of growth as a person and practitioner in witchcraft spaces:
-not feeling the need to constantly correct others
-knowing when and how to offer a dissenting viewpoint
-being content to disagree without engaging in debate
-fact-checking information before passing it along or incorporating it into your practice
-questioning your assumptions and decolonizing your thinking
-understanding that no two practices are the same and that the experiences and opinions of others do not need to govern your path
-understanding that practices not your own or contrary to your own can still be valid
-being able to describe your current beliefs without putting down others or defaulting to discussions about religious trauma
-focusing on comprehension, learning, and exploration rather than consumption
-understanding that "witch" is a gender neutral term and that anyone can be a witch if they choose to
-understanding that safety is more important than visibility
-understanding that magical practice does not have to be constant
-Developing personal beliefs and practices that may align with existing traditions but may not match them precisely
-Developing a reliable bullshit detector and employing it regularly
-Diminished desire for constant validation from outside sources as to whether you're "doing it right"
-diminished desire to overshare or aestheticize your practices, instead focusing on what works for you rather than what looks pretty enough for social media
-diminished desire to Do All The Things At Once and instead focusing on the areas where you are comfortable / interested and taking things at a reasonable pace
-being aware of the problems in the community and doing your best to not contribute to them
-being aware of the New Age pipeline and staying out of it as much as possible
-embracing science and history and common sense alongside magical learning and spiritual beliefs (if you have them)
There are lots of others, but these are some of the ones I've noted in my own journey. Just some things to consider.
Happy Witching and Keep Growing!
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Hi, I was wondering if you could so some sort of rule set for time travel? I'm finding it hard to describe, and what rules there are on the subject.
Thanks!
Hello, I'm also writing a time traveling sci-fi fiction with a fantasy blend to it and here are some things that I find that could help us out!
Rule Set for Creating Believable Time-Traveling Fiction
1. Time Travel Mechanics
Mechanism Description
- Clearly explain how time travel works in your story. Is it a machine, a natural phenomenon, a magical object, or an innate ability?
Scientific Basis
- Incorporate real scientific theories, such as Einstein’s theory of relativity, wormholes, or quantum mechanics, to ground your story in plausible science.
Limitations and Costs
- Define the limitations of time travel, such as distance in time, frequency, energy requirements, or physical toll on the traveler.
2. World-Building
Historical Accuracy
- Research and accurately depict the time periods your characters travel to. Include cultural norms, language, technology, and major events of those eras.
Parallel Worlds and Timelines
- Decide if time travel in your story creates alternate timelines or if it follows a single, mutable timeline. Consistency is key.
Temporal Organization
- Consider the existence of a governing body or organization that regulates time travel. Define its structure, rules, and purpose.
3. Language and Communication
Temporal Dialects
- Characters from different time periods should speak differently. Use historical dialects, slang, and accents appropriate to each era.
Temporal Jargon
- Create specific terms and jargon for time travelers and the technology they use, such as “temporal jump,” “chrononaut,” or “time anchor.”
Code of Conduct
- Develop a code of conduct or set of guidelines that time travelers must follow, including how they communicate with each other and with people from different eras.
4. Character Development
Motivations and Goals
- Clearly define why characters want to time travel. Is it for adventure, to change a personal event, or for scientific exploration?
Personal Growth
- Show how time travel affects characters emotionally and psychologically. Do they struggle with the ethics of their actions or the loneliness of being out of their time?
Conflict and Tension
- Use the potential for paradoxes, rival time travelers, and moral dilemmas to create conflict and tension.
5. Ethical and Moral Implications
Paradox Prevention
- Address how your story handles paradoxes, such as the grandfather paradox. Use concepts like self-healing timelines or fixed points in time to explain inconsistencies.
Ethical Dilemmas
- Explore the moral implications of time travel. Should characters intervene in historical events? What are the consequences of changing the past Responsibility
- Emphasize the responsibility that comes with the power to alter time. Characters should consider the broader implications of their actions.
6. Plot Structure
Non-Linear Narrative
- Use non-linear storytelling techniques to enhance complexity and intrigue. Flashbacks, flash-forwards, and parallel timelines can create a rich narrative.
Foreshadowing and Payoff
- Plant clues and foreshadowing that pay off later in the story. Ensure that all plot threads are resolved by the end.
Multiple Perspectives
- Consider telling the story from multiple viewpoints to show the impact of time travel from different angles.
7. Integrating Science Fiction and Fantasy Elements
Scientific Plausibility
- Ground your time travel mechanics in plausible science, even if you incorporate fantastical elements. Use pseudo-scientific explanations to bridge the gap.
Imaginative Enhancements
- Blend scientific theories with imaginative elements, such as ancient artifacts, alien technology, or supernatural forces.
Explanatory Dialogue
- Use character dialogue to explain complex concepts in an accessible way without overwhelming the reader with technical details.
8. World-Building Consistency
Timeline Integrity
- Map out key events in your story’s timeline to avoid inconsistencies and plot holes.
Cultural and Societal Impact
- Consider how time travel affects society. Is it a well-known and regulated practice, or a secret known only to a few?
Technological and Historical Changes
- Explore how changes in the past affect technology and history in the present and future. Ensure these changes are logically consistent.
9. Avoiding Common Pitfalls
Avoid Overcomplication
- Keep the rules of time travel simple enough for readers to follow without getting bogged down in excessive technical detail.
Plot Holes
- Be vigilant about potential plot holes and inconsistencies that can arise from complex time travel mechanics.
Exposition Balance
- Balance the need to explain time travel mechanics with maintaining the story’s pace and engagement. Avoid info-dumping.
Rules for Time Traveling
1. One-Way Trips Only
Restriction
- Time travelers can only move forward or backward in time once without the possibility of a return journey.
Explanation
- This rule ensures that the timeline remains linear and prevents paradoxes caused by multiple interactions with the same time period.
Effect
- Limits interference with historical events and reduces the chance of creating alternate realities.
2. The Observer Effect
Restriction
- Time travelers cannot interact with their past selves or directly influence their previous actions.
Explanation
- Direct interaction with one’s past self could create paradoxes, such as the “grandfather paradox,” where altering past events prevents the traveler’s existence.
Effect
- Maintains the integrity of the timeline and ensures personal history remains consistent.
3. Fixed Points in Time
Restriction
- Certain historical events, known as fixed points, cannot be changed or altered in any way.
Explanation
- These events are crucial for the stability of the timeline and the universe’s structure.
Effect
- Prevents catastrophic changes to reality, ensuring key moments in history remain intact.
4. Memory Corruption
Restriction
- Excessive time travel can lead to memory corruption, where the traveler starts forgetting crucial details of their original timeline.
Explanation
- The brain struggles to handle multiple versions of events, leading to cognitive dissonance and memory loss.
Effect
- Ensures travelers use time travel sparingly and only when absolutely necessary.
5. Temporal Anchor
Restriction
- Time travelers must establish a temporal anchor, a fixed point in time to which they can return or stabilize themselves.
Explanation
- This anchor serves as a safeguard against getting lost in time or drifting uncontrollably through different periods.
Effect
- Provides a safety net for travelers, ensuring they have a way back to their original timeline or a stable reference point.
6. Butterfly Effect
Restriction
- Minor changes in the past can have significant, unforeseen consequences in the future.
Explanation
- The butterfly effect illustrates how small actions can ripple through time, drastically altering future events.
Effect
- Encourages travelers to be cautious and minimize their impact on past events to avoid unintended consequences.
7. Temporal Energy Consumption
Restriction
- Time travel requires a significant amount of energy, often depleting the traveler’s resources or affecting the environment.
Explanation
- The energy needed to manipulate time is immense, and its usage can lead to resource shortages or environmental damage.
Effect
- Ensures time travel is not undertaken lightly and that travelers consider the environmental and resource costs.
8. Chrono-Sickness
Restriction
- Prolonged exposure to different time periods can cause physical and mental ailments, known as chrono-sickness.
Explanation
- The human body and mind are not designed to handle the stress of moving through time, leading to disorientation, nausea, and psychological effects.
Effect
- Limits the duration and frequency of time travel, encouraging travelers to minimize their trips.
9. Temporal Interference
Restriction
- Time travelers must avoid interfering with major historical figures or events.
Explanation
- Interfering with significant events or individuals can drastically alter the course of history, leading to unpredictable outcomes.
Effect
- Preserves the natural flow of history and ensures major events occur as intended.
10. Temporal Paradoxes
Restriction
- Travelers must avoid creating paradoxes, situations where actions in the past contradict the present or future.
Explanation
- Paradoxes can destabilize the timeline, potentially leading to its collapse or the creation of alternate realities.
Effect
- Ensures travelers act responsibly and with caution, preventing actions that could lead to paradoxical situations.
***
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A Very Ask A Manager Thanksgiving
So I love advice blogs (I maintain that comment sections on advice blogs are the best free tool for writers to explore different viewpoints, which really enriches your characterization), and for a few years now, I have had this idea that I want to do a do an Ask A Manager themed dinner, purely to delight myself. Meant to do it as a cookout this summer, but timing never worked out, so I broached the idea of doing it for Thanksgiving. My partner, who is also a nerd and therefore very supportive of my advice blog love even though it is not one of their interests, was down, with their only condition being that I should still make my cider bread with maple butter.
The menu:
Appetizers
Chips with:
Guacamole in honor of Guacamole Bob, of "ordering extra guacamole is wasteful of member dues” fame. (This being on the menu may also have been a factor in Partner being willing to have our holiday take on an Ask A Manager theme, as I once took a community education course on grilling that taught me nothing about its ostensible subject matter but did teach me to make a bomb-ass guacamole. The secret is that your first step should be to pulverize an entire head of garlic into a paste in your mocajete.)
Three store bought salsas, where the trick is to "fold" the salsa to get the best flavor
A bottle of hot sauce so we can get fired after a coworker steals our spicy food
Main Course
"Duck club" sandwiches in honor of the secret office sex club where you get points for sex in different locations, and quacking is involved. (These were very decadent and if anyone's interested in a great duck recipe, I used the Duck with Lemon recipe from A Feast of Ice and Fire.)
Sides
Cheap-ass rolls that I definitely deliberately brought to upstage you, yes you, the person who signed up to bring Hawaiian rolls! It's definitely not an overreaction on your part to declare that "they can all take Santa and stick it up their ass!" You're definitely not getting fired for being wildly hostile! (These are actually homemade rolls, but I weighed "buy actually cheap rolls and be done" or "spend a couple hours adapting a corgi butt roll recipe to a human butt roll," and chose in favor of the pun.)
Dessert
Bribery cupcakes, from that time a letter writer brought some cupcakes over to chat with her neighbor, the son of the Chief of Police, about a disruptive noise issue in her workplace and some commenters decided this constituted bribing a public servant. (The recipe is in the comments on that link; I made the carrot cake version. However, I realized halfway through that I was somehow low on vanilla despite obsessively buying fancy vanilla extract every time I am in a spice shop, along with a bunch of other things I don't need because buying cool spices makes me feel like a wizard. Anyway, half of these had vanilla in the filling/icing, and the other half had cardamom extract.)
A birthday cake that somehow crosses boundaries by...being too fancy? Being paid for a staff person? Not involving the wife in the planning? Anyway, the real answer to the letter writer's question is, "Eh, I don't think it's a big deal" because different offices have different norms around birthdays and it's whatever, but sometimes a low-stakes office norms question hits just right and you get 630 comments of people debating The One True Way to Do Office Birthdays, and whether or not buying a cake means you're angling for an affair. (Okay, not all the comments are about that particular letter. Anyway, I picked up this fancy-ass cake at Marc Heu Patisserie, and appropriately enough, the guy ahead of me in line was picking up a cake for his boss.)
And of course, what Ask A Manager column would be complete without chocolate teapots?
Beverages
Mudslides, because "girls love chocolate." And magic tricks. And being played "You're So Vain" on the piano with a mournful stare. Partner and I are both notorious lightweights but I had been snacking all day as I cooked so I was mostly immune. Partner took one sip of this drink and immediately began loudly telling me how their one colleague doesn't sing enough to his Pre-K students, and "this classroom will do anything if you sing to them!" After dinner, they lay down on the floor and sang the Slippery Fish song.
The full spread:
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Do you think any of the other items the party has rn (ie Ashton’s hammer, Imogen’s robe) could become more relics of the red solstice? If yes, which god do you think would bless them? Vox Machina probably not, they’ve got all their vestiges already, but do you think the Mighty Nein could earn any?
I don't think this will be much of a focus, to be honest; Matt just poked fun at his Campaign 1 fetch quests. I especially don't think it will be a significant focus of the Mighty Nein as I think they and Vox Machina will only be viewpoint characters for their specific missions; a couple episodes at most. And, to be honest, one of my favorite things about the Mighty Nein is that they were never terribly focused on magic items to the ridiculous (affectionate) extent Vox Machina were. No shade to Vax but I think a lot of people did not realize that without two vestiges and an overpowered homebrew item and a bending of the rules re: smiting on thrown items, he's just a guy with 30 feet of movement who can attack twice with a dagger in melee and pump in a second level smite once he gets to the high levels.
I think it is possible with Bells Hells, but I suspect it will only really be those who sought out any kind of relationship with a god, even if it's relatively last minute. I'd love to see an exploration of Braius since I really don't think Asmodeus is fueling those paladin levels, but otherwise, Imogen and Ashton are currently the only ones with plans, so the gods in question are the Stormlord and the Arch Heart. It would be a nice touch, personally, if the Changebringer showed up and perhaps imbued the fragments of FCG with something minor, but I'd also be happy if the only relic we have is Seedling simply because again, Orym's the only one who's really been pursuing this consistently.
Just for a quick elaboration, I think one thing with the Vestiges that Matt realized is firstly, if he gives the party a list of everything, they will try to catch 'em all, which led to some episodes in C1 that, frankly, didn't have much connection to the characters and their goals (specifically the Fire Plane stuff; also while its retrieval was great, Scanlan used Mythcarver like, twice, and once was to do a two gnomes in a trenchcoat situation); and that you can end up with some really fucked party balance. I remember in Campaign 2 when people felt like everyone should get a Vestige again once it became apparent the Star Razor was one, but Fjord was a sword-focused character who put immense work into a relationship with a god; some classes and characters are just not item-based in the same way. To make D&D balanced, sometimes some characters get more toys; and also, following specific narrative paths is rewarded by the GM because it involves player dedication or risk or is just really fun and cool.*
I will also note that while time is short, not all the Vestiges of Divergence were tied to a deity. One could get a relic created by mortals; I don't, for example, know what Dancer and Imahara Joe are up to.
*at the risk of taking a pretty straightforward post and turning into an avenue of discourse, this is yet another reason why the "Raven Queen/Wildmother relationships with Vax and Orym are abusive" arguments feel in such profoundly bad faith and, quite frankly, taste, that they're hard to even engage with. It's such a deeply bleak and cynical worldview out of game to say "yeah, I think the GM is looking at an interesting player choice and is punishing them for it," even more so with a player like Liam, a person who is not precious with his characters and does not see tragedy or death in the service of a cause at the close of the story as narrative failure.
#answered#Anonymous#me voice: scanlan. lend dorian mythcarver.#critical role#cr spoilers#cr discourse#for that last bit
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How To Create And Execute Unreliable Narrators
Unreliable narrators are a powerful literary device that adds complexity and intrigue to a narrative. You've likely encountered them in classic novels like "Lolita" or contemporary hits like "Gone Girl." These narrators keep readers guessing, challenge perceptions, and add layers of depth to the story.
Throughout this blog, we'll explore the ins and outs of unreliable narrators, from what they are to how to effectively craft and utilize them in your writing.
Understanding Unreliable Narration
Unreliable narrators come in various forms, each with its unique charm. To effectively create and execute them, it's essential to understand the different types. Here are the primary categories:
Intentionally Deceptive Narrators: These narrators consciously lie, mislead, or omit vital information to manipulate the reader's perception. They have a hidden agenda, and their unreliability is deliberate. Think of Amy Dunne from "Gone Girl."
Psychologically Unstable Narrators: These characters suffer from mental or emotional issues that affect their judgment and perception of reality. Their unreliability stems from their mental state, like the protagonist in "The Catcher in the Rye."
Naively Mistaken Narrators: These narrators are innocent and well-intentioned but misinterpret events or are too young to fully grasp what's happening. Scout Finch from "To Kill a Mockingbird" is a classic example.
The impact of an unreliable narrator is profound. It challenges readers to question, analyze, and engage more actively with the text. It adds complexity to the storytelling and often leads to a more profound understanding of character motivations and the narrative's depth.
Creating Unreliable Narrators
Now that we've laid the groundwork for understanding unreliable narrators, let's dive into the process of crafting them. To create an unreliable narrator, you'll need to focus on character development and the careful use of narrative techniques.
Character Development:
Establish Background: Begin by creating a detailed background for your narrator. Understand their history, experiences, and personal motivations. Knowing your character inside and out will help you determine what might lead them to unreliability.
Motivation for Unreliability: Consider what drives your narrator to be unreliable. It could be a desire to hide a dark secret, protect someone, or gain an advantage. Their motivation will shape the way they deceive or misconstrue events.
Techniques for Revealing Unreliability:
Inconsistent Narration: Use shifts in perspective, varying accounts of events, or contradictory statements to signal unreliability. Readers should sense that something isn't quite right.
Unreliable Dialogue: Craft dialogues in which other characters react to or question the narrator's claims. This can help reveal the narrator's unreliability indirectly.
Internal Monologue: Offer glimpses into the narrator's thoughts and emotions, revealing their true intentions or doubts about their version of events.
Creating an unreliable narrator is a balance of providing subtle clues to the reader without giving away the full truth too soon. It's like constructing an intricate puzzle with pieces that fit together in unexpected ways.
Executing Unreliable Narration
Crafting an unreliable narrator is just the beginning; executing their character effectively is where the magic happens. Let's dive into strategies for maintaining suspense and intrigue surrounding your narrator's unreliability:
Strategies for Execution:
Gradual Revelation: Don't reveal the extent of your narrator's unreliability too early. Gradually introduce inconsistencies, contradictions, or hints that make readers question the narrator's perspective.
Conflicting Perspectives: Present events from other characters' viewpoints to show the disparity between what the narrator believes and what's happening in reality.
Trust vs. Doubt: Create a delicate balance between moments where readers may believe the narrator and moments that cast doubt. This ebb and flow keeps the suspense alive.
Unreliable Perception: Use the narrator's own perceptions and biases to create an alternative version of reality. Their interpretation of events can be vastly different from the objective truth.
Examples from Literature:
To gain insights into executing unreliable narration effectively, let's turn to literature for inspiration:
"The Girl on the Train" by Paula Hawkins: This psychological thriller employs multiple unreliable narrators to keep readers guessing about the true events of the story.
"Fight Club" by Chuck Palahniuk: The protagonist's unreliability is brilliantly executed as his split personality blurs the line between reality and delusion.
By carefully implementing these strategies and drawing inspiration from well-executed examples, you can keep your readers engaged and invested in deciphering the truth behind your narrator's unreliability.
The Reader's Experience
The beauty of unreliable narration lies in the reader's role in uncovering the truth. Readers become detectives, piecing together the puzzle of the narrative, challenging their assumptions, and engaging in critical thinking. Here's how the reader's experience plays a vital role:
Critical Interpretation: Unreliable narrators encourage readers to question everything they're told. It invites them to look for subtle clues, contradictions, and alternative explanations.
Reader Engagement: Readers actively engage with the story, forming their theories and interpretations. This interactive element can lead to lively discussions and debates among readers.
Psychological Connection: An unreliable narrator often reveals truths about human nature, memory, and perspective. Readers connect with the character's psychological journey on a deeper level.
Personal Discovery: The "aha" moment when the reader unravels the narrator's unreliability is a unique and rewarding experience.
The reader's experience is a fundamental part of crafting an unreliable narrator. It adds depth to your storytelling and encourages readers to become active participants in the narrative.
Common Pitfalls and How to Avoid Them
Crafting an unreliable narrator can be a thrilling creative endeavour, but it's not without its challenges. Here are some common pitfalls to be aware of:
Overuse of Unreliable Narrators: Using unreliable narrators in every story can become predictable. It's essential to employ them when the story genuinely benefits from the unreliable perspective.
Inconsistent Characterization: Be consistent with the narrator's unreliability. Avoid having them switch between deception and clarity without reason. Readers should sense a pattern to their unreliability.
Frustrating Readers: While keeping readers engaged is good, frustrating them to the point of losing interest is not. Balance the revelation of truth and deception effectively.
Overly Complex Narration: Unreliable narration can make the story more intricate, but don't make it overly complex to the point where it becomes confusing.
Revealing Unreliability Too Late: Waiting too long to reveal the narrator's unreliability can lead to reader disengagement. Provide enough hints to maintain their curiosity.
To avoid these pitfalls, remember that the key to successful unreliable narration is balance. Give your readers the right amount of information, trust, and doubt to keep them engaged without overwhelming them.
Now that we've explored the nuances of creating and executing unreliable narrators and learned how to avoid common pitfalls, you're well-equipped to embark on your own literary journey using this fascinating narrative technique.
I hope this blog on How To Create And Execute Unreliable Narrators will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.
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My frustration with Asha's writing
A lot of people liked "Wish," and a lot of people didn't, and a particular concern for the latter was the main protagonist. Since I'm in the camp of "I'm frustrated with 'Wish,'" I'll discuss a little bit about why Asha feels like such a letdown.
She's an archetype, but not an individualized character. She screams "Disney heroine," but she doesn't have anything about her that makes her character stand out (positively) among other Disey female leads. She has no flaws that hinder her, and her positive traits are vague at best. "I care too much," is the most generic thing I've ever heard a main character say. In fact, it becomes almost meaningless when a character (who genuinely means it) says it about themselves; caring too much is a statement that works best when talking about someone else. In fact...
2. She has significant plot armor. She gets far in the process of being considered to be Magnifico's apprentice, but it's never said WHY. Considering her friend (or friends? I'm not sure) works in the castle, Dahlia putting in a good word for Asha would make sense to why Magnifico would consider her, and even him asking around town for their opinion of her would make more sense. But it feels like she gets so far in the process simply because she's the main character, despite Magnifico knowing next to nothing about her. And Magnifico has several magical powers at his disposal, but he's still defeated by her (mainly because he only uses his staff against her).
3. She has a lot of influence, but again, it's not really said how or why. During the reprise of "This Wish," the people of Rosas side with her against Magnifico--but this is likely because she's the only one who dared to stand up against him. We only see Asha interact with the people of Rosas during the opening song with her as a tour guide (how did she get THAT job?), and it feels very professional, very timed. It doesn't feel intimate or personal, like Asha has built up a good rapport with the other citizens.
4. Her family is poorly defined. Sabino's wish is to create a song that inspires the next generation, but as Magnifico himself mentions, that's a vague wish--plus imo, it's cheating; rather than working hard and creating a legacy for yourself, you want to wish to give something for people to remember you by. And Sabino is obviously older than Magnifico, but his life--and how he lived it without the kingdom of wishes--is never explored. Perhaps if it was explained that he experienced great hardship and his spirit was broken, it'd explain why he was so fixated on getting a wish. And Sakina's wish is never explained. She's probably the worst-characterized parent in a 21st century Disney movie, since she's pretty much just there. And Asha's father inspired her, but he isn't shown much. I'd have enjoyed it if the plot revolved around her trying to revive her father and it proves Magnifico's point that some wishes can't/shouldn't be granted.
5. She learns NOTHING. Her whole song is about "I've lived a lie" when that's not entirely true; she takes a very black and white view on the situation without ever trying to evolve her viewpoint via Magnifico's perspective, and the people of Rosas never stop to think "we shouldn't be codependent"; they just think "we shouldn't have let Magnifico lie to us." It's a giant avoidance of guilt on everyone's behalf, and since Magnifico is a villain, no one really cares that he has some semblance of a point. When you look at protagonists like Pocahontas, Judy Hopps, and Anna, you see how they learned a new way of looking at things, that they've suffered hardships (either through their own making or otherwise) and that they've grown from it.
6. She's "relateable." Disney's adorkable thing hasn't been too much of an issue for me up to this point; it was unique when Anna did it, and it never feels super cringey with Mirabel and Moana (though if Mirabel is cringey, it fits into the narrative). But now it's tired. I'd enjoy more mature leads like Raya, Tiana, and Elsa, rather than Disney trying to make a protagonist that tries--and fails--to be quirky. And I never really saw Rapunzel as adorkable as her later leading ladies. But Asha tries too hard; honestly that should've been one of her flaws in the film. Her desperation to meet everyone's approval would've been something neat (albeit familiar if we compare her to Mirabel) to explore in the film.
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Primary C. [PRI]
Summary:
[A wandering creature looking to feed on people’s wishes somehow finds its way into the world of Twisted Wonderland. He is incapable of wanting something other than the desire to want something, (he wants to want something), so he travels looking for something to satisfy that. It’s also just to cure his boredom. After arriving, he sort of just. Made himself at home in Octavinelle. Because he likes blue.]
[A little mischievous, but mature. He’ll help anyone out if he’s asked to, and is welcome to talking with strangers. But even when faced with his benevolent nature, he always seems to be hiding something…]
General Info!:
Name: Primary C. (AKA Pri, Ryuu) Birthday: April 1st Pronouns: He/him Sexuality: Bisexual (Male and female equally) Dominant Hand: Feet. Both. Left Hobbies: Drawing, reading, watching random people’s memories. Likes: Seafood, gossip, uncovering secrets, mystery novels, the unknown. Dislikes: Cliffhangers, stubborn people, the unknown. Fears: Dying Traits: He enjoys getting involved in situations, be it out of kindness or just to see if he can manipulate people into giving him their wishes. He’s calculating, and likes to find out people’s secrets (or what he calls the “answer”) but doesn’t use them for anything other than to satisfy his own curiosity. He’s good at keeping secrets, but bad at making other people keep them. Wow. What an ass. Extra Information: He was a creature born from someone’s desires, and when that desire peaked, he took over his body. Now in order to keep the body and himself alive, he needs to continuously fuel “desire”, since that’s the only reason he was able to possess the body in the first place. So he goes around collecting people's ambitions in order to give himself motivation to be alive, because he fears death so much. As long as he can keep living, he’ll do anything. It’s not that he wishes to be capable of wanting, it’s that he just wants to be human. He misunderstands this. That wish is strong enough to fuel him even without outside interference.
More info under cut!
Unique Magic:
Self Granted Wish: He can amplify or reduce someone's desire for something.
The bigger the desire affected, the more magic used.
There are 2 conditions. 1. In order use it, he needs to have heard directly from the person themselves what their desire is. 2. The trigger word is "want". So he needs to hear the other person say specifically that word in order to use his magic. Amplification: After he amplifies someone’s wish, both Pri and the other party will share the amplification of this wish depending on how much they individually care about it. (Ex: Floyd wants cake, Pri is considering cake. —After amplifying—> Floyd really wants cake, Pri kind of wants cake.) So really he can use this amplification without consequence since he doesn’t ever “want” things. If he doesn’t care about the subject he’s amplifying for the other party, it won’t really have an effect on him.
After the other party satisfies/completes their desire, Pri gains an edible marble (fuel). Reduction: If he reduces someone’s desire, the emotion is transferred and manifests in the form of a marble, which Pri will eat, and as a result, inherit that desire. (Ex: Floyd wants cake, Pri doesn’t care about cake. —After reducing—> Floyd doesn’t care about cake, Pri wants cake.)
Passive Skill [Color Drop Viewpoint]: He can read the emotions of someone in the form of color, and according to the emotion they're feeling presently, he can view one randomly generated memory where they felt the same. This can only be used on the same person once a day. He doesn’t associate this skill with the world and basically considers it cheating, so he only uses it for personal reasons (Curiosity, boredom). He's got the whole color wheel in his eyes mf I WOULD HOPE HE COULD SEE COLOR.
This skill is more personal, and is unrelated to his unique magic!! It has more to do with his eyes.
He gets along pretty well with the Leech brothers, since he can vibe with both of their personalities. Somehow. He joins Octavinelle around end of Book 3, and is sort of like an extra henchman for Azul. He tends to the lounge when no on is present, and is also good at manipulating people. Ig I just figured that this dorm was the most fitting.
Fun fact! He knew Ryoko from before she became TWST-ified! They had/have a more sibling dynamic, but they don't fight too much.
Also he bleeds NEON ORANGE woooo spooky ��😨
OHHHHH MY GOD WHY DID THIS TAKE FOREVER BROO??? WHY DO OC INFOS TAKE SO LONG TO WRITE WHY WOULD ANYONE WANT TO DO THIS ACTUALLY (It's me I'm anyone)
THANK YOU FOR TAKING A LOOK AT MY SON!!! I WANT HIM TO INTERACT WITH @skriblee-ksk 's KALMIA SOOOO BAD AUGH SO I OFFICIALLY GOT HIM INTO TWST AND HONESTLY THAT GAV EME A REASON TO EXPAND ON HIS LORE SO THANK YOU FOR THE OPPORTUNITY KALMIA!!!! ILY!!!
THANK YOU AND GOODNIGHT!
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So there aren’t many shadow charmers in Fablehaven/Dragonwatch, but there are quite a few witches. they both supposedly get their powers from the same source, demons, so I wonder if they’re similar Considering that Shadow Charmers are inducted into the brotherhood of the creatures of the night and witches hone powers from their patron demon, they aren’t necessarily the same
but what makes a witch different from a shadow charmer exactly? why are shadow charmers rarer? Borrowing power from a demon essentially entrusts a person with dark magic and that means witches are therefore dark-aligned beings like shadow charmers they may have different abilities from shadow charmers but as we have seen with the singing sisters, who have untold knowledge/foresight, they aren’t always less powerful than shadow charmers so what’s so great about being a shadow charmer then? Here’s my theory: when witches choose to follow a demon and use their powers, they choose to give up every aspect that makes them light, and in turn, lose their sense of self and corrupting so they can take on the power that’s bestowed to them, similarly to demons When something becomes a shadow charmer, they do not lose their sense of self as they aren’t exactly demonkind, but still a creature of night. Being a shadow charmer doesn’t change the creature’s morals or character, yet still provides access to demon-like powers. The creature is dark but not necessarily corrupted (However, most of them were known to be evil until Seth came along) The reason it’s easier to become a witch than a shadow charmer is probably because the process of becoming dark-aligned without corrupting the creature in question is hard for demons to preform This might be because demons often are made when a creature corrupts, so it’d be hard to tap into a demons powers without corrupting. But if shadow charmers are granted powers that aren’t from the demon directly, but more of a general dark-aligned creature, then they won’t corrupt.
that being said, demons are probably one of the most powerful dark creatures in the Fablehaven universe and could grant shadow charming most easily out of the other dark creatures. Since there are so few left in the overworld due to the demon prison, it’d be hard to see one out and win its favor in the first place anyway, I forgot where I was going with this. Feel free to add your viewpoint
#long post#fablehaven#dragonwatch#fhdw#shadow charmer#seth sorenson#I feel like I keep jumping all over the place#I don’t even know what I’m talking about anymore 😭
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Beginner Class - Four Pillars of Magic
Ancient Craft & Occultism
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By KB
Introduction
Welcome back to class everyone! Today, we're going to get a bit more in depth on ceremonial magic. We're going to talk about the four pillars of magic, also known as the witch's pyramid. Now, this is a Wiccan term and ideology, however, it is also used in several other occult circles as a basic foundation for knowledge. Not only will we discuss that, but we will talk about my personal four pillars of magic, which differ a bit from the traditional witch's pyramid. I hope you're able to use this lesson as a way to expand your personal practice and build a solid foundation for your craft.
The Witch's Pyramid
The witch's pyramid is a philosophical structure intended to demonstrate the foundation of magical arts. The name derives from the fact that a pyramid, a symbol of enlightenment, has four corners that support the construction equally. While this idea is well known in Wiccan circles, there is evidence that it dates back to Hermeticism, if not further. The most supported claim within the community is that Eliphas Levi created this term [originally Power of the Magi] in his Doctrine of Rituals and High Magic in the late 1800s.
To Know
To Will
To Dare
Silence
Aleister Crowley later added on to this ideology in the earlier half of the 1900s in his book, Magic Without Tears.
To Go
The broader witchcraft community didn't adopt these five powers until about the 1950s (give or take a decade), at which point they became known as the Witch's Pyramid. Even though The Witch's Pyramid isn't necessarily accepted by every culture as a formal system of philosophy, the ideas are very much the same everywhere. So let's examine these five powers collectively referred to as the Witch's Pyramid today.
To Know [Nescere] -
Correspondences - Air, Intellect, Wisdom, Intuition, Logic
This implies that we constantly work to increase our knowledge and apply it to both our daily lives and our magickal work. It entails having a thorough understanding of the craft. The more a witch knows, the more powerful and effective his or her magick can and will be since, as the proverb goes, "knowledge is power." Always seek the truth, and be prepared to adjust your viewpoint as you learn more. Know yourself, master your trade, and never stop learning.
To Will [Velle] -
Correspondences - Heart, Desire, Emotion
We effect change with our will when practicing the magical art of witchcraft. Believe in your ability, your craft, yourself, and your spells. Through regular meditation and visualization practice, as well as having the motivation, we can learn to focus our mind. Keep sending out energy with the conviction that it will accomplish your goals. Keep your entire attention on what you are doing, why you are doing it, and the pertinent energy. We must desire the magic to work if we want it to. Our commitment and vigor are what cause manifestation.
To Dare [Audere] -
Correspondences - Fire, Discipline, Action
We are brave in everything we undertake and overcome any fear or hesitation. We don't hesitate to try new things because we have confidence in our skills, knowledge, and abilities. When we venture into astral regions, for example, we dare to transcend physical limitations and give ourselves over to the universe. We have the courage to interact with entities and spirits in this world and others, and we are receptive to their knowledge.
Silence [Tacere] -
Correspondences - Earth, Stability
Both internal and external peace are related to keeping silent. After casting a spell, we typically avoid talking about it or wondering if it was effective because doing so could make someone doubt their own abilities and undercut the work they have already done. In the same way, we also consider our words and our information before sharing it, especially with people from other worlds. We shall adhere to witch etiquette and refrain from disclosing any material that is subject to an oath, but we won't always share everything we know about witchcraft.
To Go [Ire]
Correspondences - Spirit, Growth
We will keep moving forward, manifesting, and evolving. By bringing the four powers of the base of the pyramid into perfect balance and utilizing them in ways that balance the light and dark, we will be able to master them.
KB's Four Pillars
What I consider to be the four pillars of magic, the cornerstones of the trade, would be the ideal place to begin, in my opinion. Cursing, Blessing, Cleansing, and Protection. All other magic may be connected to one of these four pillars, and once you learn them, you will be able to perform any spell or working and use them as launching pads for additional study in uncharted territory. Starting with a solid foundation is the greatest approach to position yourself for success in anything you do with magic as it is a craft that is constantly evolving and is the subject of ongoing research. My personal biased of the four key elements of magic are listed here, along with my justifications for each one.
Blessing
With a traditional blessing, you are requesting divine help, or help from something other than yourself, to bring about a desired outcome. Additionally, it is not always a good thing. Although they frequently have a pleasant meaning, blessings are only a method of casting a magic in which the power and workings of the spell originate from an outside source. Asking a deity to guard your home against harm is a nice illustration of it. Since the spell's energy invokes a deity to grant protection, it is regarded as a blessing. While blessings can be a bit more difficult to use, they do not bind the caster to the work itself. Your energy is not connected to the spell itself and is not constrained by the spell's effects as you are requesting divine or other assistance in the spell. However, as a result of this, you essentially have no influence over the working's outcome, course, or duration. The only thing you have complete control over is whether you do the spell since you are not the one casting it. That said, blessings are quite potent and shouldn't be taken lightly because anything involving the divine can turn out a bit theatrical…
Cleansing
While shielding is excellent at preventing outside influences from interfering with spellwork, spells sometimes resemble cars and require maintenance. Cleansing is crucial for removing the accumulated energy that can attach themselves to people, places, and things. Like a car, magic has a lot of moving parts, and the key to ensuring sure any spell is effective is to make sure that the car is filled with oil and that all of its components are greased. As an illustration, let's imagine that after performing a blessing and requesting heavenly or cosmic assistance, you turn around and want to do a curse using nothing more than your own energy. If the divine energy is not removed, it will remain and find its way into the curse, causing it to behave differently, act against a different person, work against you, or maybe not work at all. You may remove negative energies from your possessions, workstation, and yourself by cleaning them. This might be a constructive or destructive force, or it might be chaotic. Keeping in mind that like attracts like in physics and quantum mechanics, magic must abide by these criteria.
Cursing
When I use the term "cursing," I don't mean the Hollywood interpretation of a malicious spell cast on someone; rather, I mean magic that is fueled solely by your own will and nothing else. A curse, as opposed to a blessing, is when you directly control the world with your own will in order to shape it the way you wish. A curse is merely a different technique to cast a spell, and it can be used for good or for bad. When casting a curse, all of the energy used to power the spell originates from you; neither divine intervention nor requesting the assistance of an element are involved. As a result, curses are significantly more potent and adaptable than blessings. You have some degree of control over how the spell is written, how it is cast, how it turns out, and even how long it takes to function. Nevertheless, a curse uses your energy and will, so most individuals feel drained and occasionally ill after casting a spell. Additionally, because curses link you to the spell, any effects it may have on the spell may also have an impact on you. Most people associate curses with unpleasant things, but in reality, a curse is just someone changing their environment via the power of their own will.
Protection
Protection magic is usually performed before most workings and is crucial for both you and the people you love. There are many different types of magic, and protection magic can be as simple or as complex as you like. By using and understanding different types of protection magic, such as circles, wards, crystals, elements, etc., a practitioner can expand into other types of magic. This is something you might expand on as you get more skilled with protection magic, guarding not only yourself and your loved ones but also your possessions, your land, your precious objects, etc.
Conclusion
We live in a magical world. It is in the atmosphere, audible in the sound of wind-sighing trees, in the early hours of the morning when the sun just so happens to reach the skyscrapers, and in the pitch-blackness of the night when it is just you, your thoughts, and the stars. Working with magic and the craft allows you to take control of your own universe and reality and shape it whatever you like. Magic is almost a separate thing even though it abides by the laws of physics, chemistry, biology, and quantum mechanics. You will have all you need to embark on your adventure and follow the route, wherever it may lead you, after learning and practicing.
#elder witch#baby witch#witchblr#beginner witch#witchcraft#dark witchcraft#astrology#tarot#aesthetic#divination#witchcraft 101#witch community
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My Take on Griffith and the Solar Symbol
Introduction and Overview of Symbolism
I acknowledge that Griffith is typically associated with the moon as a key symbol, and its role is evident. Nonetheless, in my interpretation, it is not the moon but rather the sun and solar principles that primarily and inherently represent his character. The lunar motif seems to have emerged with Griffith, particularly due to the presence of Moonchild, and is primarily linked to transformation. In this text, I will explain why this is the case. Similarly, in future works, I intend to explore how the sun connects with his other symbols, such as the hawk and the falcon. Those who have seen Ladyhawke will understand what I mean. In any case, I believe that qualities also associated with yang, such as solar, active, and masculine principles, fit his character very well.
Moving on to the specifics:
As most 'normal' readers probably know, Griffith embodies a complex nature, woven into a rich tapestry of allegories and motifs. His persona resonates with numerous spiritual and philosophical layers that are intricately tied to symbolism and mythology, transcending conventional concepts. By exploring how the sun symbolizes Griffith, I will analyze various authors' interpretations alongside my personal viewpoint. It is essential to note that while he may embody a singular principle, this does not exclude the presence of contrasting elements. A deliberate acknowledgment of these opposing forces is also important. His character is intricately crafted and transcends boundaries, encompassing all aspects of the universe.
The sun is arguably the most prominent feature of the natural world. Without it, life as we know it would cease to exist. Its radiance defines not only its appearance but also its symbolic essence. Mythical narratives often depict the sun’s movement as a luminous chariot crossing the celestial expanse. Gold, known for its resistance to tarnish and corrosion, symbolizes immortality. Even under intense heat, it retains its color and luster, further enhancing its symbolism of endurance.
Diverse cultures regard the sun as the essential cosmic force, key to life’s preservation and growth. It embodies vitality, passion, and enlightenment, while also serving as an emblem of royalty and empire. In some traditions, the sun is revered as the Universal Father.
The sun’s daily journey of rising and setting symbolizes profound concepts such as birth, death, and resurrection. The sun’s daily journey, from rising to setting, symbolizes profound concepts such as birth, death, and resurrection. The winter and summer solstices mark significant celestial events, inspiring myths and festivals worldwide. The solstice, in particular, symbolizes the triumph of light over darkness and marks the transition between cycles of light and growth.
For millennia, sun worshippers have attributed magical properties to solar rays, including fertility, creativity, prophecy, and healing. Alchemists even saw in the sun the potential for wholeness and spiritual enlightenment. As a result, this symbol has attained a revered status, reflecting celestial prestige and authority, similar to that of rulers with sun-like crowns. The sun stands as the symbolic heart of the cosmos, shining brightly as a celestial entity, embodying majestic qualities and imperial splendor.
Solar Cycles and Rituals
Daily Cycle- From sunrise to sunset, the sun's path marks both the everyday passage of a day and its deeper spiritual significance. In sacred rituals, the sunrise symbolizes creation and renewal, while the sunset signifies death and transition.
Annual Cycle-Through the solstices and the equinoxes, the sun's cycles symbolize the cyclical nature of life. They also represent the eternal dance of light and darkness. The summer solstice heralds the peak of vitality, whereas the winter solstice represents a time of introspection and renewal.
Symbol of Regeneration
Ancient cultures revered the sun’s daily rise and set as symbols of eternal rejuvenation. This reverence mirrors the cycles of birth, death, and rebirth in life. The sun's daily journey—rising, setting, and rising again—embodies this cyclical nature. It symbolizes the concept of the eternal return, prevalent in religious, mythological, and primordial narratives. Its cycle reflects a belief in the continuous revitalization of the cosmos and human existence.
Examples Across Cultures:
Native American Traditions: The Sun Dance ritual celebrates the sun’s power to regenerate life and maintain cosmic order.
East Asian Traditions: The sun is associated with the emperor and the state's revival. It symbolizes harmony between the heavens and the earth.
Christian Symbolism: Christian symbolism connects Christ's resurrection to the sun's rising, symbolizing ultimate rebirth and triumph over death.
Egyptian Mythology: The sun god Ra's daily journey across the sky symbolizes rebirth and regeneration. Each morning, Ra's rising represents the rejuvenation of life and energy.
Hinduism: The Sun god Surya is associated with health and vitality. The daily practice of Surya Namaskar (Sun Salutation) in yoga represents revitalization and physical regeneration.
Ancient Greek Religion: The sun god Apollo is connected with healing and revitalization. His daily journey across the sky symbolizes restoration and the constant renewal of life.
Griffith’s journey symbolizes a profound connection between the celestial realm, the earthly realm, and the underworld. He starts as a mortal leader and descends into a state of brokenness. Nonetheless, he emerges as a transcendent being. This transformation parallels a metaphorical ascent along a celestial path, linking the human and divine realms, and deeply altering the narrative’s spiritual landscape.
Griffith's journey begins with the evening, which represents the end of a cycle and the uncertainty of night. His quest can be interpreted as emerging from chaos or darkness, focusing on overcoming a state of despair and the struggle against nightfall. This descent into darkness shifts the narrative from one of renewal and hopeful ascent to one of redemption or recovery from a fall. Starting in the evening alters the metaphorical resonance of Griffith’s odyssey, aligning it more with themes of overcoming nightfall and emerging into a new dawn.
This signifies the start of a transformative phase. The cycle mirrors themes of renewal and regeneration, illustrating pivotal shifts in the entire storyline. Griffith casts off his former self and ascends to a higher plane of existence. By doing so, he reshapes the world according to his vision. In essence, his quest embodies the cyclical nature of life's challenges and triumphs. It illustrates the potential for profound transformation and spiritual evolution.
Cosmic Order, Axis Mundi, and Harmony
People perceive the sun's predictable movements as a manifestation of the cosmic order. This contrasts with the chaos and unpredictability of profane time. The sun's consistent path across the sky signifies the universe's stability. Ancient rituals and myths sought to align human actions with the sun's cosmic order. This alignment was meant to ensure harmony with the rhythms of nature.
The sun’s regularity, embodied in its daily journey, instills a sense of security and predictability. It reflects the structured nature of the universe. The cycle reaffirms this cosmic stability. It represents the supreme harmony of the cosmos and illustrates the natural laws that govern existence. Thus, it ensures a harmonious life.
Quite literally, the Axis Mundi translates as the 'World Axis.' It is the axis around which the world revolves. It links the heavens to the earth and the dominions below. This concept is universal and is symbolically represented by a tree, a standing stone, a mountain, the omphalos, the lingam, the Vajra, or the Pole Star.
The sun's "light," its active influence and emanation, functions as "information" to the Earth. This light guides reactions and changes. By consciously sharing this information, one can affect all aspects of the solar system.
The concept of the Axis Mundi, or the world's center, often aligns with the sun's path. As the sun rises and sets at specific points on the horizon, it establishes the cardinal directions. It also serves as markers for sacred geography. Temples, altars, and religious buildings align with the sun’s path. This alignment symbolizes the synchronization of human actions with the cosmic order.
Represented by mountains, trees, poles, temples, pyramids, and altars, the Axis Mundi connects the heavens, the earth, and the underworld. It reinforces the sacred structure of the world. The daily movement of the sun embodies order and stability. It highlights its function in sustaining harmony and continuity in the universe.
In the Context of Berserk
Guts is the main character through whom readers engage with the story. Nevertheless, Griffith remains the focal point of the narrative, symbolizing the most conscious cosmic entity. He symbolizes the most conscious cosmic entity. This mirrors the heliocentric model of our solar system, with the Sun at its center. All the planets, satellites, asteroids, and comets orbit around it. The cosmos, connected by endless energy links, organizes itself around his existence. The series' plot actively incorporates his meticulously crafted destiny, ensuring that it fulfills a specific role within the narrative.
Griffith's significance within this grand design is evident. We understand the tasks he must perform to maintain the balance of the universe. As the executor of the shaping will, he realizes his own desires. The character restores order to the chaotic world around him. His leadership of the Band of the Hawk initially brings unity, purpose, and stability to his followers. This exemplifies his role as a catalyst for establishing order in turbulent times.
His deep awareness of others' situations prompts him to expand his horizons. Wherever he goes, a sense of solid attachment and connection follows. Griffith acknowledges his responsibility for all lives and events, including those he has taken and humanity’s fate. The broad spectrum of responsibilities he must fulfill is fully comprehended. With unwavering resolve, he carries the weight of the world on his shoulders.
He could not afford to neglect his responsibility to those who chose to fight alongside him. Having given all he had, he reached an irreversible point. Sacrificing everything, he went too far to turn back. He specifies the sacrifices he is ready to make for success and what has already been relinquished to achieve his goal. The sole remaining task is to defend his prize with every ounce of might left.
Solar Deities and Hero Myths
Ancient myths often highlight solar deities or heroes associated with the sun. These myths frequently emphasize qualities such as courage, strength, and transformative power. By regularly reenacting these narratives, people sought to ensure the perpetuation of life and the prosperity of their communities. Solar myths, therefore, functioned as archetypal models for how to live. By aligning themselves with the myths of sun heroes, individuals and communities endeavored to partake in the divine saga of creation and reactivation.
Heroes in mythological narratives often undertake quests for greatness, spiritual enlightenment, or divine favor. Griffith’s journey parallels this archetype as he navigates personal and astral challenges to achieve his goal. This journey culminates in his transformation into Femto and his subsequent ascent to a higher plane of existence. Griffith embodies a complex blend of solar deity motifs and hero myth archetypes. This challenges conventional interpretations of heroism and divine aspiration. Griffith’s journey from mortal leader to transcendent being underscores themes of destiny, sacrifice, and the pursuit of cosmic significance. This transformation takes place within a narrative marked by its dark and introspective themes.
Divine Kingship
Solar deities play a central role in many mythologies. They are often linked to kingship, with rulers perceived as their earthly representatives. In both mythological and psychological narratives of heroism, the sun holds paramount significance. It symbolizes authority and power. Throughout history, rulers have often been seen as chosen by divine will. Many have traced their lineage to solar gods. Freud might interpret this as humanity’s unconscious desire for dominion and power.
The sun, with its dominant presence and life-sustaining energy, frequently serves as a symbolic representation of masculine vitality and power. Its daily journey—from rising to setting and then rising again—captivates the imagination. Freud might interpret these symbols as manifestations of the unconscious life force that propels human behavior and personal motives.
In the context of dreams, the sun’s appearance may symbolize a renewed sense of energy, motivation, and determination.
Jungian psychology connects this life force with libido. Libido is defined as a core energy driving human behavior that extends far beyond its sexual connotations. Thus, the Sun’s daily cycle represents transformation, renewal, and the continual regeneration of vitality
In alchemical and esoteric thought, the sun represents spiritual growth and transformation. This parallels the concept of masculine generative energy. This interpretation aligns with esoteric traditions that view the sun as a source of profound transformative power. Its daily journey through the sky illustrates a perpetual cycle of ascent and descent, mirroring the dynamic yet eternal nature of cosmic consciousness.
In ancient Rome, emperors were often linked to Apollo, the sun god. This connection continued into later eras with mentions of "golden ages" and "solar kings." The sun, as the ruler among stars, has long been considered sovereign over all beneath its light.
Ancient Egypt: Pharaohs were believed to be descendants of Ra, the sun god, ruling as living gods on Earth with divine authority to maintain societal order.
Japan: The Japanese emperors trace their lineage back to the Sun goddess Amaterasu, a divine symbol of authority.
Hindu Tradition: Kingship is often associated with Surya, the Sun god. Rulers derive their authority and righteousness from his divine light.
Christian Tradition: The divine right of kings linked rulers with Christ, who played a role in legitimizing their reign through miracles and empowerment by the Holy Spirit.
France (Louis XIV): The "Sun King" embraced the solar symbol to assert his absolute monarchy, reshaping his kingdom in accordance with his authority.
Griffith exhibits extraordinary conviction and self-confidence. He seems born with a natural capacity to lead, as if he embodies the universe’s fundamental laws. He is not a despot; people follow him willingly, inspired by his innate ability to lead. The character embodies a reformative spirit. He is fully aware of his responsibilities and willing to make sacrifices for his vision. Divine kingship often involves a sacred pact or sacrifice for the greater good, and Griffith embodies this through his actions. He seeks to change the existing order, creating a new world based on his ideals.
The The Eastern perspective emphasizes virtuous leadership and inspiration through example, aligning with Griffith’s pursuit of creating a new world order.
The sun’s role as a radiant celestial body is metaphorically associated with themes of power, conviction, and assertiveness. This broader interpretation links the sun to leadership and influence, often tied to masculine imagery. Its presence symbolizes an indomitable spirit, resonating with the idea of a visionary leader who persists in the face of adversity, embodying determination and fortitude.
Griffith exemplifies unparalleled dedication to a singular cause, reflecting a passion reminiscent of ancient deities. Driven by a singular focus, he propels events toward his vision, never needing guidance to grasp his purpose or direction.
Light and Illumination
The symbol's resplendence captures the essence of enlightenment. It illustrates the intellectual and spiritual awakening of both mind and soul. It dispels darkness, signifying the pursuit of truth and insight by revealing the essence of existence. Just like the sun’s ascent, enlightenment heralds the dawn of intellectual awakening. This marks a shift from old beliefs to new ones in favor of deeper truths. It represents a divine presence, fostering a spiritual connection with the universe and transcending boundaries to achieve higher states of consciousness.
Veritably, sunlight frequently represents clarity and awareness. It breaks through the obscurity of ignorance or the unconscious mind. In dreams, sunlight illuminating a previously shadowed area can signify the dreamer's journey toward self-awareness and understanding. Freud, although he did not specifically use the golden orb as a dream symbol, explored light-related symbols. These symbols metaphorically align with the attributes associated with the sun. He interpreted dreams as expressions of unconscious desires, fears, and conflicts. Symbols in dreams mask deeper psychological content.
The sun's rhythmic cycle of illumination and shadow embodies a profound duality rich in symbolic significance. Light, in this context, represents vitality, clarity, and sacredness. Darkness signifies mortality, chaos, and the secular. The transition from night to day signifies the triumph of order over chaos and life over death. This dualistic framework underpins many religious rituals and myths. Here, the rising sun signifies renewal, hope, and divine intervention.
These instances illustrate the celestial fire's role as a global symbol of light. It bridges cultures and becomes deeply embedded in spiritual and philosophical beliefs worldwide.
Griffith’s nomenclature in reference to light is deliberate. This applies both cosmologically and in the minds of people and apostles. He is effulgent and lucent in silver and white. He reveals himself at night and within the minds of people. Spiritually, in religions such as Christianity and Buddhism, the concept of true light refers to an authentic source of enlightenment or understanding. This phrase signifies the divine or transcendent reality. It represents love, salvation, or communion with the absolute.
Light and Darkness Dynamics
In psychoanalytic theory, light symbolizes consciousness and awareness. Darkness represents the unconscious and the unknown. The interplay between these elements in dreams reflects the dynamic tension between the conscious mind and the repressed aspects of the psyche. Jung emphatically stressed the significance of integrating the shadow. The shadow represents the unconscious aspect of the personality. The duality of light and darkness, symbolized by the presence and absence of the sun, illustrates this process of integration. Embracing both the light (conscious) and the dark (unconscious) facets of the psyche is crucial for attaining inner completeness and holistic equilibrium.
In alchemical philosophy, the sun (Sol) embodies a blend of energies akin to its physical counterpart. It represents the radiant "day" aspect of the psyche and also symbolizes the sulfurous "active substance" that directs consciousness toward specific objectives. As a royal figure, the sun signifies the authority of guiding principles that shape consciousness. The sun also symbolizes "gold," the "yellow balsam," and the truth behind consciousness's capacity for self-healing and rejuvenation. This rejuvenation occurs through immersion in moist, lunar-like feelings and moods, manifesting the magical and mercurial aspects. The regenerated "Sun of the Philosophers" is paradoxically both transparent and opaque. It embodies both light and shadow and endures perpetually.
Even as it sets, the sun carries away the light—never dying—and is always everlasting. This epitomizes eternal renewal.
Across various cultures, the sun serves as a potent symbol for illuminating the unconscious. In alchemy, a field deeply influential to Jung, the sun symbolizes the Philosopher’s Stone, representing an aspiration to transform base materials (the unconscious) into gold (conscious awareness). Likewise, in many religious traditions, the sun embodies a divine presence that reveals spiritual truths. The sun’s journey aims to illuminate everything that remains in the shadows and gradually diminishes the pursuit of discretion. Its character underscores the theme that light and darkness are not merely opposites; they are interdependent and essential to understanding the nature of existence and the human condition. Through this lens, Berserk invites readers to contemplate the complexities of morality, the cyclical nature of life, and the eternal dance between light and dark.
The Self in Solar Representation
In sacred symbolism, the sun embodies the divine presence. It highlights the relationship between light and darkness. Griffith’s portrayal provides a profound exploration of these themes. This ancient motif, characterized by its radiance and resplendence, reflects themes deeply resonant with the psychological exploration of duality. Jung perceived this duality as pivotal in human psychology. The sun embodies the quest for equilibrium and integration.
The sun, with its radiant and all-encompassing nature, functions as a metaphor for the self. It embodies qualities of wholeness, integration, and the realization of one’s full potential. The sun’s warmth and light symbolize the nurturing aspects of the psyche. They foster growth, enlightenment, and balance. Its glowing and opalescent nature symbolizes the cosmic light that nurtures the self’s evolution.
Griffith’s character exudes mystery. The trepidation in his depiction conceals much of his inner emotions and thoughts. It is observed that Griffith attempts to maintain a hermetic, closed state, except for a few strategic moments designed to create an impression of being larger than life. The character’s role as an archetypal figure is both a symbol of societal shifts and an embodiment of cosmic significance.
It's probably obvious that during the during the Millennium Falcon arc, Griffith unified light and shadow, the conscious and unconscious, as represented by the apostles and humans, through his own person.
Miura highlighted that Griffith’s narrative complexity stems from his role as a symbol for entire communities. He advocates for collective and cosmological interests. This portrayal showcases his transformations and expressions as manifestations of broader societal and global vices. Griffith's actions traverse various segments of society, reflecting both his personal evolution and the ongoing upheaval of collective consciousness.
These cultural examples illustrate how different societies, throughout time and across various mythologies, have interpreted the sun as a symbol of enlightenment and the integrated self. In each tradition, the sun serves as a metaphorical representation of spiritual awakening, inner harmony, and the universal principles guiding human existence.
Griffith embraced a philosophy of dualism, believing it could be immanently unified as the Kingdom of Heaven on Earth. This unification would be achieved through the absolute realization of self-consciousness and human freedom. He developed a concept of the absolute that both creates and opposes itself, embodying its essence and its contrary. In this framework, Griffith's role was to act as a steady vector, assimilating disharmony and facilitating the flow of ideas. He represented both the external substance and the universal essence of the mind. The divine presence manifests not through miracles but through transformative epochs, leading to something new and more joyful, akin to dawn.
#griffith#Griffith Berserk#berserk meta#The text contains mistakes that I will probably never notice anyway.
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"Parasitic only plays with cards from the set it is in." That's not the definition I had been working under. I thought a mechanic was parasitic if you needed cards fitting X category and cards fitting Y for either of them to work. The classic example would be lands and spells. Lands do nothing without spells; spells do nothing without lands. More recently, Bargain was parasitic in WOE. To make the Bargain deck happen you needed fodder and payoffs, and to draw a mix of them. Is this wrong?
As the person who coined the term "parasitic", in reference to Magic design, and uses it the most in my writing, that is not what "parasitic" means. It refers to a mechanic or theme that only works with cards from the set it is in. The term parasitic is important from a design viewpoint because it's not backwards compatible, and you can't put too much of that in any one set.
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Title: Biases in Witchcraft: Identification & Management
Related Reading
Researching Witchcraft Dualities: Impacts & Solutions Conceptualization Vs. Visualization Creating A Spell Log Correspondences: Research, Creation, & Use Witchcraft Vs. Superstition Closed & Semi-Closed Cultures Threshold Theory Basics of Spellcasting
What is Bias in Witchcraft?
Biases within witchcraft practices have the potential to hinder practitioners from achieving optimal outcomes and conducting their craft in a rational manner. Biases are ingrained cognitive tendencies that sway our perceptions, judgments, and decision-making processes. Understanding the influence of biases is essential for individuals seeking to refine their magical practice and maximize its efficacy. By acknowledging and mitigating biases, practitioners can enhance objectivity, allowing for a more reliable and consistent approach to witchcraft.
Objectivity plays a pivotal role in the pursuit of efficient, effective, and rational witchcraft practices. When practitioners approach their craft objectively, they adopt critical thinking and analytical skills to evaluate information, experiences, and results. Objectivity allows for the integration of logical reasoning, empirical evidence, and cross-referencing of diverse sources, enabling practitioners to make informed decisions and refine their methods. By transcending personal biases and cultural influences, practitioners can enhance their ability to discern what truly works in their craft, promoting greater efficiency, effectiveness, and rationality.
The integration of rationality in witchcraft should not be misconstrued as a denouncement of intuition or spiritual connection. Rather, it serves as an adjunct, enabling practitioners to navigate the ethereal realm more adeptly. By marrying intuition and spiritual embodiment with rational thinking, individuals can engender a comprehensive and well-rounded approach to their craft, fortified by evidence-based practices and tempered by introspection.
How To Identify Bias
To truly grasp the significance of biases in witchcraft, it is imperative to define and recognize their pervasive influence on magical practices. Biases, in essence, are preconceived notions or preferences that color our perceptions and decisions. Within the witchcraft community, biases can manifest in several forms, impeding the purity and authenticity of our magical endeavors.
Common biases encountered in witchcraft:
Personal bias is rooted in subjective experiences, beliefs, and preferences. Signs and symptoms of personal bias in witchcraft practice include:
Strong attachment to specific beliefs or rituals without questioning their efficacy.
Tendency to dismiss or ignore alternative viewpoints or practices.
Difficulty accepting feedback or considering perspectives that challenge personal beliefs.
Cognitive biases are inherent in human cognition and influence how we perceive and interpret information. Signs and symptoms of cognitive bias in witchcraft practice include:
Forming quick judgments or making decisions based on initial impressions rather than thorough evaluation.
Reliance on intuitive leaps or gut feelings without logical justification.
Overgeneralizing experiences or extrapolating limited information to broader contexts.
Confirmation bias refers to the tendency to seek or interpret information in a way that supports pre-existing beliefs. Signs and symptoms of confirmation bias in witchcraft practice include:
Selectively seeking evidence that confirms desired outcomes or beliefs.
Dismissing contradictory information or experiences.
Interpreting ambiguous signs or omens as confirmation of personal beliefs.
Selection bias arises when certain information, practices, or perspectives are disproportionately favored or excluded. Signs and symptoms of selection bias in witchcraft practice include:
Narrowly focusing on a specific tradition, neglecting diverse approaches or cultural perspectives.
Ignoring valuable insights from marginalized or less recognized sources.
Relying on a limited set of references or practitioners without seeking broader perspectives.
Availability bias occurs when easily accessible or memorable examples disproportionately influence judgment. Signs and symptoms of availability bias in witchcraft practice include:
Overemphasizing recent or vivid experiences over a more comprehensive understanding.
Neglecting to explore alternative possibilities or approaches.
Focusing on widely known or popular practices without considering less-known or niche sources.
Negative Impacts of Biases on Magical Outcomes
These biases collectively impede the growth and efficacy of witchcraft practice. They hinder practitioners' ability to think critically, assess outcomes objectively, and adapt their techniques based on evidence and logical reasoning. The consequences include stagnation, repetitive practices, decreases in spell effectiveness, spending unnecessary energy, and missed opportunities for personal and spiritual growth.
Personal Bias:
Personal bias, stemming from individual experiences and beliefs, can severely hinder spellwork. It limits practitioners' openness to alternative approaches, obstructing their ability to consider diverse perspectives. This bias narrows their focus, preventing them from exploring new techniques or incorporating innovative ideas. As a result, personal bias restricts the potential growth and expansion of their magical abilities.
Cognitive Bias:
Cognitive biases, deeply ingrained in human cognition, distort rational thinking and objective decision-making in witchcraft practice. These biases lead to hasty judgments based on initial impressions, undermining critical evaluation and evidence-based reasoning. By relying on intuitive leaps without logical justification, practitioners may overlook alternative explanations and miss opportunities for spiritual growth.
Confirmation Bias:
Confirmation bias, the propensity to seek or interpret information that supports existing beliefs, casts a shadow on spellwork. When practitioners selectively seek evidence that aligns with their desired outcomes, they overlook contradictory information and fail to critically assess their practices. This bias can trap individuals in a cycle of self-fulfilling prophecies, hindering their ability to learn from failures and limiting their potential for personal development.
Selection Bias:
Selection bias, manifested through the preference of certain information or practices over others, can stifle the progress of witchcraft practitioners. By focusing solely on specific traditions or perspectives, practitioners overlook the richness and diversity present in other cultures or practices. This bias restricts their exposure to alternative approaches and hampers the integration of a holistic and inclusive understanding of magic.
Availability Bias:
Availability bias, resulting from the reliance on easily accessible or memorable examples, restricts the breadth of knowledge in witchcraft practice. By favoring recent or vivid experiences or sources, practitioners may overlook more comprehensive information or neglect to explore alternative possibilities, especially when considering the availability of the internet. This bias limits the depth of understanding, preventing practitioners from tapping into the vast potential of diverse practices and traditions. In some cases, practitioners may end up spending too much or too little energy on spellwork.
Survivorship Bias:
Survivorship bias can significantly impact beginners in witchcraft. It occurs when individuals draw conclusions solely from the successes and visible outcomes of experienced practitioners, neglecting the unseen failures and challenges encountered along the way. In the realm of witchcraft, survivorship bias can mislead novices by creating unrealistic expectations and distorting their understanding of the craft. By failing to acknowledge the journey of trial and error, beginners may feel disheartened, inadequate, or inclined to abandon their practice prematurely.
Strategies for Avoiding Biases
In the pursuit of an objective and rational approach to witchcraft, practitioners can employ various strategies to mitigate biases that may taint their magical journey. By adopting these strategies, witches can navigate the intricate web of beliefs and practices with a discerning eye, fostering a more comprehensive understanding of the craft and unlocking its true potential.
Cross-Referencing and Diverse Sources
One effective strategy for evading biases is to engage in extensive cross-referencing and explore diverse sources of knowledge. By delving into various magical traditions and perspectives, practitioners can broaden their horizons and gain invaluable insights. Seeking out diverse experiences and viewpoints allows for a multifaceted understanding of the craft. Comparing information from multiple sources enables witches to identify patterns, reconcile conflicting ideas, and discern the underlying truths that transcend individual biases.
Utilizing Deductive and Inductive Reasoning
The application of deductive and inductive reasoning serves as a vital tool in fostering rational and objective spellcasting practices. Employing deductive reasoning enables witches to draw logical conclusions from established premises, building a foundation of sound magical principles. By utilizing inductive reasoning, practitioners can form general principles based on careful observations and analysis of patterns. Balancing intuition with rational thinking cultivates a holistic approach, where intuitive guidance is complemented by the logical examination of evidence and experiences.
Emphasizing Empirical and Logical Evidence
An essential aspect of rational witchcraft involves placing emphasis on empirical and logical evidence. By conducting experiments and meticulously documenting results, witches can gather empirical evidence that supports or challenges their magical practices. This empirical approach extends to the collection of data through keen observation and precise measurement. By analyzing logical consistency in beliefs and practices, practitioners can discern coherent frameworks and identify any inconsistencies that may undermine the efficacy of their craft.
Engaging in Critical Thinking
Critical thinking plays a paramount role in navigating biases and fostering objectivity. Practitioners must question assumptions, challenge beliefs, and evaluate evidence objectively. By engaging in systematic and logical analysis, witches can detect logical fallacies and cognitive biases that may cloud their judgment. Scrutinizing arguments, evaluating evidence, and recognizing potential pitfalls of reasoning enhances the overall integrity of spellcasting processes.
Cultivating Self-Awareness
To transcend biases, witches must cultivate self-awareness and engage in introspection. By examining personal biases and prejudices, practitioners can uncover hidden motivations and confront any preconceived notions that may hinder their objectivity. Reflecting on intentions behind magical practices promotes a more mindful and intentional approach. Through regular mindfulness practices, such as meditation or reflective journaling, witches can heighten their self-awareness and promote an environment conducive to unbiased exploration.
Incorporating Critical Thinking
By incorporating systematic experimentation, maintaining a discerning approach to divination and intuition, and actively seeking peer feedback, practitioners can refine their craft, challenge personal biases, and cultivate a more comprehensive understanding of the mystical realm they navigate.
When engaging in ritual and spell design, witches can embrace systematic experimentation as a cornerstone of their practice. By approaching spellcasting with a scientific mindset, practitioners can design experiments that test the efficacy of different elements, ingredients, or methods. Documenting and analyzing the results of these experiments allows for iterative refinement, enhancing the precision and effectiveness of future spellwork. It is especially crucial to explore alternative explanations for outcomes, particularly when mental illness or psychological factors may intersect with magical experiences, ensuring a nuanced understanding and responsible approach to witchcraft.
Incorporating divination and intuition into the practice of witchcraft requires a delicate balance between mysticism and critical thinking. While divinatory practices offer glimpses into the ethereal realms, practitioners must exercise discernment and reflection. It is essential to consider the context and potential biases inherent in divination systems, acknowledging that interpretations may be influenced by personal beliefs or societal influences. Validating intuitive insights through verification, such as seeking confirmation from other diviners without revealing specific details, enhances objectivity and guards against confirmation bias or subjective interpretations.
Active participation in discussions with diverse practitioners within the witchcraft community nurtures the growth of objective practices. By engaging in open dialogue, witches can exchange ideas, challenge assumptions, and broaden their perspectives. Encouraging constructive criticism and welcoming differing viewpoints cultivates an environment where personal biases can be exposed and interrogated. Seeking peer feedback on magical endeavors fosters self-reflection and provides an opportunity for practitioners to confront their blind spots and expand their understanding of the craft.
By integrating these objective practices into their magical journeys, witches navigate the depths of their craft with greater clarity and integrity. They transcend personal biases, question assumptions, and embrace diverse perspectives. Through systematic experimentation, discerning divination, and active community engagement, practitioners unlock the true potential of their magical abilities. In doing so, they contribute to the collective wisdom and advancement of the witchcraft tradition, fostering an inclusive and harmonious space where practitioners can explore.
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#witchcraft 101#beginner witch#witchcraft community#witchcraft research#witchcraft#informational post
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THANK YOU for the Harry Potter tirade, particularly the part pertaining to snakes! It always drove me crazy how everyone acted when Harry revealed he could take to snakes! Because you know Ireland is like RIGHT over there & it’s not like a particularly famous saint had supposedly spoken to a bunch of snakes or anything… Though how do you feel about “muggle” or “no-maj”? Pretty sure the first one is in the dictionary now…
If you mean "how do I feel about the concept of nonmagical people in a setting where some people have magic," I think it's fine.
If you're asking "what do you think about the Terf Queen inventing several new slurs for her fantasy setting," I think it's... a little concerning given the rest of her writing, but technically valid world-building. We have an abundance of evidence that cultures do love making up many different slurs for people they want to ostracize and other.
If you're asking about how muggles work within the setting re: the whole inheritance theme I was talking about... yeah, actually they should be in that conversation too, because it's another way the narrative seems to be broken in favor of Voldemort's viewpoint. Harry Potter's wizarding world is a setting where some people, by dint of their birth, are just objectively better than other people in every way thanks to magic. Magic isn't something you earn, it's something you're born with - a gene you're either lucky enough to get or cursed forever for lacking. Wizards get to live a far easier life (even the poor ones can make multi-story houses to live in thanks to magic) than any "muggle," and are portrayed as justified in keeping the benefits of magic all to themselves.
Voldemort's faction is only "wrong" because they take the subjugation of muggles from a passive act to an active one - rather than allow them to suffer and die from things wizards could do away with a literal wave of their hand, they actively kill muggles and deny wizards born from muggle parents their "rightful" place.
If you live in the Harry Potter world, you a rigidly assigned a place in society by your genes, your personality traits are simplistic and concrete enough that a piece of clothing can define you by them without error, and any attempt to defy the labels assigned to you by your birth is an act of evil. You are what you inherit and can hope for *nothing* more. Which, in addition to being so incoherent narratively when these are literally the things the villain believes, is also just a really fucked up message.
Like, I don't even hate the series - I grew up with it and have a lot of fond memories of it despite all the foul shit the author has done since - but goddamn it is bleak if you actually try to analyze it as a coherent work. It's honestly more charitable to say it's just an incompetently plotted mess.
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there's a post that will eventually spit out of my queue about homumado and the subversion of Homura rejecting salvation to impose her own reality on Madoka that kind of captures what i'm about to say, but at the end of the day i'm feral about it because it's all about agency and trauma and the reclamation of power at the expense of others through the viewpoint of wanting to save someone.
I think it's like. The first 12 episodes of Madoka got us feeling like the whole point was Hope and sacrifice and fighting for what's right. and it kind of was. But with the next three movies it reframes everything, and with the trailer we just got I think it just confirms that. Madomagi isn't about hope, it's about power and agency.
Throughout the whole 12 episodes of the original series, Madoka has very little agency. She is tugged around by circumstances, watching helplessly as everyone and everything else falls apart around her. Homura, too, is without agency. She is trapped in an unending cycle where she is ultimately always helpless. It's the feeling of helplessness/hopelessness that drives magical girls to become witches.
Which, makes sense for the whole Themes. Kyubey is offering young girls, adolescents, a time of life where you feel sort of stuck and helpless in a world you're just understanding to be bigger than you thought, an illusion of agency. Make a wish, become a superhero, take charge of your own destiny. Make something happen with your own two hands. Have a measurable effect on the world.
But then wishes always go sour, and the fighting becomes endless and hopelessness sets in and you realize you were never in control at all. You were given an illusion of controlling your own life but in the end you were a puppet of fate and this ending was inevitable. You were always doomed to be powerless. Despair comes from the realization that nothing you do really matters and you have no true effect on the world except to continue its same sad cycle.
Madoka's wish and subsequent ascension is a total reclamation of agency and power. She takes the tools of the oppressor and reframes them to become eternity, to finally take control and become something greater that truly makes a difference in the universe. After watching everyone fall apart helplessly, she matures into the power to do something about it.
Then there's Homura. In the end, her struggle still felt meaningless to her. Madoka was able to ascend and change the world because of Homura, yes, but Homura's wish, her desire for control, was for Madoka to be alive, happy, and human. And that choice was taken away from her by way of Madoka's choice, leaving her to continue her painful slog through reality without the one person she cared about on yet another meaningless, eternal battlefield. She was helpless to stop Madoka from disappearing in the end, and she feels as though her choices are ultimately meaningless.
So at the end of Rebellion, it is Homura who decides to wrest her own agency. Unlike Madoka, who uses the system itself against itself, Homura comes from the outside and shatters the system. She regains control over a chaotic, impossible situation and becomes the power in charge of it.
But by doing so, she steals Madoka's agency, which Madoka worked so hard to develop and choose for herself. She makes Madoka helpless again.
And that is the crux of the story, and the reason why these two star-crossed lovers, at this point in time, are doomed to never be together - both of them desire agency, but their agency comes at the expense of each other. The only way for them to exert control over their own lives is if they put the other into a gilded cage of sorts - Madoka unintentionally, Homura on purpose. They have fallen into a dichtomy of belief that someone must be Saved and the other must be the Savior, and thus, they struggle, because the only way they can conceive of controlling their own lives in a way that gives them agency is through stripping agency from the other.
I sincerely doubt Walpurgisnacht Rising will be the final Madoka movie because I think they'll drag it out as long as possible, but I think the cycle of stealing agency from each other in order to gain their own sense of self will continue until one or both of them realizes that Saved and Savior are concepts that are inherently restrictive and still a part of the system that initially trapped them (see: Revolutionary Girl Utena). And it's going to be brutal for both of them because I think both of them have these ideas in their head of the other person and aren't truly seeing the other as full human beings who deserve to have the freedom to choose their lives.
They're going to continue to circle each other, struggling for dominance until they can break every part of the cycle of helplessness and see each other as true equals, and that's very toxic yuri of them and it drives me absolutely fucking insane i love these unhinged toxic lesbians ahhhhhHHHHH
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Splatband Analysis - Wet Floor
(Disclaimer: This analysis is based on what I get out of looking into the character descriptions we have of the splatband characters. If you disagree with what I say, that is fine, we are all beheld to our opinions. Just don't be a jerk about it.)
Watch out, the floor is wet. Cause I’m about to spill the tea on Wet Floor all over this floor. Get it? You probably do.
Wet Floor was the Squid Squad of Splatoon 2, what with the previous one falling apart due to the leader and the bassist attempting to kill each other. They’re not a band I think about often, but hopefully this analysis changes it. It helps that, as the main band, they get privileges such as a section in Splatune 2 where they get interviewed, meaning actual dialogue from these people! Which also reminded me that I missed the one for Squid Squad… I think once I’m done I’ll do a compilation post of all information I missed for some of the bands, and maybe even some stuff you guys pointed out!
The band
Wet Floor formed through the magic of social media connections, and were evidently recently formed before the events of Splatoon 2. At the time they weren’t used to crowds or live performances. Their main motivation is to spread more kinds of music in a world dominated by pop stars. That part is said in Kagi’s twitter blurb, but from the interview it’s clear the opinion is shared between the whole band, even if at different levels. They use docs to write their songs. The process we’re given is that someone writes a riff on the doc, and everyone adds to it on their own time. Compared to Squid Squad, there’s a pretty clear level of communication going on between the group, they all seem pretty close, and just have fun together in their work. Outside of Tsumabushi, none of them are morning people.
Kagi
Kagi here’s the founder, and really the one with the whole motivation of restoring indie dignity to Inkopolis. Wet Floor are his like minded peers, discovered thanks to social networking. Likely he wouldn’t have met them any other way considering he seems pretty shy. He prefers being in a studio over performing, and prefers the others take the lead over him.
Rather famously, his skin is a particularly unnatural tone of teal compared to the natural skin colors we see in other inklings. Unlike Yoko, who has her mutation addressed, no attention is brought to it anywhere for Kagi. It might have something to do with how Inklings look when young, where they’re a uniform color of their ink before eventually gaining their kid forms. Maybe Kagi’s mutation made it so that his body never formed fully? It probably bears noting he also lacks an eyemask too. What an enigma.
Mizole
Compared to most Splatband characters, Mizole’s descriptions lay out a fair amount of his personality in front of us. He’s shrewd, cynical and prone to making cutting remarks, and is mainly motivated by a desire to either subvert or exceed people’s expectations. Despite that, he does get along with his bandmates as seen in the interview, he banters with them without being actively rude to them. That said, his relationship with Ryan is more vitriolic. The two work together, but are prone to bickering due to conflicting viewpoints (Ryan is a fan of Squid Squad, he’s an enemy of Squid Squad, though obviously there’s more to it than just that), a frequent enough occurrence that Kazami is perfectly fine watching the two argue without having to intervene. Again, outside of that, the interview shows the two do get along, and music wise, when they work together, the results are magical.
He’s got a personal rivalry with Squid Squad, which influences him more than he wants to admit. We don’t know if Squid Squad were aware of this (they were busy with other stuff), so it’s likely to be entirely one-sided. His name, Mizole, comes from Mizore, the word for shaved ice. Get it? Cause he looks like a cone of shaved ice? His hair is at least semi-transparent, since you can see his eyebrows, not to mention an almost snow-white skin tone. Is it a condition or perhaps something regarding his species of squid?
Ryan
Ryan is our last inkling of the band, and co-vocalist with Mizole. She’s a faithful follower of the church of punk rock, quote the Haikara Walker, explaining her style and interests. A particularly big fan of Squid Squad, which causes friction between herself and Mizole. That seems to be what her descriptions focus on, her relationship with Mizole, so we don’t get much about her outside of this belief. It wouldn’t be hard to view her as an opposite of Mizole, since that would naturally make the two contrast each other more Diss-Pair style, but that’s speculatory talk. Sorry girl. Not much else I can get out of you.
Kazami
Unlike the others, I like her english name, Candi. It’s cute. She’s the youthful type, someone who comes off as “spontaneous and right-brained”. Right-brained here means she comes off as creative and artistic, but secretly she’s very serious about her performance. She’s very self-critical about her performance when she listens to her recordings. I mean, read this quote of hers from Haikara Walker, she says, “That didn’t sound cool, ‘cause I sucked so bad.” What the hell.. She might have self-esteem issues, but she refuses to let the others know about it, probably to maintain that cheerful vibe she gives off. That’s kinda sad… At the very least she’s having fun when she plays, especially when Ryan and Mizole bicker, so she loves herself a little chaos. It’s her favorite pastime.
She and Tsumabushi have a friendly rivalry going with each other, and are overall pretty close, to the point of even secretly training with each other. Ooh la la.
Tsumabushi
Lastly, the bassist of the band, and an archetypical one, I.E. he’s a supporter. He’s described specifically as a big brother. He’s probably the type who wakes everyone up during mornings, especially since he’s outright stated to be the only one to work well during them. Goes at his own pace, so probably a relaxed personality type. A very talented bassist who only needs to glance at the sheet music once or hear a tune to get it down. I wonder if he has arms?
—
Wet Floor is not my favorite band, but I’m beginning to see their appeal now. My main criticism is that none of them have gotten involved in any kind of drama since their debut. How can you be the lead band of a game when you haven’t committed an act of plagiarism or tried to kill each other, come on people, step it up.
Anyways, if you guys have any questions or wanna point out something I missed, I’m gonna open asks to let y'all toss your thoughts at me. See you guys next week.
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Alternate alternate dark ending
Malleus gets so attached to Ellen that he can’t bear the thought of her leaving
So he brainwashes convinces her heavy heavy brainwashing to be his wife.
As the new co-ruler of Briar Valley, Ellen is wonderful! She is thoughtful, sensitive, sincere, and very perceptive. Some see her as the ‘perfect’ bridge between human and fae worlds due to her fascination with the cultures and histories, as well as her status as a complete foreigner, even within the human society of Twisted Wonderland.
Of course, there are skeptics (namely older fae) who are appalled by Ellen’s lack of magical powers. The skepticism assuages slightly when she begets twin daughters with Malleus and the royal line is once again ensured.
However… those who knew Ellen before have noticed that when Ellen stands a certain way in sunlight, one could swear that her eyes turn bright green. Only a split second later and they’re light brown again. They’ve always been brown, haven’t they? Must’ve be a trick of the light.
The ladies Monica and Francesca Draconia are beloved by the valley. Both are assertive, yet warm. Calm and unflappable students with airs of authority.
Lady Monica stunned the fae world by being born without the trademark Draconia horns, which in turn sparked rumors that she was adopted and not actually of fae heritage. The stories quickly petered out at 6 years old when she used dragon fire to blow up the castle kitchen when she wasn’t allowed dessert. Monica is quiet, open-minded, and prefers a ‘live and let live’ lifestyle, unintentionally indicating that she has no desire to inherit the ruling title from her parents. She aspires to become an opera singer.
Lady Francesca was born with not only the Draconia horns, but also her father’s reptilian-green eyes. As she developed, it became apparent that she is not nearly so much like her father in character as in appearance. ‘Frannie’ is shy at first and often adopts whimsical viewpoints, but she constantly looks for ways to include everyone and help them grow as a person. She has elected to take up the mantle of heir to the kingdom.
#twst#twisted wonderland#ellen#prefect twst#malleus draconia#imaginary malleus/ellen kids#bad ending
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