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writingwithcolor · 4 months

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Characters reconnecting with their ancestral cultures in an interplanetary setting

@pixiedustandpetrichor asked:

Hi! I am writing a novel with three main female characters in an interplanetary setting. They grow up as orphans in an Irish-coded country and as children are mostly exposed to solely that culture, but they leave after becoming adults. Character A is Tuareg-coded, B Mongolian-coded, and C is Germanic-coded. It isn’t central to the story, but I would like them to get in touch with/learn more about their ancestral cultures, especially in terms of religion. A does this by actually visiting the planet her parents came from, but B and C do not. What can I do to depict their relationships with said cultures and their journey to reconnect with them? Would it be realistic for each of them to have different mixed feelings about participating in these cultures and for them to retain some sense of belonging to the culture they grew up in as well? Thank you for your time.

Hello, asker! WWC doesn’t have Tuareg or Mongol mods at the moment, so we're not able to speak to the specifics of cultural and religious reconnection for these particular groups. Still, I want to take this opportunity to provide some general context and elements to consider when writing Tuareg-coded characters, or other characters from groups that have experienced colonization in the real world. My fellow mods will then share thoughts about cultural reconnection in general and with respect to Germanic heritage in particular.

Drawing inspiration from groups that have experienced colonization

As you’re probably aware, the Tuareg are an ethnic group indigenous to North Africa. As with many indigenous groups, they have experienced colonization multiple times over the course of their history. Colonization often leads to the loss or erasure of certain aspects of culture as the colonized people are pressured to conform to the culture of the dominant group. In many cases, it’s near impossible to say what the ancestral culture of a colonized group was prior to colonization.

When coding a fictional culture based on a group that was colonized in the real world, it's important to ask questions about:

Which aspects of culture you're portraying

Where these aspects come from

Whether you're ready to tackle their implications for the world you're building

It’s not necessarily wrong to use elements of coding that draw from cultural aspects influenced by colonization. As I said, it can be very difficult, even impossible, to portray a “pure” culture as it would have been had colonization not occurred–because we simply can’t know what that alternate history would look like, and because so much has been lost or intentionally suppressed that the gaps in our knowledge are too wide to breach. But it’s important to be aware of where these cultural elements are coming from.

Where is your coding coming from and what are the implications?

For example, while the Tuareg today are majoritarily Muslim, this was not the case prior to the Arab conquest of North Africa. Some elements of Tuareg culture today, such as tea ceremonies, are derived from the influence of Arab and Muslim culture and likely did not exist prior to the 20th century. As you’re developing the culture of the Tuareg-coded group in your fictional setting, you have to decide whether to include these elements. There is no right answer–it will depend on what you’re trying to do and why.

Is your setting in our far future, in which case we can assume your Tuareg-coded group is distantly related to today’s Tuareg?

In that case, they will probably have kept many cultural aspects their ancestors acquired through their interactions with other cultures around them–including cultural groups that colonized them. They may–let’s build hopeful worlds!–have reclaimed aspects of their ancestral culture they’d been forced to abandon due to colonization. They may also have acquired new aspects of culture over time. This can be very fun to explore if you have the time and space to do so.

I would recommend speaking with Tuareg people to get a better grasp of how they see their culture evolving over the next however many centuries or millennia, what they wish to see and what seems realistic to them.

Alternatively, maybe your setting is a secondary world unrelated to ours and you only want to draw inspiration from the real-world Tuareg, not represent them exactly. In that case, you need to decide which period of history you’re drawing from, as Tuareg culture is different today from what it was 50 years ago, and different still from 200 years ago or 1000 years ago. You’ll need to research the historical period you’re choosing in order to figure out what was happening at that time and what the cultural influences were. If it’s pre-colonial, you’ll probably want to avoid including cultural elements influenced by colonization from groups that arrived later on.

Finally, if the time period you’re drawing from is post-colonial:

Are you planning to account for the effects of colonization on Tuareg culture?

Will you have an in-world equivalent for the colonization that occurred in real life?

For example, will the Tuareg-coded characters in your world be from a nomadic culture that was forced to become sedentary over the years and lost much of their traditions due to colonial pressure to conform?

Where did this pressure come from in your world–is it different from what happened in ours? If so, how different? And what are the consequences?

Writing about colonization can be quite the baggage to bring into a fictional setting. I’m not saying it can’t be done, but it will certainly require sensitivity and care in portraying it.

In summary: think it through

I’m not saying all this to discourage you, but to point out some of the considerations at play when drawing inspiration from a real-life culture that has experienced colonization. Similar challenges arise for coding based on any other indigenous group in the world.

My advice to you, then, is to first sit down and decide where and when in history your coding is coming from, and what you’re trying to achieve with it. This will help you figure out:

which elements of contemporary Tuareg culture are pertinent to include

How much your coding will be influenced by the Tuareg’s real-life history

To what extent that will inform the rest of the world you’re creating

This, in turn, may help in deciding how to portray your character’s reconnection journey.

Again, I am not Tuareg and this is by no means meant to be an exhaustive list of considerations for writing Tuareg-coded characters, only a few places to start.

If any Tuareg or Amazigh readers would like to chime in with suggestions of their own, please do. As always, please make sure your comments adhere to the WWC code of conduct.

- Niki

Pulling from diaspora and TRA narratives of cultural reconnection

Marika here: This ask plotline could also pull directly from diaspora and TRA narratives of cultural reconnection. Many diaspora and TRA cultural reconnection stories are, in effect, about navigating the difficult process of resuscitating, or renewing ties to culture using limited resources in environments that often lack necessary cultural infrastructure or scaffolding.

See this question here to the Japanese team for suggestions of how to handle such a storyline in a similar sci-fi setting.

More reading: Japanese-coded girl from future

-Marika

Reconnecting with German heritage

Hi, it’s Shira. I’m not sure whether German-Jewish counts as Germanic for the purposes of your post but since German Jews were more assimilated than other Ashkies, Germanness does feel real and relevant to my life (especially because my father worked there for approximately the last decade of his life.) NOTE: when I see “Germanic” vs German I think of cultures from 1500 years ago, not 100-200 years ago, so I can’t help you there, but I’d be surprised as a reader if a character focused on that for reconnection to the exclusion of the 19th century etc.

People in the United States specifically, reconnecting with German heritage, often lean into Bayerischer/Bavarian kitsch, I’ve noticed. Personally, though, what I find most relevant is:

1. The food (although I’ve come to learn that what I grew up eating was closer to veal/chicken scallopini than actual schnitzel because it was drenched in lemon, but I do like the other foods like the potato salad and sweet and sour red cabbage etc.) Your character could try making one of these “ancestral” foods as a way to reconnect?

2. The classical music, because I’m a second generation professional musician – if character C plays an instrument, leaning into that might be meaningful (Beethoven, Bach, Brahms, Mendelssohn, Clara Schumann and her husband Robert, etc.)

3. The nature, especially specifics that I enjoyed during my time there – personally, I loved the bright pink flowers all over the chestnut trees, but there are a lot of choices especially because of the Alps. If C is an artist maybe they can sketch something Germany-related from old photographs they found on the Space Internet?

I think it is VERY realistic for the characters to remain connected to the culture in which they were raised, by the way, whether or not they have positive feelings about it. Culture isn’t an inherited trait. Sure, if they want to completely walk away, they can, but I bet there are still ways it will creep back in without them realizing it simply because it’s really hard to have universal knowledge of the origins of all our quirks. Plus, not everyone feels alienated from their raised-culture just because they’re genetically something else.

P.S. There is also Oktoberfest, which I don’t really get into but is a thing, and beer, which is another point of German cultural pride.

German gentiles, weigh in – y’all have your own stuff, I know! OH YEAH so for German Christians, Christmas “markets” are a whole thing. That’s worth looking up.

–S

What do you mean by Germanic?

Hello it’s Sci! I had to study German history for my historical fantasy novel set in the late 18th century Holy Roman Empire. I am not sure what is meant by Germanic as that can encompass a variety of things.

Germanic people: from the Classical Period of Roman Empire and early Middle Ages. Similar to Mod Shira, I unfortunately can’t help very much here.

The Germanosphere: regions that spoke German, which includes modern day Germany, Austria/Hungary, Switzerland, Lichtenstein, Belgium, and Luxembourg. I generally define this as the regions captured in the Hapsburg Empire along with Switzerland usually encompassing “Central Europe.”

Modern German national identity (i.e. German): post Napoleon and the Congress of Vienna (> 1815) only including the territory of modern day Germany.*

I ask this because modern German national identity is surprisingly recent since Germany only popped up in 1871 under Otto von Bismarck. Previously, Germany was divided into smaller states and city states as a very decentralized region under the German Confederation and before that, the Holy Roman Empire. Depending on the era, you can see different conflicts and divides. During the early days of the Protestant Reformation started by Martin Luther, the northern and southern German territories generally split along Protestant-Catholic lines. The 18th century saw Austria and Prussia as the foci of global power who warred against each other even though both were part of the Holy Roman Empire.

Other states and city-states like Baden-Wurttemberg or Saxony sometimes had power but it was typically more localized compared to Austria. Post-WW2, you saw the split of Germany into West Germany run under capitalism and East Germany run under communism as a satellite Soviet state leading to more modern cultural divides. Due to heavy decentralization historically, each region had its own character with religious and cultural divides.

Assuming that the Germanic character is not from the classical period or early Middle Ages but not from the 19th century either, you can include your character reconnecting to classical folklore like that of Krampus (if they’re Christian), German literature and music like the works of Johann Wolfgang von Goethe or Mozart, or German philosophy like Immanuel Kant.

*A major wrinkle: German royals and nobility married into other states and nations frequently with Britain and Russia being notable examples. In Britain, the House of Hanover took over after the Stuart House died without clear direct heirs. When Queen Victoria married the German prince Albert, they celebrated Christmas with a tree and brought the German tradition of a Christmas tree to Britain and the British Empire. Only during World War I did the royal family’s house of Hanover name change from House of Saxe-Coburg and Gotha to the more “English-sounding” Windsor. As a result, the German cultural influence may be even more widespread than we think.

However, without more specific descriptors of what Germanic means in the context of your story, it can be difficult to determine which aspects of German culture your character could reconnect to.

-Mod Sci

#culture #cultural disconnect #cultural reconnect #race coding #ethnic coding #German #Mongol #Tuareg #setting #science fiction #Jewish #Colonialism #History #North Africa #Arab #Muslim #history

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forestdeath1 · 1 month

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Magnum Opus or Great Work: Alchemical Codes in "Harry Potter"

"I've never wanted to be a witch, but an alchemist, now that's a different matter. To invent this wizard world, I've learned a ridiculous amount about alchemy." JKR. By the way, it seems JKR never became an alchemist because you can't be that evil an alchemist, Joanne. Something went wrong.

The first part about Lily and James

Voldemort – an occult alchemist, Lucifer. Snape – a Seeker who chose the wrong Path. Dumbledore – Keeper of the Tower. Hermione – Hermes Trismegistus. Harry, Hermione and Ron – the three principles for creating the Philosopher's Stone.

Alchemy is the universal path of spiritual transformation. In a literal sense, universal, this code is practically everywhere–from ancient myths and the Bible to the philosophy of Nietzsche (though in his understanding) and Jung's books. Harry Potter himself is a complete alchemist's path, but there's also a well-displayed second path–the path of the occult alchemist.

True alchemy tells us that God is in everything, like a seed present in every person. Through alchemical transformation, a person can be reborn – and become golden, divine, immortal.

Many famous people were fascinated by these ideas – from Newton to Goethe, from Walter to Mozart. Yes, Walter and Mozart were freemasons, but freemasonry is built on the Magnum Opus, it's its foundation. Who has seen the opera The Magic Flute? A completely masonic opera: the surface layer was for the people, and the deeper layer – for the spiritual elite of that time. In this opera, the power of love transforms people and makes them divine. Oh, it seems to resemble Harry Potter, hehe... Harry Potter also has two layers – one as a fairytale about a wizard for teenagers, the other – for those who can "feel" the symbols, even without knowing them.

Each symbol can be interpreted in several ways, that's the complexity of alchemical symbolism. For example, Albus Dumbledore. He symbolizes (in JKR's own words) Spirit ( he's white), and Rubeus Hagrid – Soul (red) – and they're both like two fatherly figures for Harry, distant and warm, judicious and understanding. But all this is at the character level. Dumbledore has other meanings – much more important ones. As I've said before, the symbolic level and the character level are different levels. In interpreting symbols, you don't need to interpret every line, you need to take the context as a whole. Characters operate on one level, symbols – on another.

So, alchemy is an extension of the universal idea – to be reborn, you need to "die." Like Jesus died on the cross, Orpheus on the banks of the River Gebre, and Osiris in the coffin prepared by Typhon, in alchemy, until all the elements (parts of the old personality) die, the work cannot be completed.

The stages of this alchemical process can be traced in the lives of almost all world "heroes" and in the mythology and legends of many cultures. This is a universal code.

“Very truly I tell you, no one can see the kingdom of God unless they are born again” John 3:3

Alchemy proclaims that without decomposition, the Great Work cannot be accomplished.

The past Self dies on the cross and in the retorts and becomes black during decomposition. The new Self rises from hell, like a phoenix. The phoenix is a pure alchemical symbol.

This is the creation of the Philosopher's Stone.

It is symbolically described in "The Chymical Wedding of Christian Rosenkreutz". The book presents an allegorical story divided into "Seven Days" or "Seven Journeys," which tells how its author, Christian Rosenkreutz, was invited to a castle full of wonders to help with the "Chymical Wedding" of the king and queen. Harry also receives a letter in a storm (like Rosenkreutz) and goes to the castle for 7 years, chooses one of the four paths (Gryffindor), and so on.

Alchemists called the creation of the Philosopher's Stone the Great Work – Opus Magnum. This process consisted of three stages: decomposition (nigredo), rebirth (albedo), and final perfection (rubedo). Each of these stages corresponded to a specific colour: black, white and red.

Nigredo. Albedo. Rubedo.

In Harry Potter, these stages correspond to Sirius Black, Albus (white) Dumbledore, and Rubeus (red) Hagrid. The end of each stage is marked by their death. In the seventh book, it's Hagrid who carries the "dead" Harry.

There is a fundamental difference between "true alchemists" and "occult alchemist."

Tom Riddle is an occult alchemist. For him, the Great Work is also self-creation, but what kind? For him, it is complete mastery of his abilities and his future, and especially the complete liberation of his will.

Tom is a will, but his will not submissive to the will of God. It's a Luciferian will. The will of a fallen angel who began to oppose his own free will to the influence of Divine Love-Light. Instead, he sought and loved his own power outside Divinity, in himself.

"Better to reign in Hell, than serve in Heaven" John Milton, "Paradise Lost"

Baphomet, or the Sabbatic Goat, drawing by Eliphas Levi, on its hands are inscriptions "Solve et Coagula." This is an alchemical principle. JKR, by the way, also has such a tattoo.

In occultism, it is believed that magic is control of one's will, and a will can control matter. After all, what did his followers choose for their motto? Magic is Might. Harry never defeated Voldemort with such magic. Because he doesn't need it.

What does Tom boast about? Tom boasts that he has mastered the deepest depths of dark magic. He went so far in it as no one before. Dark magic requires an iron will, and Tom achieved incredible heights in it. He even achieved immortality in this material universe, literally cursing his soul! Only Tom doesn't understand that Dumbledore (a true alchemist) is not interested in all this. Because true immortality is not there. True transformation is not there. Because their paths are completely different – Dumbledore is going to the "God and divine immortality," and Tom is going to "material immortality."

In general, fans of occult alchemy, the Left-Hand Path, and Nietzschean philosophy probably consider Tom a much more interesting character because here he is – the king of matter, a man of incredible will and strength who destroys the slave Christian morality and proclaims that God is dead, long live the Übermensch (homo superior)! (Nietzsche would have been proud of him…) By the way, Bellatrix is most likely symbolically – Lilith, Adam's first wife according to Kabbalistic apocrypha, who rebelled against Adam. God created them equal, and Adam wanted to have power over Lilith... In short, Lilith is the first feminist in human history, hehe.

The Fallen Angel by Alexandre Cabanel. Lilith.

In short, Tom Riddle is such an adept of broken alchemy. Where Tom is his own personal will, Harry is Faith and the will of the Spirit. Harry is also very strong-willed, but his will is different, it's not individualistic. It's a will of sacrifice, a will of love, a will of mercy, a will of trust. The main theme of the seventh book is a crisis of faith. And what kind of will does one need to show to continue the quest for Horcruxes and not go for the Deathly Hallows? Simply put, the will of Harry and Tom is completely different.

And Tom will never understand this. He's an individualist. He's a Nietzschean Übermensch. He's reached the limits of human capabilities. But for what? From dust you are and to dust you shall return, Tom...

Severus Snape — a Seaker who chose the wrong Path

And Snape, by the way, initially turns away from Lily (Lily is love of God, represented in the world). Because he's obsessed with becoming dark magic, his ego and desire for secret knowledge and being proud are very great.

Btw, Lily is a mudblood. In the sense that God is not in shining beautiful armor. This is Lucifer's mask – to be pure, to shine, to sparkle. But the real God can be found by seeking, under the feet of the poorest and "dirtiest" person. After all, for God, everyone is equal. It's the Devil who divides.

And pure-bloods, for example, the Blacks, are "false purity." Luciferian purity. Material purity, purity of shining gold. It's division. And where there's division – there's the Devil.

In short, Snape turns away from Lily because this path is difficult, he doesn't understand how to approach her, he already uses dark magic, has a lot of knowledge, and delves into various secrets, and shows what "bad" paths other seekers (the Marauders) take... (The seeker is not my term, it's from the Rosicrucian manifesto, alchemists call themselves seekers) But Lily still refuses to unite Spirit and Soul. And he calls her a "mudblood," insulting her. For Lily, this is a sign that this soul is almost lost. And there's no sincere regret in him when he asks for forgiveness. He asks her to forgive him, but his soul is still on the old Path. Lily isn't angry with him, it's not about anger or offense. Snape's soul is almost lost at this moment, closed to the divine spark and love. After all, for love to enter your heart, you first need to open yourself to it.

Only when Snape sees true face of Tom's "alchemy," in which Tom is ready to kill Love, the divine spark, essentially kill God in the souls of all people, then Snape, as a real Seeker, realizes that he's going the wrong way... And he runs to the main Alchemist, Dumbledore, to ask to preserve this love, this manifestation of God on earth.

But you can't preserve it without preserving the seeker of the right Path in your soul (James) and without preserving the possibility of the emergence of the transformed soul (Harry).

This is a very important moment, not only because you can't kill people in principle. Dumbledore literally tells him that you can't save love of God, the divine spark in your soul, if you kill in yourself the one who reaches out to God (the deer) and if you kill the POSSIBILITY of becoming this new transformed soul (Harry).

For Snape, this becomes a turning point, and he decides to switch sides to true alchemy. Dumbledore asks in return for Snape's soul, but not in the sense that the Devil demands it, he asks for loyalty to the Path. Below I'll explain the symbolism of Dumbledore and what he means in terms of alchemical symbolism (I don’t think he is God).

Snape becomes loyal to Dumbledore. But Lily is killed, as is James. The world, despite the fact that Voldemort temporarily goes into hibernation (and the Savior is alive), plunges into despair. Sirius (as a divine symbol of light) is in captivity, Remus (a symbol of a seeker with a "good but not brave" soul) is somewhere wandering the world, and Harry lives very poorly with the Dursleys... Harry doesn't know any God, and the seeker in him is also "dead". And Voldemort will soon rise again, he's just gathering strength.

Harry's path is the path of returning to God through Mother of God (Theotokos). Because it is Mother of God who is the true Spirit. That's why he meets Lily only at the end of the seventh book, when he's almost completed the alchemical transformation. For Christians, this is heresy, but for alchemists, it's not. The Son and Mother of God are one whole. The Virgin Mary is part of the Trinity, because only through the spiritual unity of the Mother and the Son is the salvation of humanity possible.

And who does he meet her through? Through Snape. Who dedicated his entire life to transforming his Soul, merging it with the Spirit, ultimately coming to God.

He spent his whole life hating James, as a Seeker of a different kind, not like him—Snape always leaned a bit towards Nietzschean stories. And James always hated Dark Magic and all dark things (although this doesn't make the souls of this type much better, they can also be egocentric). Snape teaches Potions, he knows how to bottle up Love, Death and Luck... So much power, so much pride in this...

Recently, I reposted a very interesting post. Snape wanted to recover his soul, because he was guilty of Lily's death. A very beautiful meta, but I see a bit different alchemical meaning. His soul is broken not only because Lily partly died because of him. His soul is broken overall because of the Path he chose - that of an occult alchemist, and he remains a "spy" to the end of his days, playing two roles, constantly "here and there". He dies at the hands of his former master.

Snape takes Lily's letter because he needs Lily's love (like people wear crosses), while there isn't enough understanding of where to go (Dumbledore is already dead)

Snape always yearned for Lily. And Dumbledore asks for us, the readers: "After all this time?" And Snape answers for us "Always." You must love God always. And that is salvation for the soul.

In general, Snape only understands towards the end that you cannot love Lily without Harry and even James. Only one Path leads to Lily - the same as James’s path. The path of Ego, pride, thirst for power, secret knowledge, occultism, malice, hatred must finally dissolve. Snape fully exposes himself to Harry, although he shouldn't have (he should only pass on information about death), revealing the good (and the bad) that he always hid. His revelation to him speaks of his complete acceptance. He shows him his soul, literally bowing his head to him - here I am, here is my soul, in some things I have no excuse, sometimes I have justification, but I've been seeking God, seeking love all my life.

Will you accept my wounded soul?

This is confession. The realest confession.

And Harry accepts. Of course, Harry accepts. He looks at him with Lily's eyes.

Because no matter how "bad" you are, if you truly love God in your soul, if you truly seek Him, there will always be a place for you in the City of God. Snape is the constantly replayed plot of the Prodigal Son's return.

At this moment, all the "black" in Snape dies – the nigredo. Tears - the white stage, purification – the albedo stage, purification. Blood – naturally, the red stage. The alchemical transformation for Snape is complete.

(But geniuses from TikTok will still say that Harry shouldn't have named his son Albus Severus, because Snape was baaaad. Ofc he was bad sometimes, that's the point!)

Dumbledore is the embodied Path and Plan

As I mentioned before, Dumbledore asks for Snape's soul in return, but not in the sense that the Devil demands it, he asks for loyalty to the alchemical Path.

Dumbledore, as an alchemist, besides embodying the completion of the albedo stage for Harry with his death, is also the embodied Path. Dumbledore is the highest Guardian of the Tower, who watches over the Paths of others, he is the Man of Spirit, he is the Principle, he is the Master. What is the difference between Dumbledore and Lily? Lily is a more important symbol, she is like pure divine power, God = love, as in what all souls dissolve. Dumbledore, on the other hand, is the Guardian of the Path through which everyone must pass. In short, Lily is the answer to the question "where", and Dumbledore is the "how". And Dumbledore is just a man who also underwent his alchemical transformation and who can also succumb to temptation. But Dumbledore is not GOD, imo. To personify God in a book is too much (even for me, although I’m not religious at all). I don’t like the idea of him being God and... really, where? God is transcendent and pure divine love emanates from Lily that’s why she almost an empty canvas. Dumbledore is a principle. He is the answer to the question "HOW". That's why he asks to believe in him, believe in the ALCHEMICAL PATH AND PLAN. FOLLOW THIS PLAN TO THE END. Ascend the tower, as I once ascended it. After all, he lives up there in the tower. He observes.

For Snape, Dumbledore is so important because Dumbledore is the Path, a new Path that he did not have. And Dumbledore's death is so important for everyone because now no one points them towards the Path. But they must find this Path within themselves. Because the answers are inside them. You cannot become a true Alchemist if you constantly rely on external help. It's time to see the Path independently.

"You must kill me."

There was a long silence, broken only by an odd clicking noise. Fawkes the phoenix was gnawing a bit of cuttlebone. (HP and DH)

After Dumbledore says that Snape must kill him, there is silence and a very clear symbol - the phoenix and the bone. It's time for their souls to go independently, to eat away all the old to come to rebirth. Meanwhile, they also need to save Draco, who, by "Lucifer's" order, is about to kill the Path (although you can't outplay God's plan...). And then Dumbledore reveals that Harry must die.

This shocks Snape. Like any alchemist on the Path. How so, to die? After all, we all do everything to become closer to God, to immortality, and you say – just die? What kind of Path is this?

"I thought…all these years…that we were protecting him for her. For Lily.”

After all, we were protecting Harry for Lily, because as I've already said, only through the spiritual unity of the Mother and the Son is the salvation of humanity possible. Snape is protecting the son for the mother, and Dumbledore wants to kill him? For what?

Simply put, Snape doesn't understand that no one can save Harry until he dies and is reborn. It's painful, but all heroes go through this path for rebirth.

Dumbledore knows that there is a "seed" of "evil" in Harry, as in any of us. After the fall, we all carry Luciferian part within us. This is the last thing that must die in Harry, and he himself must die for it.

No one promised that the path of the alchemist would be easy. It's understandable why not everyone loves Dumbledore, he seems too cold and manipulative, but there is no other way for Harry on the symbolic level.

The Great Work

There are three stages of the Great Work: decomposition (nigredo), purification (albedo) and ultimate perfection (rubedo). These stages for Harry culminate in the deaths of Sirius Black, Albus Dumbledore, and his own death, where he is carried out of the forest by Rubeus Hagrid.

And the result of his alchemical work should be Rebis — essentially the alchemical philosopher's stone, an androgynous being. In the collection of dialogues attributed to Hermes Trismegistus, God is depicted as androgynous. (Hermes Trismegistus is essentially the one who created the corpus of Hermetic texts).

Rebis is the unity of opposites. Day and night, Man and Woman, Good and Evil, Light and Darkness. All is one. There is no division. The wholeness of God. After the fall, we are all divided. And after the alchemical transformation, we can finally become whole and find ourselves and God.

In the form of merged men and women, sometimes depicted as the Virgin Mary and Christ, because They are one whole. As I have already said, for many alchemists, the Virgin Mary is part of the Trinity because only through the spiritual unity of the Mother and the Son was the redemption of original sin made possible. As I have already said, although Harry suffers more for James (his father turned out not to be as ideal as he thought), Lily is the main symbol in "Harry Potter".

The Nigredo stage literally means "blackness" - it signifies complete breakdown, decay, descent into the underworld, the trance of grief. It's a descent into the deepest fears, disbelief, denial, loss of self, anger, aggression. And through this - a return to the prima materia. This is what happens to Harry, "The Order of the Phoenix" is a very dark and depressing book, and with Sirius's death, this stage for Harry is completed. Sirius himself also undergoes transformations, but about this in the next part. The nigredo stage, during which a person's ego dissolves, is agonizing but necessary for further development. After the "I" meets its "shadow" and disintegrates into parts, it will need to be purified and recreated.

Albedo ("whiteness") symbolizes purification, transition to another world, change of life priorities, awakening, enlightenment. In alchemy, the transition from nigredo to albedo is achieved through the process of washing. The whole sixth book is misty, "white", "wet". "Washing" (albutio, baptisma) directly leads to whiteness (albedo). Purification. It's also silver, a lunar state. In Harry Potter, there is a character named Luna, which means moon in Latin. In different parts of the books, Luna also symbolizes this stage. With Dumbledore's death this stage for Harry completed.

Rubedo ("redness") - the final stage of the alchemical Great Work. The alchemist must establish a kind of sacrificial relationship with his inner essence. At the final stage, the so-called "alchemical marriage" takes place: the marriage of the Red King and the White Queen - Soul and Spirit. Harry (soul) and Lily (spirit) are united. With Hagrid carrying Harry this stage for Harry completed.

Bu the way, the Golden Snitch is an alchemical symbol also.

Firstly, Harry's position is called the Seeker. Alchemists also called themselves that. Secondly, the winged disc is a very ancient symbol, meaning the sun (God) and immortality.

The Snitch reveals to him the Resurrection Stone, and Harry "encounters" his main symbols, but the main one is Lily. It is her he asks not to leave him.

Harry's death here is read by everyone as the well-known plot of Christ's crucifixion. The path to this death is also a reference to the agony of Jesus in the Garden of Gethsemane before the Crucifixion. After all, Harry also wanted to end up somewhere, but Hogwarts is his home, and he accepts his fate.

My Father! all things are possible for Thee: take this cup of suffering away from me: and yet not what I desire, but what Thou desirest. Mark 14:36

He wanted to be stopped, to be dragged back, to be sent back home... But he was home.

Lily's Eyes

To be honest, I can assume that her green eyes was chosen at random. But what if they weren't? Her green eyes may seem illogical, as this is the colour of the snake, the colour of Slytherin, the colour of evil. But this is the occult Luciferian snake, the erroneous snake. Originally, green also dates back to Hermes Trismegistus – the god who gave the knowledge of alchemy. The most famous of the old hermetic-alchemical texts is inscribed on the "Emerald Tablet". According to legend, this document was left by Hermes Trismegistus on a plate of emerald in an Egyptian temple.

"The Emerald Tablet" is very important for alchemists." According to legend, a large emerald fell to the earth from Lucifer's head when he was cast out of heaven. From the same emerald that fell from the crown of the fallen Lucifer, angels made the Holy Grail (which is also the philosopher's stone, and the Snitch...). Emerald is a sacred green stone, and the heavenly divine world - the homeland of the emerald - a precious stone in which information about the heavenly homeland is encoded.

There is also the Ouroboros - a snake that devours its own tail - a symbol of infinity and immortality.

And the Snitch, which is a reflection of Hermes Trismegistus' staff (which has two battling snakes - two opposites, Spirit and Soul, Good and Evil and so on, and Hermes establishes unity between them with his staff).

Occultists, of course, interpret these symbols in their own way.

Hermione is Hermes Trismegistus. Mercury. Ron — Sulphur. Harry— Salt.

Hermione (Ἑρμιόνη [hermi. ónɛː]) is a feminine given name derived from the Greek messenger god Hermes. As I said, Hermes Trismegistus is the main figure of Hermetic teaching, he is also the one who predicted the coming of the Savior (traditional Christianity should not be confused with Gnostic teachings, the Church has always been against Gnosticism). In addition, Hermes is Mercury, and that is knowledge. Hermes Trismegistus shares "secret knowledge" with the world, which forms the basis of many Gnostic directions - from alchemy to Kabbalah.

Hermione is a little alchemist, she shares knowledge. It is Hermione who insists on complete trust in Dumbledore, it is Hermione who often leads Harry in the right direction when Dumbledore is not around. It is through Dumbledore and Hermione that "moral lessons" are often sounded, which often seem completely out of place. Like when Dumbledore says that James would forgive Peter. At that moment, I always want to say, "Are you out of your mind?!" although I understand that it is described on a symbolic, not personal level.

Mercury (Hermione), Sulphur (Ron), and Salt (Harry) were necessary in the alchemical transformation and were the main components. To create the philosopher's stone, all three elements had to be combined, and Harry is next to them throughout all the books.

Both Hermione and Ron are equally important in Harry's development.

Mercury is the more fluid primary principle, more rational, the feminine principle, while Sulphur is dynamic, expansive, unstable, acidic, unifying, masculine, paternal, and fiery principle. Sulphur is emotional, it is desire and passionate impulse that motivates life. Sulphur is desire. And according to Jung's reflections, it can also be foul and dangerous. Complete transmutation depends on the correct application of this variable principle. Sulphur must be of quality for transmutation to occur. And Ron achieves this quality.

Also, in mystical alchemy, Sulphur is crystallized inspiration of Mercury (Mercury).

Mercury and Sulphur are simultaneously antagonists, like the male and female elements, but at the same time Sulphur is crystallized Mercury.

So I have always been and will always be for Romione! Hehe. They were made for each other!

And as for Salt - that's Harry. It's the body. Sometimes it is called earth and body, salt is the essential body (corpus).

Alchemists say that salt was the first substance created by fire, emanating from God. In salt, all creation is concentrated, in salt the beginning and the end of all things.

Salt is associated with the ultimate elevation of matter - with matter that has acquired consciousness, achieved through the unity of opposites, including the unity of fire and water, the unity of what is above and what is below. Salt is the ultimate Philosopher's Stone, representing transcendence and ultimate knowledge.

Thus, salt symbolizes consciousness (thoughts, feelings, material, etc.), which must be elevated through alchemical processes of dissolution and recrystallization. Well, that's Harry himself.

Just love this stupid moment

Well, that's it, I think I've said everything, and from the next part, we can move on to the Marauders themselves :D

#i'm wondering if anyone but me is even interested in this at all #harry potter meta #harry potter #hermione granger #ron weasley #pro ron weasley #rubeus hagrid #pro severus snape #pro albus dumbledore #pro romione #hp meta #severus snape meta #lily evans #tom riddle #voldemort #tom riddle meta #bellatrix lestrange

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zsakuva · 1 month

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Hello! My name is Grim, and I fancy myself a bit of a researcher. Now, this is not for anything important or extremely serious. Instead, this is mostly for my own pure enjoyment and something I have in the works that is to be posted on Tumblr. You are not obligated to answer any or all of these questions I have posed. I know it’s a bit much. Take your time, but don’t feel obligated to do anything. Feel free to add any additional input! Thanks for your consideration!

1. How different do you think your work would be, in terms of getting across a point, in a different medium thats not Audio RP?

2. How do you think your work would be different if it more reflected main stream industry forms of storytelling where you as a creator would be more separate? (ex. movies, tv shows, games, etc.)

3. How important do you find the voice acting in your work?

4. You are the primary voice of your works. Would you consider taking a step back from voice acting in your work to focus on narrative work?

5. Do you believe your own individual ability to voice characters enhances the story overall?

6. Do you enjoy the idea of a “Listener character” or would you better prefer to not have one?

7. As a writer, how does the writing of the Listener take you out of your comfort zone? (ie their effect in relationships, plot movements, etc.)

8. Is Audio RP your favored form of art?

9. How do you believe Audio RP differs from main stream forms of art/entertainment?

10. Do you believe that your work has over arching themes that relate to you personally? (very optional)

Hello, and thank you for the questions!

How different do you think your work would be, in terms of getting across a point, in a different medium that's not Audio RP?

If I were to create similar storylines in another medium, I think my work would be very different. The major element that all my stories are based around is the Listener. Everything is crafted from their perspective, so I need to always keep this in mind when scripting and editing. The best ways to handle the narrative and dialogue are through implications with other characters and SFX; to keep audios sounding as authentic as possible, this must always be considered when I work. Much of it is filled with the Listener's imagination, but to convey a point with only audio cues can be a difficult task.

2. How do you think your work would be different if it more reflected main stream industry forms of storytelling where you as a creator would be more separate? (ex. movies, tv shows, games, etc.)

I'd allow the story to breathe and marinate due to the platform it's on and the medium the story is told in.

The genre of audio RP, especially on YouTube is already limited because creators are told that in order to keep an audience, we must hook them within the first 10-30 seconds. Due to this, we develop our audios with that in mind; it can come as a detriment to our creativity and desire to show a story in a particular way. We're confined by parameters that value immediate views and responses in order for our creations to be deemed successful, and when many use YouTube as their primary source of income, this manner of thinking can become the norm. In order to stay relevant, we must research what's trendy, what tropes are no longer popular, and though it's not necessary, online demand can change on a dime. Exploring different topics and themes are also limited due to this; creators must work within the platform's restrictions, and that has impeded many stories with how deep I can dive and what it could've become.

As a visual medium—particularly movies and TV shows—my stories would be far better. Viewers can perceive them the way I want them to and with far more understanding. Although SFX and a wonderful soundscape can teleport consumers to another place, the nuances that I love and appreciate slip through the cracks. On a larger scale, visualising the settings, fashions, and people can elevate a story as it gives a plainer context everyone can draw from. On a smaller scale, facial expressions and body language are paramount for communication, something that audio RP cannot do.

An example of this would be my newest series, The Noble Trials. It's a high fantasy world which, in itself, is difficult to show because in that kind of setting, anything goes. I want the audience to experience the extravagant events, the opulent locations, the embellished fashion. Of course, as I depend heavily on sound design, I have faith in the listeners to imagine that for themselves, but they'll never imagine it the way I do. The only option is to write it through dialogue, and sometimes, this can feel unnatural. I'm one to sprinkle in details, so if I decide to create a new fantasy creature, I must show it through SFX and characters describing it. That's not to say it can't be done, but that requires more time and effort; it depends on if a creator is willing to go the extra mile for a little more immersion.

3. How important do you find the voice acting in your work?

I find it extremely important! If I want my audience to be transported, then all elements of the story must be convincing, and the character I voice is no exception. Voice acting is the primary driver of it all; though dialogue can certainly tell the audience something, the way it's expressed is vital to adding a layer of realism. As I can't rely on faces and movement to show a particular feeling, it must be emoted through speech, and that can elevate a story to the next level.

4. You are the primary voice of your works. Would you consider taking a step back from voice acting in your work to focus on narrative work?

I've thought about it but I don't believe it to be a possibility. Most of my community listen to my works because I'm voicing the characters, so it's something I must continue doing. However, writing is my strength and passion. It gives me true joy, so if I was guaranteed my career would be retained and someone else voiced the main character, I would consider it. At this point however, it's not an option.

5. Do you believe your own individual ability to voice characters enhances the story overall?

Though I'd say I'm okay at what I do in terms of voice acting, I know there are others that are far better than I am, and I believe they could take my stories much further. My projects are made with audio dramas in mind, so I think that someone more skilled in voice acting could easily transform a character of mine.

Also, my vocal range is pretty good, but voicing all characters (I've created 18 so far with many more to come) is very difficult. Although the audience know it's one man behind all these characters, as a creator I'm compelled to separate everyone so they don't sound similar. Of course, it's impossible to take note of every modulation the voice makes and consistently use certain intonations where necessary, but there will always be similarities between the characters which, to me, hurts the story if the voice is comparable to another and the audience notice. It makes me want to develop my acting more, but it's quite saddening despite what I must do to make characters sound different (pitch, accent, tone, etc). In this case, I am my own limitation.

6. Do you enjoy the idea of a “Listener character” or would you better prefer to not have one?

The short answer is no, I do not enjoy the idea of a Listener character. As a writer, it limits what a story can convey.

In the beginning, it was a great challenge because I could experiment with how to tell stories through the perspective of someone who doesn't talk. It allowed me to develop different means of showing a narrative through SFX and one-sided dialogue, and to understand the limitations and liberties I could make. However, there's a massive downside: everyone is different. Some creators like the Listener being a blank slate for the audience to fill, and that's absolutely fine; I started out like this too!

But as I sank deeper into adding dimension and story to my characters, I realised that I needed to do the same for the Listeners. They need personality, and desires, and struggles that will inevitably clash with other characters. A blank slate cannot drive a story, nor can they transform it in any way because there's nothing to challenge or change. For my stories, the Listener's personality and interests must have something of substance in order to interact with characters.

However, this also proves to be inconvenient because the audience may not be able to relate. Some listeners like to insert themselves into an audio while others enjoy it from a third-person perspective. Those who listen in the former way can have difficulties with what the Listeners do because it's a stark contrast to who they are, and that can break immersion. Additionally, they can develop characteristics about the Listener depending on their own beliefs of them—by their own reflection or other means.

The most recent example would be Alex's series. Tl;dr of the story: Alex and Gremlin (the Listener's petname) have been together for four years. One day, Gremlin accused Alex of cheating, they were wrong, tensions arose, both were stupid, they broke up, and Gremlin left to who knows where. The latest episode is a dream sequence that explores Gremlin's thoughts about what happened, what they think of themselves, and it reveals other questionable things they've done. As a character, Gremlin suffers from trauma, and this drives them to act in unfavourable ways similarly to Alex. The purpose of this audio was to show that Gremlin is not as good as they seem. Everyone is flawed, and I make sure my characters are no different. But many listeners likely can't imagine themselves screaming accusations at their long-time partner, stalking them, and living with crippling trust issues and anxiety; therefore, in their mind, that doesn't happen in the audio.

If the Listener character was voiced, I think their views would be different, but this is the main factor: No matter how detailed I am, the audience will never see the Listener the way I do. And as I want to write narratives in a specific way to convey a specific idea, that can get lost in translation. That means a Listener character must be predetermined in order to write a compelling story and explore themes and situations I can't do with a blank slate.

7. As a writer, how does the writing of the Listener take you out of your comfort zone? (ie their effect in relationships, plot movements, etc.)

Having been doing this for a few years, I think I have a comfortable grasp on how to write Listener characters. The main challenge is natural dialogue between them and other characters, as well as staying true to the personality I've given them. Different Listener characters would notice or mention certain things depending on who they are, and I must always keep that in mind. But for the most part, it's pretty enjoyable!

8. Is Audio RP your favored form of art?

Absolutely not. My favoured form of art has always been audio-visual in nature because that's what I respond best to. Films and TV shows are where my heart truly lies, but expressing myself through this medium is a privilege I cannot take for granted. It can evoke just as much emotion as other arts, and I find that amazing. Although I love watching things, storytelling keeps me sane, and I always have something to share or create. Audio RP gives me the opportunity to challenge my ideas, expand my knowledge, experiment with characters, and develop other skills such as audio engineering (which I love). But most of all, it lets me offer my stories to the world, and I'm so happy I'm able to do so.

9. How do you believe Audio RP differs from main stream forms of art/entertainment?

It's an interesting art form in its own right because although there are certain elements of story set in stone, for the most part it's personalised. Drawing from the way I create audios, the audience—even if they aren't projecting themselves onto them—is experiencing a story through the Listener. It's a limited perspective, and the only things that belong to the consumer are their thoughts, though it might not necessarily be canon to the plot. Most narratives are told through a camera, and what the viewer sees is carefully crafted for the purpose of the story. However, as Audio RP is told from a second-person POV, curating an experience is far more immersive, and I think there is still room to innovate with this medium!

10. Do you believe that your work has over arching themes that relate to you personally?

Without a doubt! Many characters share parts of me, whether that be likes, dislikes, ideologies, experiences, or even direct memories. It's easy to use yourself or people you know as a basis for characters, then build upon that to make them their own individual with their own journey.

Niall is the best example of this. At school, he was closeted but was outed against his will and bullied for being gay, and his crush (the Listener) at the time stood by and watched it happen. In the present timeline, Niall is a creative with a job that keeps him occupied, but those traumas shaped him into who he is: a socially awkward and wary man without love for the part of him he refuses to show. His fears of trust and making friends governed him, but above it all, he was afraid to accept who he is. His story explores that deep fracture: navigating what it means to forgive, changing a once rigid and cold outlook on the world, and in the end, permitting a chance for healing and closure, and realising that living without love is no way to live.

Though I didn't experience most of what he did, writing Niall was a way for me to also have hope in similar thoughts that I carry. It was somewhat therapeutic—more-so knowing that his story resonated with other people and helped them find some form of catharsis.

Thank you so much for these questions! I'm so sorry I wrote so much omg

#zsakuva #sakuverse #audio roleplay #boyfriend audios #audio rp #writing

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foullegussy · 8 months

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I am making this post because Fontaine Archon Quest made me go down the theory rabbit hole and I need other people to agree with me that I'm not crazy.

Of course this post will have SPOLERS about the Archon Quest and some minor one about world quests, but I'll try to stay vague about them so everyone can still read this.

First thing off, fontaine is super related to Abyss stuff:

So far we have:

Childe actually finally dropping the things from his character story, giving us some weird Abyss fact that doesn't seem to be important yet (but i bet will become later on);

the whole Primordial Sea thing. I don't know if you saw that, but during the Archon Quest (in Marcel's underwater hideout) if you use elemental sight on the water it's black, just straight up black.

NOTHING has ever been black before, so that to me just screams ABYSS.

Also, it was flowing upwards, as in, in reverse, which reminds me of the reverse statue, the reverse city in the chasm, and all of that stuff. Then it would also make sense for it to "reverse" the life it created, dissolving people.

the world quests in Fontaine being very Abyss related, as well as the constant mention all over fontaine of the name Jakob Ingold, the one who allegedly first discovered the effects the water from Primordial Sea had on people (this is said during the Archon Quest).

So far, in every Archon Quest we've had the Fatui as main villains (except in Mondstadt, but then Signora kinda stole the spotlight, so we all forgot about the Abyss Mages), and the Abyss Order stuff has progressed independently with Dain, but I think they're trying to reintroduce the topic in the main quest this time.

One of my main theories is that the Tsaritsa is at least somewhat right in whatever her objective is (even if her Harbingers are deranged psychopaths), so when we'll eventually get to Snezhnaya it's gonna be some huge mess, but we're gonna get the key to piece together some facts that they've throwing at us since the beginning with no context, and find some common ground (Are she or Pierro still gonna be bosses we'll have to fight? Maybe. Will the common ground be fighting Celestia or maybe saving it from the Abyss that is, maybe, taking over? Also Maybe. I have some speculations, but no proof whatsoever. Just vibes)

The reason I think that the Tsaritsa is not our enemy and doesn't want the Gnosis to, I don't know, take over the world or some shit, is because then why are all the Archons so chill about giving their Gnosis away?

Many say that, well, Signora attacked Venti in Mondstadt, that means Venti didn't want to give his Gnosis to the Fatui, otherwise why would she have done that?

And maybe that's even true, but

why isn't Venti more worried about it, then?

after knowing Signora's backstory, she probably did it because of a personal grudge, ngl

Also, with every other archon it went very peacefully, especially with Zhongli. Zhongli who literally gave it away like it was nothing: if he truly cared about it he would have found another way to get his retirement, the Fatui weren't the only ones he could ask for help, but since he was already giving it away he probably thought he should get something out of it.

Ei too (and while she isn't technically one of the original Seven she has always been there as Makoto's twin, so she's still old enough to remember the Archon War), she literally didn't even have it on her and wasn't worried at all when Miko just straight up gave it away.

Even Nahida gave two of them away, the only thing that was holding her back was not the fact that she needed them, or what the Tsaritsa wanted with them, just the fact that one had just been used by Dottore to create a god to replace her, so she didn't exactly want to give him two of them.

So far all the gods we've met are: either old enough to know some stuff or the literal god of wisdom, who still knows some stuff thanks to Irminsul.

None of them seem too worried about the Tsaritsa's plan. (even mf Zhongli that literally signed and NDA is just chilling) (like, i know you know what the Tsaritsa is doing, and you're a really good guy who literally wants nothing more than his people to be safe, so if you're not stopping her i can't really think of her as a bad guy)

I made this long ass premise to say that when Lyney says that Arlecchino yes, wants the Gnosis, but also wants to save Fontaine, I-

like-

I think that could actually be true.

Or at least I don't think they're the ones behind all of the stuff that is going in in there (realistically speaking, we don't know if Arlecchino actually cares about Fontaine. I don't think she has plans about its downfall, but maybe she just doesn't give a fuck, whether they all drown or not), I think it either directly the Abyss Order, or just a consequences of abyssal energy on the land and water.

(also there's like, three Fatui tents in the entire map and from where they're placed it could actually be them just investigating what the fuck it's going on with the Abyss. I have 100% exploration, so i know i haven't missed any,,)

(from the official Interactive Map)

The Abyss being responsible might explain a bunch of stuff, like Childe being judged by the Oratrice guilty even when he's not.

Let's put some stuff together: Childe says that, while in the Abyss, he awakened "something", and that he still carries traces of that "something" inside of him.

The Oratrice is a divine mechanism, as such it is powered by divine energy.

In Fontaine we are introduced to Pneuma and Ousia.

Each of them is what could be called and "Archè", which (if memories of greek philosophy in high school don't betray me) means something like "original substance", something from which everything else originates (like Heraclitus thought it was fire, Thales thought it was water. I should go back to read it, i might find something there huh).

For Pneuma (the light one) this is easy to understand: after all we know that combined, the seven elements make the Light element, but that is just because the seven elements are actually the spectrum of the Light element broken down, and it is said that the Dragons lived in a realm made of Light. So Pneuma (which means something about life and stuff) is Light, and it is the original substance from which the seven elements derive.

One thing we know about Pneuma and Ousia is that they are opposites, they are both energy sources, and when interacting they annihilate each other, but also become more stable than when on their own.

Allegedly, this is probably also what Khaenri'ahn machines were powered on (because when the Ruin Serpent charges up he does that AoE attack where he shoot these yellow and purple blocks, which reminds me of Pneuma and Ousia; added to the fact that we know the Research Institute of Fontaine has been studying Dhari machines, this is probably some kind of confirmation).

Ousia literally means something about substance and matter (so on one hand you've got the "divine mind generating life" on the other you've got the matter, which remind me of the whole Descartes's res cogitans and res extensa, but whatever, another thing to look up again i guess).

If we're working on the whole "opposite to Pneuma" thing (so opposite to Light and elemental energy), then all that comes to mind is the Abyss (also referred to as the Void Realm).

This would tie back to Khaenri'ah and the fact that everything that everything that the Abyss touches gets the Mussolini treatment (this is a joke that literally only italians understand, sorry. Basically: it gets hanged upside down. down with the fascism boys)(i need to stop, sorry, i'm just in a silly goofy mood).

So divine things come from the Pneuma archè, that of Light: the Dragons, after them is the Primordial One, Celestia (Paimon??? The Travelers??? you know, the whole battle pass cutscene is hella sus).

The Abyss is a completely different archè: it exists outside of Teyvat and therefore has different laws (time is different there, we know from Childe's backstory), has taken on many different forms (oozing filth in the chasm, forbidden knowledge, etc) because its purest one is incompatible with the other realms.

(Do the Celestial Nails, placed in areas of high abyssal energy, contain enough divine power to generate an annihilation reaction, leading to funky but stable ley line disorders? Ice from Dragonspine doesn't melt, but doesn't spread either. Same for Tsurumi Island, the Eternal Oasis, and the Chasm)

Logically, there can only be one "original substance from which everything is generated", and the Abyss's presence on Teyvat is unnatural (the Abyss is, after all, a completely different world, it was Nibelung who sought out its power and opened the connection), so conflict is inevitable and again with the greek philosophy (still Heraclitus i believe, but i could be wrong): it is the conflict between opposites that generates things (such as energy).

(The first human civilization in Teyvat, the one that saw the conflict between the Primordial One and the Second Who Came, is based on ancient Greece. DO WE THINK IT'S A COINCIDENCE???)

Abyssal and elemental energy being opposites also explains why elemental creatures are so vulnerable against abyssal energy, why gods defeated in the Archon War escaped to die in the "dark sea" outside of Teyvat, and the annihilation that leads to stabilization probably explains why some abyssal creatures can wield elemental energy (Abyssal creatures that we know where humans at first).

If the waters in Fontaine got contaminated when the Cataclysm happened (and previous Hydro Archon died), then oceanids, elemental creatures, would suffer quite a lot and escape from Fontaine and MAYBE even get a little bit corrupted as well.

After all, the oceanid lady in the bottle event was extremely chill and lovely, while Rhodeia is as pleasant as hugging a cactus: is it just different personality or something similar to what happened with Apep (when she became a lot more angry after absorbing Forbidden Knowledge)? Doesn't Rhodeia also mention something about the waters in Qingce once being polluted as well (you know, right where the Chi was sealed? The Chi we know has something to do with abyssal energy from Baizhu's story quest)?

Just throwing these out there, it's very cool to realize how connected the Genshin world really is.

Going back to the Oratrice, a divine mechanism, who, maybe, sensed the Abyss in Childe and either

had a funky reaction

somehow knew the influence of the Abyss on Primordial Sea water (which after the world quests I can imagine how it could have happened), saw Childe's abyss-iness (abyssussy??? abussy??? amogus???) and went "Ah! Gotcha bitch"

the Jakob Ingold thing (because Childe is basically a herald at this point, mf can switch forms like my boy Enjou did back in Enkanomiya, god I miss him).

What would the abyss order have to gain by flooding Fontaine? Yeah, play the world quests. My boy Elynas is taking a nap bro (he chill tho so it's fine)

AND THAT'S MY PREDICTIONS. I guess. I might make more?? eventually??

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girlfriendsofthegalaxy · 4 months

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tuesday again 1/16/2024

did not commit fratricide this week but it got a little close there

listening

spotify tried to rec me some electro remix of this Eartha Kitt song i did NOT care for but i did enjoy the original Mink Schmink (YouTube). very similar to last year’s favorite Peel Me A Grape by Anita O’Day. this is a particular kind of oldies #girlboss song that i am super weak to

i also have an entire album to rec! spotify recced me a movie soundtrack by this artist and i went to check out their latest work. a very pleasant outer space themed saxophone-forward experience to enjoy while trying out a very slow video game! the opening track Chaldene will let you know pretty fast if you’ll like the whole album. bouncy, in the ways that saxophones are. very cowboy bebop soundtrack adjacent? i have a data entry playlist with many instrumental albums of long pieces for when i need really consistent vibes or vibes that change very slowly and this is going to be such a good addition

reading

feeling a little bit grim about the state of the world and long-tail reporting/continuity of knowledge, partially bc some friends got fired from the games industry and are throwing in the towel (do not blame them at ALL, also now this means i don't know anyone in the industry with more than three years of experience under their belt) and partially feeling a little bit grim bc i read an article FOREVER ago from the old motherboard team at VICE about how locations were being harvested from various religious and health apps, and FINALLY that data broker is starting to see some real consequences. the ONLY reason this reporter is still following this story/is still a reporter is bc after VICE summarily fired like half the site last year, he went off and started his own site.

grim! grim article, grim context, grim all around.

watching

i would love for my best friend's son to become obsessed with a different movie than pixar's elemental. but if this is the price of having an only semi-interrupted conversation with his mom then so be it.

playing

“sail forth” by developer Quantum Astrophysicists Guild and published by Festive Vector (pair of really killer names there) is the free epic game this week. i spent a reasonably okay hour with it but do not plan to continue further. the opening area has some problems that do not interest me in whatever this game does in the next area. tldr: the actual sailing part is fun, which is good bc it's a sailing game, but there isn't enough to Do in this adventure/exploration game and it's all really far apart.

it has a particular sensibility married with its art style that makes me say “cozy game” (derogatory). your main character is named captain toot. everyone has funky sentence structure liberally sprinkled with nautical terms that come off vaguely nonsensical instead of piratical. there are a lot of almost-kennings like “deepblue” “moontiders” “fishfolk”. things of this nature. while i do love a kenning i don’t have a lot of patience for this. which is unfortunate bc this game tested my patience in several ways.

the actual Sailing part is the best part of the game. there's some very fun weather-- i have seen light and heavy fog, light and heavy rain, and a full on thunderstorm. the fact that sailing is the best part of the game would be good except everything is VERY far apart, and while the call of a blank horizon is super important in an oceangoing game (i think) when it becomes more fun to just fast travel everywhere instead of sailing the long way, i think that’s where you have to refine some things in your game. this is less of an open world and more little pockets of things in between a truly ridiculous amount of empty space. i cannot imagine this runs in an acceptable manner on switch.

the good parts of sailing are the thoughtful controls: the compass, the wind on the compass, and the little sail trim bar. you should also keep an eye on wave direction bc that will really impact your top speed. you CAN tack back and forth directly into the wind but this game will make you fucking work for it, which i do like. i also liked sailing with the camera zoomed all the way in, it felt very fast and dangerous on the very long wait to get to the next island. and then it was no longer fun on the very long sail to get to the next island. i am almost confident these islands are procgen, it’s possible i got a weirdly big seed but i don’t care enough to fire up a new save.

the general pace of the game/this first area feels a little underbaked or weirdly optimized. i got enough wood in the first hour to upgrade to the best available one-mast sloop, i fought a pirate which required a lot of precision seamanship with my one lonely bow gun, i did a race, i declined a target practice course, i poked my head into eight different map locations. despite this variety, it all felt very samey. generally the map locations have one or two things to do plus one resource (the precision seamanship required to collect resources is fun for the first two islands but then stops being interesting) or one collectible. no one island is particularly memorable. i really loved Sunless Sea, a game that also features a large map and very slow travel, but there’s a WAY more resource management and random events, and shit is simply closer together in that game.

if i was looking for a very slow podcast game and was 20% cutesier as a person this would be ideal, but for who i am right now? not for me.

making

my siblings visited! we did not kill each other, nobody had food poisoning, and nobody died! that's all i can really ask for. here's me and my sister looking at a big quilt at the 1940 Air Terminal Museum

phil went to the emergency vet sunday afternoon bc her spay site was looking Gnarly. she either has an infection or a reaction to her sutures but the treatment is the same either way. the emergency vet said we could probably skip our normal vet visit on friday but, given that we discover a new problem every time we go to the vet, we will be keeping that appointment. all recent pics of her are smushed up on my lap at a goofy angle. have a pic of mackaroni and beans

#tuesday again #tuesday again no problem #Spotify

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obsessivestickynotes · 1 year

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Very big rant about the redacted storyline being misunderstood

saw a tiktok of someone complaining about the timeline “handing out answers and spoiling everything”. Though I had read every event of the timeline, I have yet to come across information I had not already known about. (Excluding the very interesting information about how the Solaire clan came to be) I am becoming frustrated with people on tiktok not considering the context and complicity of the storyline. Considering the timeline, Erik had said that these weren’t spoilers about things to come but confirmations.

I saw another tiktok disregarding the importance of the Inversion; saying that the only purpose it served was to traumatize the characters (—I do recall in their previous tiktoks that they were not interested in the “lore” side of things. Which is ok! But I wouldn’t recommend talking about it in such little consideration or knowledge.) I believe that the Inversion served many purposes and will most likely be a opening for bigger things to come.

Additionally, the recent Bowling video, which has already been discussed. People over on tiktok are taking the DAMN relationship out of complete context without mentioning previous discussion of said relationship. This is specifically towards Lasko and Gavin’s relationship. Not only had freelancer allowed the flirting to continue, they also joined in on the teasing. Freelancer’s dynamic with the elementals is also not being considered. It was mentioned in earlier videos (and implied) that freelancer is quiet and a person who listens more than talks. Freelancer was probably sitting back and enjoying their closest friends getting along. That’s it.

But I guess since every character can be a self insert, every insecurity, opinion and action must reflect onto the listener—and if they do not think, say, or do the same thing you would do in a specific situation, then something is clearly wrong with the character and not the person inserting themselves onto the listener/s. Are people forgetting that this is Erik’s story and not yours? That, yes, the listeners can be self-inserts, but they are still Erik’s characters.

I want to mention another post on redacted tiktok that believes that the listener characters choosing “peace” instead of “violence” was lazy writing. They were specifically calling out the Android and Freelancer. The android could choose what to do about Marcus after they were aware of what he was doing to them. The person on tiktok was upset the android did not choose to kill or harm Marcus. If they truly knew anything about the Project Meridian, they would know that it’s a project that is under the control of the GOVERNMENT. Plus, it’s implied that the Android does feel sympathy and probably knows that taking a life is against the law.

Now the freelancer argument; they are upset because freelancer didn’t want Damien to beat the shit out of Kody. Knowing freelancer, they’re whole character and storyline revolves around them being sympathetic and kind. I don’t even have to give examples of the times where freelancer considers their friend’s problems above their own. I know that Kody is very far from a friend and I am not trying to imply that Kody doesn’t deserve a harsh punishment. But, if the person who was complaining about the writing was in charge of the characters actions, I would complain that freelancer encouraging Damien to deck Kody would be out of the character entirely.

If anyone would like to tell me off for being ignorant and rude then I will gladly allow myself to be humbled. Maybe I am being overly passionate and defensive.

#I get that people have different opinions and views #i am just upset #they had the gall to call Erik’s writing LAZY #was lazy writing what got you into the fandom in the first place?????#redacted audio #redacted asmr #redacted tiktok

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windvexer · 1 year

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What would a different form of magic be that isn't witchcraft? I know this is probably a dumb question but I'm honestly just trying to learn 😅

This is what bums me out about people insisting that it's okay and not harmful to call literally everything witchcraft!

It's erased an entire world of magic!

People! Literally! Don't! Know! Other! Stuff! Exists!

So let me tell you from the bottom of my heart, Anon: this is NOT a dumb question. This is a really important question, and not enough people ask it, and that's how we get to people tagging literally anything nonwhite and/or nonchristian as #baby witch #witch tips #witchblr #witchcraft 101.

Witchcraft has, until very recently, been a term to denote bad, harmful, or malicious magic. This is in contrast to good, helpful, or benevolent magic.

In a community, you can have a cunning person who practices good community-oriented magic, and you can have a witch who practices stealing delicious milk from the teats of cows.

This implies that it is more than likely the good cunning person and the bad witch were more or less practicing the same variety of bioregional folk magic, just to different ends.

In this context, witchcraft is any application of magic which is culturally subversive or harmful.

But there's so much more to the story!

In the mid 20th century, there was a witchcraft revival movement in England. Long story short, small groups of people worked to create a cohesive religious practice which they claimed was authentic British witchcraft. These practices are called Wicca and Traditional Witchcraft (2 separate things).

These practices were mostly ceremonial, involving elaborate rituals, magic wands, four elements, circle casting/compass laying, and so on.

These magical practices fueled and were fueled by an exploding culture shift in the western world and became so popular that they dominated perceptions of, and understandings of, what magic was.

Witch stopped being a person who used magic in bad ways, and started being a word for any person who uses magic.

Unfortunately, this is a problem, because now we have one word being used too many ways:

On one hand, witch is still a word that to many people denotes an evil or bad person who uses magic in evil or bad ways.

And, on the other hand, witch is now a word that refers to practitioners of a modern British magical tradition and its offshoots and variations, regardless of that person's maliciousness.

And, on the third hand, because Wicca had become so danged popular, witch has become a word that is applied to any person who practices magic, whether or not their practice is British and whether or not it is malicious.

The topic is further confused because witchcraft is so personal that one witch's witchcraft may look nothing like another witch's witchcraft.

What witchcraft is exists, and must be understood, contextually. In modern usage, a person claiming they practice witchcraft may mean any of the following (not a cohesive list):

"I am Wiccan."

"I practice magic derived from the British witchcraft revival period, but I am not specifically a Wiccan or follow any particular system."

"I practice magic which isn't derived from that British stuff, but I believe the title 'witch' best fits my practice."

"I practice magic that isn't witchcraft, but I call myself a witch as a term of convenience."

"I practice magic and I thought the word for that is 'witch', but if I put some thought into it I might realize I don't think that label suits me."

"I do not practice magic or Wicca but I enjoy nature and I pray to the moon."

With a word stretched so thin, outlining exactly what is and is not witchcraft can be a bit of a chore. However there are things which we can pretty safely say are just down right not witchcraft.

Before we go on, it's vital to mention that witchcraft is a term people get to choose, or reject, for themselves. So if someone from the following traditions is like, "nope, it's witchcraft to me," you should listen to them.

Anyway, here are some things that are not witchcraft:

Jewish mysticism (I've even seen posts about straight up Judaism, not even mysticism, just like, Judaism, being tagged as witchcraft)

Voodoo

Pow-wow

Folk magic

Chaos Magick

Santeria

Palo

Ancestor veneration

Praying to saints, angels, Mary, etc.

Faith healing (for example, as seen in Evangelicalism)

New Age

Spirit keeping

Worship of any nonchristian god or goddess

Heka

#answered #tbl

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sweetvixen1996 · 8 months

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ok, i never read manga or watched anime, but i see arlong park being mentioned in context of nami, so i wanted to know what was it about? do you mind spoiling me? 😂

as a new live action zinami shipper i just hope for any possible zonami crumbs in the future 😂😂

Oh boy, that is a BIG QUESTION. But I'll do my best to answer

Arlong Park is both an arc, a place, and an important moment in the sorta Meta of One Piece.

As an arc, is serves as very much the climax of the East Blue Saga. It has the biggest fights, the most elaborate backstory (so far), and is an event that leads to Luffy getting his first bounty.

For Nami, in particular, it is Her Arc. It is the one where her backstory, motivations, dreams, fears, and psyche are most explored. The long and sort is that the villain, Arlong, killed Nami's mother and enslaved Nami to make him maps. With the promise that if she gathered enough money, Nami could buy her and her village's freedom. For course, he's a filthy liar, and Luffy and the others need to help step to unleash some well-deserved beatdowns.

As a location, Arlong Park is where Arlong and his crew of fishmen (and Nami) live. It is a repurposed marine base and, as we learn much later, redesigned and renamed to look like the theme park that Arlong and his friends were unable to go to as children due to prejudice against fishmen. This all factors into the much large story about cycles of hatred that exist within the large story of OP that I don't have time to get into here.

But the important thing is that it serves as a great location for the final fights of the arc, giving three different environments to use and different ways to play to the different fighters' strengths. And, considering it served as Nami's prison for so many years, seeing it get destroyed is immensely cathartic.

Now, for the meta angle... When fans of OP are trying to get others into the series, we often say, "If you get to the end of Arlong Park and still don't like it, One Piece is probably not the series for you."

This is because Arlong Park is when the series really BECOMES One Piece. It's where all the elements of the story that make it great -the characters, the fights, the backstories, the worldbuilding- really come together in full force. That's not to say the previous arcs are bad, but rather that each did a few things very well while Arlong Park did EVERYTHING well.

Specifically, the famous 'Luffy... Help me' scene has become an iconic moment in anime in general. Many OP fans (myself included) cite it as the scene that made them fall in love with the series. When watching reaction videos and people reach that moment, I can sometimes even see some 'click' in their eyes. It's the moment they GET IT!

All these years later, and this moment still makes me tear up.

As for Nami & Zoro... This is definitely an important arc to their relationship.

Zoro has spent the previous arc being rather wary of Nami (and not without cause) but when Luffy orders Zoro to bring her back, he is determined to do it -even if it gets him captured. A fan-favorite moment occurs when a captive Zoro is brought before Arlong and Nami. Despite Nami herself and Arlong swearing that this cold-hearted person is Nami's True Self, Zoro decides to go with his gut and test her.

He throws himself into the water, still tied up, and banks on Nami to save him. And she does, even though it makes Arlong suspicious. Especially after Nami frees Zoro and gives him his swords back so he can escape.

(I'm really sad we don't get this moment in the live-action series)

This has Zoro convinced she's a good person in a bad situation, yet later, when it appears Nami has killed Usopp, Zoro is once again confused about her character. It's only when Usopp turns back up and explains what happens that Zoro fully throws his swords in Nami's corner. He even sleeps through her backstory because, by this point, he knows she is good.

Hope this all helps but honestly you should just go experience it yourself because I can't do the arc justice.

#one piece #monkey d. luffy #nami #roronoa zoro #arlong #arlong park #meta #answered

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sarahowritesostucky · 17 days

Text

📖"The Carter Academy for Omega Excellence" Pt 8

Rated: Explicit

Pairing: Steve Rogers x Bucky Barnes

Tags: age gap, boarding school au, a/b/o, dub-con/non-con, spanking, feminization, dumbification, sexism, misogyny, prostate milking, discipline, D/s elements, hurt/comfort, mentions of past self-harm, predatory behavior, teacher/student, bathroom use control, humiliation, omorashi

Summary: Bucky Barnes is young, confused, and conflicted - a real "rebel without a cause" type. His parents ship him off to Steve's reform school to help him get straightened out into a "proper young omega."

Wait! I haven't read an earlier part of this fic! Story Masterlist

I've gotten a couple of asks about the worldbuilding behind this fic. If you'd like to read a little more context about how things are in this world, my answers to the asks can be found here and here

If you'd like to be on my taglist, please use this form (it's easy I promise!)

Part 8

"Extended Suppressant Use in the Omega Patient: a literature review" (Mueller et al. 2019)

The bathroom incident does not give Steve high hopes of an easy first week with Barnes. Many new students wind up requiring extra attention in their early days at the school, so Steve is honestly surprised when he isn’t paged that Tuesday with a similar fiasco. He’s outright impressed when Wednesday and then most of Thursday passes by with no incidents, either. Whatever Sharon’s doing, it must be working well.

Steve can’t say he doesn’t think about the boy regardless. He can’t help but remember their encounter in the bathroom; holding him down and dominating him into submission, pressing on his belly until he finally lost control. The sounds of the boy’s sweet whimpers are burned into Steve’s memory, the earthy and lightly floral hints of his scent still so easy to draw up in his mind. It’s a good thing that this is a busy week for Steve, otherwise he’d hate to think of how much more preoccupied he’d be by thoughts of his new omega charge.

As it is, his schedule is chock full, his time eaten up with all of his normal headmaster duties (which are considerable), seeing through the end stages of the Academy’s formal division between the girls’ and boys’ sides, and a renovation that they’ve got going on in the south wing corridor. All of that, coupled with the small squabbles that Peggy manages to come up with on an almost daily basis, helps to keep Steve’s mind occupied. And on top of everything, there’s still a lot to be done for the upcoming parents’ weekend.

He spends most of that Thursday morning dealing with matters directly related to the event that is, in essence, their biggest fundraiser of the year. All day, he's coordinating with his faculty; making sure that everything’s been ordered, scheduled, and arranged just how it needs to be to give the right impression to their guests, provide the right experience.

It’s crucial that all of the right people be well taken care of over the three day weekend, in order to ensure that their endowments to the school keep flowing in. Steve liaises with his staff over the details of the family picnic, the various assemblies and presentations that will be made, the planned activities for each afternoon and dinners that’ll be hosted each evening, and—perhaps most important of all—the formal presentation ball that caps off the weekend of festivities. This year they’re having a few ice sculptures flown in from Edinburgh. Silly in Steve's view, but a classic touch of extravagance that the guests will appreciate.

European nobility, old-money aristocrats, and even some high profile celebrities have been known to show up to the school’s annual matchmaking ball, always seeking amenable, traditional omega mates for themselves. And when your guest lists regularly include names like Vanderbilt, Kennedy, and Stark, good first impressions become very expensive and very necessary. Last term, a Greek shipping heir worth billions had scooped up one of the graduating class’ students, and once news of that had gotten around, enrollment for the next semester skyrocketed.

Steve takes great pride in the academic education provided by his school, but he’s also a realist: He knows that parents place high value on the promise of even a chance for their offspring to be so suitably matched. That, along with the behavioral outcomes the school is known for achieving, is a big reason why many families elect to send their sons to Carter Academy over other, similar schools on the continent.

With so much to get done, Steve doesn’t get around to eating his lunch that day until well into the afternoon. He eats alone at his desk—a decision that has very little to do with the fact that he can monitor the school’s video surveillance system from his desktop computer. It’s not because he wants to check up on Bucky and hasn’t been able to stop thinking about the kid since Monday. Nope, not at all. Steve always uses the camera system to check in on the happenings around campus, it’s nothing new. And it’s good practice, anyway. A headmaster needs to be involved in his school for it to run smoothly.

If Bucky’s seventh period class is gym, and the gymnasium is the first area Steve decides to check, well that’s just happenstance.

He logs into the system and scrolls through the long list of camera views. He has the most heavily trafficked areas bookmarked, but there are hundreds to choose from, every inch of the Academy’s buildings and grounds monitored by the StarkTec cameras.

Carter Academy has its own dedicated security team to keep an eye on things, of course. Rumlow and his men do a very good job of making sure the close to three hundred hormonal teenage boys that the school houses stay in line. Every year there are inevitably fights, students caught in each other’s bedrooms at the wrong hours for the wrong reasons, or a few runaways who gravely underestimate the distance and terrain between Carter Academy and the nearest town. Nothing that isn’t always quickly remedied, but parents appreciate the close eye that Steve and the rest of his administration are able to keep on their children at all hours of the day.

He navigates to the camera views of the gymnasium and sports complex. The majority of students get scheduled for some sort of physical activity at the end of each school day. Exercise is important for omega bodies, and the gym period is thus positioned after all academic lessons have concluded, to allow for the running off of excess energy. It’s a time when their Handlers can take their well-deserved breaks. With only Mr. Odinson and the other Phys-ed staff looking after so many boys, gym period can get quite chaotic, and it predictably takes Steve a few moments to locate Bucky in the throng.

Eventually he sees him: loitering off to one side of the indoor soccer field, half heartedly kicking a ball back and forth with the Parker boy. He’s changed into his gym uniform, though he hardly seems to be exerting himself. Rather, he’s in deep conversation with Parker, which Steve is happy to see. Every first year student coming into Carter Academy usually struggles at first, but it’s always a good sign when they make friends quickly. Parker, who can normally be found bouncing off the complex’s obstacle courses, seems to have dialed it down a notch to hang out with Bucky, the two of them talking animatedly between themselves. Steve even catches Bucky smiling a time or two, which lifts his hopes that the kid will assimilate well into his new routine. Perhaps this won’t be as hard as he’d imagined.

“Sir?”

He flicks off the monitor when his secretary knocks at the door. “Yes?”

“Ms. Carter here to see you, Sir.”

Sharon comes in, and the two of them hold their pre-planned meeting about Barnes’ first days on campus and how Sharon has assessed his needs so far. Barnes is attitudinal, but Sharon seems to be amused by him, more than anything else. She hands over her recommendations for protocol, telling Steve that she’s not sure a male handler wouldn’t be in the boy’s best interest.

“Oh?” Steve raises an eyebrow as he’s perusing her checkmarks along the list. “Why do you say that?”

“You’ve seen what a handful he can be,” Sharon drawls. “Not that I don’t think I can handle him, but he responds more submissively to the male staff, and I think he’s primarily same-sex oriented.”

“You think?” Bucky’s transcripts from his old school had noted that he was equally as promiscuous with boys as he was with girls.

“Yes. And after Monday’s bathroom incident, I think he might do better with a man.” At the mention of ‘the bathroom incident’, Sharon fixes him with a meaningful look. “He responded well with you.”

Steve nods, flipping through the assessment packet. “Yes, well I am the headmaster. They tend to kowtow faster to me.” He tries to think of which male Handlers he has available at the moment. Typically, he doesn't over-prioritize students’ attractions when placing them with a Handler, as romantic attachment is something to be avoided at all costs, but if it’s a behavioral issue that can be corrected with something as simple as the gender of an assigned Handler, then Steve will consider it. “Thank you Sharon,” he tells her, once they’ve wrapped up the meeting. “It sounds like he’s doing alright, so I’ll keep him with you for now.”

“You’re the boss.”

“Alas, yes.” Steve sighs and so does Sharon, mocking him in a friendly sort of way. When she heaves a genuinely heavy inhale and declares that she has to 'get back to the grind', Barnes’ seventh period is almost over, Steve steps in. “Why don't I take him off your hands for the evening?” he suggests. Sharon looks pleased, but not overly surprised, her knowing smirk making Steve feel the need to defend himself, “It’s been a few days now, I should check in with him.”

“Sure.”

Steve frowns at her continued smug expression. “He’s got an appointment with the doc I need to escort him to, anyways.”

“Sure thing, boss.” Sharon is still smirking when she bids him farewell, leaving the office to take the rest of her day off.

Steve huffs and rolls his eyes. Whatever. He’s not giving Bucky any more attention than he’d give any other troubled new student. He grabs the boy’s folder and rolls out from his desk, planning to head for the gymnasium complex and intercept him there.

… If he checks his reflection in the little mirror by the door on his way out, it’s only because he always does that and it's habit at this point. It’s the professional thing to do, to make sure one looks put together before heading back out in public. Certainly it doesn’t have anything to do with how he’s heading out to deal with Barnes. That’s just happenstance.

Seeing Bucky again after several days is refreshing, and seeing him being friendly with another student brings a literal smile to Steve’s face. This is a good sign. It bodes well for how Bucky will do adapting to his new life.

Peter Parker can be hyperactive and spirited, but he’s a sweet boy at heart with a solid head on his shoulders and a brain between his ears that he actually chooses to use more often than not. He’s done well in the Academy’s program, and he’ll be an excellent person for Bucky to attach himself to during his time here. Steve stands by the gymnasium door with a delighted smirk on his face, because he really couldn’t have chosen better himself.

The boys still have a few minutes left to their gym period when Steve gets there, so he leaves them to their uninspired soccer ball kicking and goes to touch base with Odinson in the athletic director’s office. Thor is all smiles and has nothing negative to say about any of the boys, as per usual, and Steve thanks him and tells him to make a note that perhaps Barnes could be encouraged to put a little more effort in and try out the parkour courses or the rock walls with Parker, moving forward.

He intercepts Bucky just as he’s coming out of the locker rooms. His hair is curling at the edges after having showered (amusing—the boy was barely exerting himself) and changed back into his regular uniform. The relaxed expression falls right off of his face when he sees Steve standing there. “Oh,” he says, coming up short. “You.”

Steve smiles indulgently. “Yes, I’m afraid. Me.”

“Hey Bucky I’ll see you at dinner maybe?”

“Yeah,” Bucky says distractedly, eyes still on Steve. “Sounds good.”

Parker heads off with his handler—Natasha, Steve notes, one of the very best and most dominant females he keeps on staff. "Making friends?" Steve asks.

Bucky ignores the question. “Why’re you here?” he asks mulishly, as Steve begins escorting him in the direction of the medical office. “Where’s Sharon?”

“Sharon’s taking a well-deserved break,” Steve drawls. "She and I had a progress meeting about you in my office, just now.”

Bucky gets tightlipped then and doesn’t say anything, but Steve can see the wheels and cogs turning in his head as he wonders what was said about him. “She had mostly good or neutral things to report,” Steve offers, figuring the boy could use some reassurance. “But of course, I already knew from our interaction on Monday that you're having some difficulties adapting to school protocol.”

Bucky scowls at the floor as they walk. “Just because I don’t like pissing in front of people every day,” he grumbles. “At least we get some privacy to shit around here. Go figure.”

Steve laughs, then decides to strike the fear of God into the boy by remarking, “Oh, that’s a privilege that can be stripped away, too, if needed,” as they approach the end of the hall where the medical offices are. Bucky’s eyes shoot up to him, wide as saucers, and Steve snickers. “Yeah, I know. A true case of a ‘this is going to hurt me more than it’s going to hurt you’ punishment, that’s for certain.”

Bucky all but ‘meeps!’ and Steve snickers and puts a hand on his back to guide him into the office. “Appointment for James Barnes,” he tells the receptionist, who immediately starts checking the computer screen.

Bucky turns on Steve, leery, as he gets a look at their surroundings. “What’s going on? Why are we here?”

Steve ignores him until he’s gotten the go ahead from the receptionist and is guiding Bucky back towards one of the exam areas. “Just a check up. Standard practice for incoming students.” He pushes Bucky into the curtained off area and draws the curtain around to Bucky’s squawks of protest.

“What?! I don’t need to see anybody. I’m totally healthy.”

“That’s the goal. But we need to get you checked out, make sure there’s nothing that needs addressed.” Bucky opens his mouth to complain again, but Steve beats him to the chase, bending to pick him up by the waist and depositing his protesting butt onto the exam table. “Sit.”

“Hey!” Bucky’s scowling, but Steve doesn’t miss the light flush in his face at having been manhandled and reminded of his size and comparative weakness in the face of an alpha like Steve. He doesn’t try to get off the table at least, only shifting in annoyance and making the paper cover crinkle under his butt. “Could’a done it myself,” he grumbles.

Steve shakes his head fondly. “We need to get you examined. Behave, or I’ll have no problem with disciplining you while you’re under my care." Bucky goes tight-lipped at that. Steve nods in satisfaction. "Good."

“When’s Sharon coming back?”

“I told you: she’s been given a well-deserved night off. You’re with me until bedtime, young lady.”

“Don’t call me that.”

Steve sighs and shakes his head. What might’ve been considered affectionate a generation ago, now elicits only indignation and pushback. It’s sad. “Just behave for the doctor, will you?”

Bucky doesn’t say anything, but when the nurse arrives and introduces herself, he’s generally obedient as she runs through his medical history with him. He speaks more quietly when answering the questions about his sexual health, but Steve doesn't get the sense that he's lying—only that he doesn't want Steve to overhear. (Steve still hears everything, including the boy's very reluctant answer of having had "thirty something" past sexual partners).

Far from evoking displeasure, it mostly just makes Steve sad for the boy. Omegas may have very high sex drives, but they don't fare well in promiscuous situations. Bucky's lack of a reliable partner is probably one of the major contributors to his present mental health issues.

Steve remains quiet and allows Bucky his illusion of privacy on the other side of the curtained off area. The nurse listens to Bucky's heart and lungs, charts his blood pressure and other vitals, and takes a blood draw. It isn’t until she hands him a privacy sheet and tells him to undress below the waist that he kicks up a fuss. “What?"

“The doctor will be right in to do the pelvic exam.”

“What? No. Why?!”

Used to tantrums, the nurse completely disregards him and looks to Steve. “Headmaster?”

“I’ve got him.” The nurse nods and leaves, and Bucky starts to move to try and get off the exam table. Steve rolls his eyes and goes over and pushes him back into place. “Not so fast, son. Now if you can’t behave we’ll have to do this the hard way.”

“What’s the hard way?”

“Strapped face down on a bench,” he tells him, no-nonsense (though really, that's the easier way for omegas. He just knows Bucky will fight it more). “And that'll earn you a guaranteed spanking in my office, after.”

Bucky growls an angry little omega growl at him, “Why do I have to do this? What’s the friggin’ point?!”

With his hands clamped on Bucky’s shoulders, Steve bends down and gets in his face. “Because you were popping suppressants for two years, Honey. That stuff can cause all sorts of problems.”

“No it can’t!”

Steve ignores him and gives him a warning look to keep him in place. He reaches down and pulls one of the exam table’s metal stirrups out, which makes the kid even more visibly upset.

When Steve reaches under the skirt of his uniform to get his underwear down, Bucky growls and tries to kick him, nearly kneeing him right in the nose. Oh. That does it. Steve gives up on playing nice, standing up and grabbing him, using one hand to scruff him while he wraps the other around his waist. “Okay, bud. That was your one chance. If you’re gonna be difficult, we’ll do it your way. Let’s go.”

“Nngh! Lemme go!”

“Calm down, Honey. Stop fighting, it’s not going to work.”

The kid whimpers and goes limp for a few seconds from the endorphins of the scruff, but still wiggles in Steve’s arms once he’s manhandled him into the next exam room over—where there’s an exam bench quite similar in function to a traditional spanking bench. Bucky balks when he sees it. “No! Wait!” It takes laughably little effort to get the boy face down on the bench. Steve gets him strapped to it, and by the time he’s removing his underwear and securing his ankles, all the fight has left Bucky and he’s begging instead. “Please, Mr. Rogers. I’m really sorry.”

Steve grabs the room’s extra chair and pulls it over to sit by his head. “I know Buck. This won’t take long. Just try to relax.”

“Please lemme up. I’m sorry. I’ll go back. I’ll do it the other way, I will!”

“Can’t do that, Sweetheart. We need to check that everything’s alright and you’ve proven to me that you can’t be trusted to hold still.” He might’ve considered the request to go back and ‘do it the other way’, if he didn’t already know full well that the prone position is much more soothing for omegas to be in. “This’ll be better,” he promises. “It’ll help you stay relaxed. It feels nice to be strapped in like this, yeah?”

“But I don’t want tooo,” Bucky whines, not refuting Steve’s statement, and with less fight in him as he realizes that he’s been stripped of all control. “It’s embarrassing.”

Steve smiles sadly and pets his face. “It’s for your own good, Sweetheart. Something every omega has to do. The doctor’s just going to come in and use a tool to examine you and make sure everything’s alright. It’ll hardly take a minute.”

Bucky sniffles and turns his face into Steve’s hand, nuzzling his inner wrist and subconsciously seeking out the alpha’s scent for comfort. “Will it hurt?” he whispers.

Steve’s heart constricts—both at the question and the scenting behavior. “No, Honey. Of course not. Haven’t you ever had a reproductive health exam?” It’s supposed to be a standard part of healthcare after an omega’s first heat, but with only two beta parents in the home, Steve doesn’t know why he’s surprised. “It won’t hurt,” he reassures him. “Just relax down against the bench and be good from now on, and we won’t do a punishment spanking after, okay?”

“Really?” Bucky is clearly motivated by this promise, as he stops sniveling as much and nods when the doctor comes in. “Okay,” he says quietly, and Steve smiles and praises him,

“Good girl.”

The school’s doctor is a calm and friendly beta male, and though he doesn’t make any attempt to ascertain Bucky’s consent or opinion on what they’re doing there today, he does speak calmly to Bucky and talk him through each and every step of what happens, before it happens. Steve stays sitting right in front of Bucky the whole time, holding his hand and keeping his own wrist up by Bucky’s face so that the boy can continue to use his scent to self-soothe.

Bucky goes red in the face as soon as the doctor flips his uniform up and starts palpating and examining his genitals. Even though Bucky's almost certainly trying his absolute best not to get aroused, the faint scent of slick still hits the air after only a moment or two, and he cringes and whines in embarrassment. "Hngh ..."

“It’s okay,” Steve murmurs, trying to placate him with the words and a gentle rumble in his chest. “It’s completely normal to have a reaction. The doc's used to it. No big deal.” Frankly, for an omega to be touched between their legs and not become aroused would be cause for concern. They’re so sensitive down there that it’s to be virtually expected. But Steve can tell that this is little comfort to Bucky, who goes even redder in the face when the doctor hums in agreement and makes an additional comment about Bucky's arousal responses being healthy.

“I’m going to prep the speculum now,” he tells Bucky. “It’ll be cool and hard, but it won’t hurt you.”

Bucky whines in mortification, his eyes clenching shut. Steve shushes him and pets his hair, which he seems to like because he pushes into it and untenses somewhat. Steve knows the precise second that the speculum goes in though, because Bucky's eyes pop right back open and he makes a small, shocked sound of, “Oh!"

Steve cups his face and tries to keep his attention. “Hey, you’re doing so good,” he praises, swiping his thumb at the corner of the omega’s eye, right where an overwhelmed tear has broken out. “Doesn’t hurt, right?”

Bucky trembles and shakes his head. “N-no.” He whimpers when the doctor does something from behind, and then his eyes go a little unfocused. “Oh …” The next time he whines, it’s verging a little closer to a moan of pleasure than one of sheer worry. “Ohnn… nngh, just … mmm, s’weird.”

Steve tuts sympathetically, slightly aroused himself at seeing Bucky react this way. He clears his throat and tries to remain professional. “I know, Sweetheart, I know it’s a lot. Just hang in there for me.” He meets the doctor’s eyes from over Bucky’s back, shooting him an anxious look.

The doctor nods. “Everything seems fine, Headmaster Rogers. He’s just a little swollen.”

“Swollen?” Steve straightens, concerned. “Is it bad? He was on oral suppressants for about two years.”

The doctor smirks and shakes his head. “No, not that kind of swollen, Sir.”

“Oh.” Steve’s shoulders untense. "I see." He's maybe read a few too many medical journal articles since Bucky told him on Monday that he'd been on suppressants. "Good. That's ... good."

The doctor hums and looks back down, examining Bucky for another long moment before humming in approval and removing the speculum. Bucky’s back slumps and he makes another tiny noise—this time one of relief. “Is it over?”

The doctor pats his hip with an approving nod. “He’s a healthy boy. Nothing to indicate any lasting effects from the medication.” Over Bucky’s back, he meets Steve’s eyes again. “The risk for complications doesn’t go up very high until after the five year mark. We’ll wait on his bloodwork, but I expect it’ll all come back normal.”

“Oh, good.” Steve can’t help but be relieved. He’s definitely read too many articles, seen too many students come through the school's infirmary with much more serious side effects. “So no chance of infertility?”

“Very low,” the doctor reassures, even as Bucky makes a hurt little sound of concern over hearing that possibility. The doctor rolls his stool out from behind Bucky, pulling off his exam gloves and tossing them in the waste bin. “Nope. He looks perfectly normal, Headmaster, both inside and out. From the state of things I’d say he’s about midway through his cycle. So you can expect a heat within the next two weeks.”

Steve nods. “Yes, he reported as much. He's used an app for tracking on his phone.”

“Oh. Would you email that data?” The doctor is already standing and heading for the curtain that divides their little area from the rest of the room. “It’ll be good to have in his records.”

“Sure thing. Thanks, doc.”

“Of course.” At the edge of the exam area, he looks back at Steve. “Ahm … he’s fairly aroused right now.”

Steve smirks. “I know.”

“Right.” The doctor glances back at Bucky, then to Steve. “I can send one of the nurses in, if you have anywhere to be.”

Steve shakes his head and dismisses the man. “That’s alright. He’s mine for the evening. I’ll handle it.”

Reassured, the doctor nods and ducks out around the curtain. He’s barely gone for a second before Bucky’s shifting in place on the table. “Um, Mr. Rogers?”

Steve looks back down. Bucky is blinking at him, flustered and uncertain. Steve pats his shoulder. “You did really well, Bucky.” He stands up and goes behind him, over to the room’s glove dispenser. He pulls out one of the large sized nitrile gloves and pulls it on. “How’re you feeling?”

“Uhm. Okay.” Bucky can’t see him from his position, so he wiggles impatiently. “Can you help me to, erm, get off of here?”

“Hmm.” Steve walks over and sits on the doctor’s abandoned rolling stool. He rolls to Bucky’s side, popping into his field of vision and giving him a knowing look. “You sure you don’t want help with this first?” At ‘this’, he lets his gloved hand touch Bucky’s flank, edging closer to his exposed backside. He watches as the boy's eyes widen and his cheeks colors anew. “It’s okay to ask for help,” he reassures. “You don’t have to be embarrassed.”

“I’m not embarrassed,” Bucky lies.

Steve arches an eyebrow. “You sure? Masturbation isn’t allowed. Did you remember that rule? You need to ask the staff if you need release.”

Bucky huffs angrily. “Why not? Why do we have to ask you guys? Why can’t we just—”

Steve taps his ass lightly, more to get his attention than anything else. “Submission, Honey. We’ve been over this already. That’s what everything here comes back to: learning to depend on somebody who can take care of you and give you what you need. You have strong sexual urges, and that’s okay. It’s completely natural. But you need to learn to turn to your alpha to get your needs met., otherwise they never fully will be.”

Bucky pouts. “You’re not my alpha.”

“That collar around your neck says different. And so does the paperwork your parents signed.” Bucky's face twists into a frustrated moue, stubborn little thing. Steve sighs. “Hey, I know you didn't choose this. I’m your official alpha right now, but one day you’ll find someone you actually want to be with, someone you want to marry and have a family with. All these rules you're learning are just to help you adopt healthy habits. So you can model correct relationship patterns.”

"I already do."

Steve snorts. "Honey, casually sleeping with 'thirty-something' people by your age is not a healthy relationship pattern."

"You just want us all to be lily white virgins."

Steve rolls his eyes as he rolls the stool farther back towards Bucky’s backside. "Certainly not. But hookup culture only serves irresponsible alphas and betas. It doesn't do anything to help you guys with your needs for bonding hormones."

"Another scientific study?" Bucky sneers.

"You got it." Steve looks down, a quick glance showing him what he already knew he’d find: a wet and swollen, little pink rim, clenching hard on nothing. He tuts sympathetically. "Oof. That looks painful."

“Hey, don’t … don’t look,” Bucky complains.

“Oh, hush.” Steve pats his butt—he really does have the sweetest little ass. “You’re very beautiful, Bucky. Every part of you is.”

That, right there, is Steve stepping over the line. Oh, he’s got no qualms about personally appreciating the form of an attractive young omega student, it’s only natural for him to find Bucky beautiful. What’s less appropriate is him commenting on it. Because, to be blunt, not every student in Steve’s care is traditionally attractive. Steve’s still responsible for helping them all equally, and thus it’s always been his policy to avoid complimenting students on their looks when possible. It avoids hurt feelings, subverts any competition between the students who are more naturally prone to jealousy over their shared Alpha headmaster.

But the words are out of his mouth before he can think better of it, and Bucky reacts obviously in the way that he flushes and squirms, instinctively pleased at being approved of in such a way. Steve decides that, since it’s just the two of them alone, he might as well let his guard down a little bit. Bucky’s shown a propensity for skewed thinking, after all, and he needs to be helped to form a positive self image. “You’ve got a lovely body, Buck. Even here.” At ‘here’, he lets his thumb dip a little further into his crack, not touching his hole, but pulling his cheek out enough to get a really good look at the sweet little clench of his rim. Steve hums appreciatively. “Just like the doc said: very healthy.”

Bucky whines and squirms. “Let me up.”

“I can do that. But you’re very wet, Honey.” Steve reaches down between Bucky's legs to glance fingers over his stiff little prick. “And hard.”

“Nnn.”

“You’re not going to have a very pleasant evening if I leave you like this. Are you sure you don’t want some relief?”

Bucky’s body stays tensed, his asshole blurting out more slick from Steve’s hand touching him even just that little bit. He seems to consider it as a real option for a moment, waffling over his decision, but eventually gets out a terse little, “No,” forcing himself to ignore what his body needs. “I don’t.”

“Really?”

“I don’t want you to do it,” he grits.

Steve sighs, not too surprised by that. Bucky’s still resentful of the one person who has complete authority over him. Steve'll probably be the last person he yields to. That’s the way it often goes with the bullheaded kids: they come around to their teachers first, Handlers second, and submit to Steve as their alpha last of all. It’s to be expected, but Steve can’t say he isn’t more disappointed than usual, in this case.

Because he isn't lying to the kid just to improve his self esteem: Bucky really is uncommonly beautiful. A handsome, small but strong boy who is exactly Steve’s preferred type when it comes to omegas. And his scent is … Well, all omegas smell lovely, but Bucky's scent is unusually fascinating.

Ever since that first day in Steve's office, when he'd submitted with such an easily provoked release, Steve’s wanted to get a better sense of him. This would have been the perfect chance to do that. Steve would’ve relished the chance to coax an orgasm out of him today, but if Bucky needs more time to truly relax into it, then he's willing to wait. Not like there won’t be plenty of opportunities in the future, once the boy's sexual urges have built up enough to have him eagerly submitting.

Steve closes his eyes and takes one last, indulgent inhale of that spiced, floral scent that’s only made stronger by the arousal. Viburnum, he realizes. That’s what it reminds him of. It clings to the edges of the earthy undertones of Bucky's scent, enhancing it to something truly alluring. Regretfully, Steve pats his hip and rolls away on the stool. “Okay,” he says, trying not to let the disappointment come through in his voice. “That’s alright, Sweetheart. I’ll have the nurse sent in to help you.”

“What? No.” Bucky twists his head in the restraints once again to look back at Steve where he’s removing the medical glove and standing up. His eyes widen when he sees the blue glove going into the waste bin, not having realized that Steve had donned it, having literally been prepared to finger him to orgasm. His mouth works helplessly for a moment, open and shut in a loss for words. “I don’t want anybody to do it.”

Steve walks back around in front of him and crouches down to his level, fixing him with a doubtful look. “Well that’s your choice, Honey. But you still won’t be allowed to touch yourself, you do realize that? If you change your mind after lights out tonight, then you’ll have to wait all the way until tomorrow morning to get a staff member to give you any relief.”

Bucky pretends to be unaffected, but Steve can see the brief flash of panic in the boy’s eyes at the prospect of going that much longer without an orgasm. “Fine,” he says, putting on a brave face. “I don’t care.”

Steve isn’t a fool. He knows that Bucky is almost certainly planning to break the rules and touch himself at the first available opportunity. Still, some lessons can’t be taught until mistakes are made and bad behavior corrected, so Steve nods and stands up to start unbuckling the bench’s restraints. “Okay, your choice, bud."

Bucky climbs off the bench once he’s able to, and Steve hands him his underwear to put on. His little prick is completely erect as he hurriedly pushes the uniform’s skirt back down, and he winces in discomfort as he pulls up the two layers of his underwear and gets them into place on his oversensitive body. “Ugh,” he huffs quietly. “Stupid.”

Steve chuckles, though he honestly feels more pity for the kid than anything. Bucky’s regret over having turned down an orgasm is so obvious it’s near palpable, his scent still rich with arousal. And just like Steve knows without a doubt that the back of the boy's underwear is already getting a wet spot, he also knows that he'll be checking the dormitory’s security feed later that night. With the level of certainty he has over Bucky’s plans to break the rules and touch himself, Steve figures he might as well start planning out what corrective measures they’ll inevitably be instituting as punishment.

“Come on,” he says, putting an arm around the kid’s shoulders and guiding him out of the room. “It’s dinner time. You must be getting hungry.”

Bucky says that he isn’t, but his stomach betrays him by growling loudly not two seconds after.

Story Masterlist

Masterlist

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