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arisuworld · 8 months

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HOW TO PERSIST?

So, now we all know how self concept is one of the most important key to manifestation. How you view yourself in relation to the world around you is extremely important and can greatly affect how you manifest. However, persistence is another key to manifestation that often gets overlooked. It is as important as self concept.

Now, I know why it can be hard. At some point of my life, i couldn't persist no matter what. It was hard for me. 3D and circumstances made it hard for me to persist. However, Manifesting in general is very easy but it does require a certain amount of discipline and mental work. It truly gets difficult for most people, when an unfavorable circumstance happens in 3D. Everything seems to be going well but then all of a sudden everything starts falling and you start seeing the opposite of your desires. Then circumstances and everything going on around you, makes you question, doubt yourself and even start spiraling, not knowing what to do.

Everyone has been in this kind of situation and they don't know what to do. So, now I'm gonna tell you what you should do when you're in this situation, no matter what the circumstances are.

• WHAT DOES PERSISTING MEANS?

per·sist /pərˈsist/ verb

continue firmly or obstinately in an opinion or a course of action in spite of difficulty, opposition, or failure.

Basically, persisting means to continue to dwell in the new assumptions despite the difficulties or obstacles that may come in the way.

• WHY IS IT SO IMPORTANT?

"An assumption, though false, if persisted in will harden into fact" — Neville Goddard

No matter how crazy your assumption sounds, no matter how delusional you sound, if you PERSIST into it, it will harden into fact. The 3D will always conform it in front of your eyes.

• IS BEING PERSISTENT AND CONSISTENT SAME?

People often confuse persistence with consistently. Affirming 24/7 till they pass out or their head hurts which is so wrong. Persisting isn’t affirming, it's knowing that your desire is inevitable. You feel safe and secure knowing THAT CREATION IS FINISHED. The moment you’ve finished your visualisation, affirmations, SATs or have just simply stated that your desire is yours, then your desire has already been completed. Your “job” is to just continue KNOWING that it’s yours, which is basically PERSISTING.

• HOW TO PERSIST?

Persisting means to live in the end, to completely live in your imagination (4D) and to ignore any unfavorable circumstances that the 3D may throw at you. Live in your imagination as it is the ONLY true reality that matters to you. When you see something you don't like in the 3D, turn inwards to your imagination and live within.

1. TAKE A BREAK: The main cause of a spiral is usually a result of seeing something unfavorable in the 3D and becoming overwhelmed. You feel like doing something to change the situation, to make it better somehow. Therefore you panic and try different techniques, methods at a time to fix the circumstances. However doing this will not help you fix anything. It will only manifest the opposite. No, let me ask you something. If you had your desire, would any difficult circumstance trouble you? Would it affect you negatively? No right?. All you're doing is interfering with your manifestations. Instead of trying to make it happen, you just have to let it happen. So, i would recommend you to take a break from ALL manifesting-related things for a few days for a week. Like delete tumblr, instagram, unsubscribe from LOA youtube channels. In this time period, i suggest you to do meditation, yoga nidra and journal out your feelings. Let yourself feel any emotions and vent out whatever’s bothering you. Don’t keep it all bottled up. Let it out for once and all.

2. DON'T SEEK VALIDATION FROM 3D: When you’re truly in the state of KNOWING (you already have your desires), you will be much less likely to spiral. Why? well, as i stated in the first point, we spiral primarily because we experience something unfavorable in the 3D. But when we’re in the state of knowing, we KNOW that the 3D is temporary and that our desires ARE COMING, no matter what, it’s inevitable. No matter what happens, your desires are already yours, is all you need to understand.

3. IMPROVE YOUR SELF CONCEPT: Self concept is the only thing you need to manifest. If your self concept is good then nothing can stop you from getting your desires. Now, after you feel like you’ve taken enough time “off” from manifesting consciously, now you can start easing back in. I recommend you to do a mental diet. It's easy, simple and so effective. All you have to do is be conscious of your thoughts, and flip your negative thoughts to positive. Whenever you get a negative thought related to your manifestation, just flip it around and be like "no, i already have my desire". That's it's, it's that easy.

• CONCLUSION

Persistence can be very hard sometimes but it is extremely important in order to manifest your desires! The best thing to do is to remember that you're the god and remind yourself that circumstances do not matter. Always, remain faithful to your new assumptions and don't let outer circumstances rattle you. Circumstances are temporary, they change in seconds. And, You are the god of your reality and everything has to go your way, no matter what! Never give up. Always persist, persist and persist. The 3D will always conform in front of your eyes.

#manifestation #manifestation blog #void state #loa blog #law of assumption #loassumption #loa #void #manifesting #manifesation #i am state

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brothermouse · 2 years

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So I’ve been kinda fed up with listening to ‘Christians’ talk about Mormonism, so to take a break from that I decided to start doing something that would piss off some Bible Thumpers: read the Quran.

To be fair, though, I’m not exactly reading it, I’m listening to an audiobook version.

Anyways, I thought I’d record my thoughts and impressions here. I don’t know too much about Islam, but I thought it might be interesting to look at another faith’s holy book through a Mormon lens.

For the record this is the version I’m listening to.

This all just gonna be string of consciousness stuff as I ‘read’. I’ll try and and give references to where I’m reading from, but I might get things wrong. Sorry if I ramble.

First part is the introduction from the translator.

Just hearing about what the Quran is I think It's not fair to compare it to the Bible or the Book of Mormon. It’s not a narrative story. It's more like Doctrine & Covenants; a collection of revelations around specific circumstances that have wide application by virtue of being The Word of God.

First Chapter: The Opening

It begins with a sort of prayer to God. It's very short and very nice. I like it.

Second Chapter: The Heifer

Next part has a retelling of the Adam and Eve story and little of the creation. Not as detailed as the Bible, but it hits the important points.

It quickly runs through the story of Moses, again, less detailed than the Bible, but hits important points. I guess in Islam they must also read the Torah or some equivalent? Or at least there’s an oral tradition? The text references Biblical stories a lot. So there’s gotta be some way for them to be familiar with them. I’m just wondering how.

It talks about some confirmation bias. People who reject the truth before them because it doesn't fit the truth they want. There's also some talk of hardening hearts. Sounds familiar.

"They say We believe in the what has been revealed to us, while they deny what has been sent down after." -“A Bible, we have got a Bible, and we need no more Bible.” 2 Nephi 29:6

"Those are a people who have passed away, what they did is theirs, what you do is yours" I think this is specifically talking about Abraham and Isaac, but it reminds me of the sec Article of Faith “We believe that men will be punished for their own sins, and not for Adam’s transgression.”

There's a part here talking about the direction to pray (towards Mecca) and it seems like to main purpose is to help make a distinction between Muslims and other faiths (Christians and Jews are named). Makes me think of the way we often, though not always, have our temples face east or towards Salt Lake. It's not an exact parallel, but I, like Ultron, find the geometry of faith... fascinating.

There's some dietary restrictions here: "Eat the wholesome things...He has forbidden you only blood, carrion and the flesh of swine." So, no blood (does that include raw steak?) or pork, and I'm guessing carrion means animals that weren't slaughtered but died on their own? I imagine that, like with the Word of Wisdom there's room for interpretation.

There's some talk of fasting, and it goes into some detail. One thing I like is that "for those who can fast only with extreme difficulty, there is a way to compensate, the feeding of a needy person". I see fast offering parallels, but I have some righteous envy that this clear alternative to fasting is played out so clearly.

Apparently Ramadan is the month that the Quran was given And that's why they fast for it? I actually didn't know that. Neat!

I also like how there's a provision that if you're sick or traveling during Ramadan, you can just shift your fast. So if I'm horribly sick the first three days, I can just start and end three days later. I'm sure it's more complicated than that, but that's how I understand it.

"God desires ease for you, not hardship." - “Adam fell that men might be; and men are, that they might have joy.” 2 Nephi 2:25

Lotta talk about pilgrimage. I'm guessing this is the pilgrimage to Mecca, unless there's another one I don't know about. It kinda makes me think of Trek, which feels like a decentralized, youth focused, small scale pilgrimage of sorts. I know people have all kinds of problems with Trek, but I think looking at it through that lens makes it more meaningful? I dunno. Weird thought. Rambling.

"They ask you, Prophet, about intoxicants and gambling. Say, there is great sin in both, although they have some benefit to people." -strong drink is not for the belly WoW

There's a section that lays out a lot of rules around marriage, divorce, and family. Clear rules like this are unusual to me. Most rules in Mormon scriptures are squishier. Vague and open to interpretation unless clarified by modern policy. I imagine there's plenty of modern Muslims that have arguments that make these rules squishy, but it's just unusual for me to see clear rules like that.

I guess the Mormon approach is "Learn correct principles, govern yourself" and I do like that, but I can also see the appeal and draw of this sort of "Book of the Law" approach. Both have value, benefits, and drawbacks. It's just an interesting contrast. Having clear rules set out in scripture like this would definitely encourage careful study and scholarship of the text, but it can become ridged and dated. The squishy method allows for more adaptability, but that can get pretty far out of hand if you’re not careful.

I think overall so far, it’s nice, I like it. The only issue I have is that there’s a kind of ‘combative’ tone. By which I mean, there’s a lot of, “these people do this, and you shouldn’t” from what little I know about Islamic history, that sort of boundary marking makes sense. It was and is important and necessary to differentiate your faith from others in this way. But it just rubs up against my Utah Mormon sensibilities. Us Mormons HATE confrontation, even with other Mormons. We try and get along and not pick fights or cause a fuss, so this more combative, defensive approach from a religious text makes me a little uncomfy. I’m not saying it’s bad or wrong. It’s just different from what I’m used to. Besides, it’s not like I can change it, so I’ll just live with it.

That’s as far as I got for now.

#lds #mormon #mormon church #Islam #Muslim #Quran #book of mormon #a Mormon reads the Quran

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neat-video-crack-dr · 2 years

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vasiliquemort · 3 years

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Hi I saw your post about wanting requests about Secunda and I just wanted to say... I absolutely love the game, no lie at all. The prose is so beautiful and poetic, it inspires me! I love all of the characters of course but there's just something so heady about the allure of Tizian as your soulmate and I love him so much... I don't know exactly what to request that wouldn't be spoilers, but. if you have facts to share about Tizian? that would be amazing!! Thank you for all your hard work!!

Thank you so, so much!! *--*

In fact, you can probably guess that Tizian is the most special for me - this is a character that I have been thinking about for a long time and for whom I have very related feelings. I am sincerely glad that you also loved him, and your question put me into a state of such inspired frenzy that I decided to specially make a small drawing to please myself and you;з

This is not much, but it helped me to get out of a completely devastated creative state, so thank you so much, and I am just bursting with pride that my words and art could inspire someone~

There, after the cutout, there are quite a few different things that in one way or another mattered when I wrote Tizian, and which may seem interesting. Words on different topics - sources of inspiration, general motivations, connections with other characters and trends in relationships, some words about Edwardis, Charet and Cybele also. A lot and rather generalized, simple and non-artistic language, but I hope you will like it;***

Thank you so much again;з

Tizian's cultural origins are quite diverse, but to a greater extent I imagine him as a Georgian - a man from the warm lands of a dark vineyard, a man of the sea and the refined gloom of a medieval city. But he is a traveler and absorbs culture and traditions as much as he wants, and other sources of inspiration were Mongolian, Greek and Persian culture. He has a southern sensuality and temperament, but at the same time a cold-blooded disposition and a refined gloom of the north. He changes his guises, and the modern empire of magicians, the new Epirus, which was inspired by old Rome, influenced Tizian's perception of himself as a man and a magician dramatically. At the same time, the old Epirus is more based on the Macedonian and Persian empires.

As I said, Tizian was the first for me in all respects, and, as with the creation of other characters, the Mill, a Russian folk group, greatly influenced me. Their songs have many elements that inspired Secunda and my view of creativity - ballad “Road of Dream” about kindred souls found in the world of dreams, “Believe” about the raven lord of the underworld of Colchis, who offers himself and his helping hand, as well as "Tristan" about the faithful and powerful knight-changer, and, of course “Night Mare”. Charet, for example, was inspired by the song "Hold Me", where it is sung about the king of snakes, who transformed the one who was enlisted for him alike himself and later stole them, and "My Joy" about the loving embodiment of the logos, the demon burning from the inability to be near his human. Holt was inspired primarily by “The Queen” about the lady falcon, the mistress of the northern mountains, who also comes to her bard in her dreams, but remains as distant as a star, a ghost, and partly “Winter”, and “the Lord of Mountain Roads”.

Tizian was inspired by different characters, or rather my own idea of the villain-sorcerer with all the primal passion and sophistication of the demonic image of the night. Initially he was inspired, for example, by Pitch Black or Walter Padick (Matthew McConaughey), but over time this feeling has become very blurred. Now I draw him after Lisa Edelstein, especially thanks to her curls, striking eyes, refined smile and general refined femininity, which is amazingly easy and pleasant to interpret. In my work, the idea of hyperfeminity and androgyny is in itself important, and Tizian dances between them all the time, although he remains the most masculine and close to the traditional idea of a man from all other LIs.

Tizian is extremely manipulative, he is one of those who everywhere demonstrates amazing openness and sensuality to the majority of those around him - he is a talented negotiator and diplomat, everywhere uses his natural softness and sensuality, hiding under them an unfeigned rapacity and cold calculation. He is attentive and careful, always trying to play a seemingly unsuccessful situation in his favor, Tizian does not feel any shame, playing on the feelings of others, always remaining impartial and alienated inside, but hardly worth driving him into a corner, he will strike mercilessly and deadly. He loves to confuse people with his contrasts, rumors about him are gloomy and frightening, and he will gladly use any disguise that falls into his hands.

But his attitude to the Archon is strikingly different - the character scares and attracts him, and every word you say will affect his train of thought - from the very beginning he builds intrigues and subtle games in an attempt to get closer. He is cold and passionate, distant and loving at the same time - his need and love are sincere, but he is infinitely careful and manipulative while trying to achieve reciprocal feelings. In his relationship with Archon, the imbalance of power is constantly playing, and, as with all LIs, the whole process consists in liberation from these boundaries and dangerous dependencies. But Tizian under no circumstances will become a source of danger and burdens for the Archon - on the contrary, in his plans to be the first and main ally on your side, he will try to use all the resources and opportunities available to himself to support your ambitions - and he is selfish enough so that at the same time he was not affected by the needs of others. Depending on what the Archon needs from him, Titian will behave differently - outwardly, he can either leave the appearance of mutually beneficial business relations based on the exchange of power and resources, or he will emphasize their connection, alone or in plain sight, and push the Archon by all means into a waiting embrace.

His followers do not seem to him as a family, with a big stretch they can be friends for him - in them he sees a personal interest and treats them the same way as they used to treat him - a tool and a resource. He is a talented and cautious leader, but he always treats people with deep calculation - he had a family that he was deprived of, and he does not easily replace someone, he is not able to love a random person enough. He is deprived of constancy and peace, although all his life he strives and needs them, therefore the only constant that he is able to afford is his soul mate, and for most of his life his thoughts and motivation have always been aimed at this opportunity to get everything he needs. next to them. He is very dangerous if something stands in his way, he has no other place or opportunity to realize himself, he is aware and terrified of his tendencies, but still carefully feeds his demons.

Tizian is a talented necromancer and is especially drawn to the dark arts - this is the gift of his patron, Cybele, but from his unobvious talents is the reading of runes and the creation of skillful witchcraft. In reality, he is not as interested in power and knowledge as he wants to appear - his needs and interests are met by few, he is more likely to spend time reading poetry and historical chronicles than aimless greed of arcanic knowledge. Of course, he is greedy and all-consuming in his rage, and in the worst moments his temperament quickly picks up, but anger and a thirst to dominate is not the quality that he would like to see in himself.

Once in the south, he will face many difficulties and concerns, but, like for the Archon, these lands will not be something that broke him. He is disappointed in the Secunda’s society and its orders, but not surprised, for him these difficulties are just one more step on a long path, he has no special expectations, but he knows exactly what he needs right now. Tizian is a man who needs amazingly simple and understandable things, but is forced to build long multi-walkers in order to achieve these goals.

In relationships, I would describe Tizian primarily as a person who is amazingly gentle and affectionate - for him there is a significant difference between how he is obliged to deal with the Archon who will not give anything beyond their own benefit, and the Archon who really loves and wants see him near. Tizian doesn't care about power or domination, but he is a person who is easy and pleasant to rely on - usually he will let you do and decide whatever you see fit, but he is always at arm's length if you need his help. First of all, Tizian seeks calmness and comfort, he is amazingly gentle and homey, if you know how to handle him correctly.

The first meeting with him can be described as a moment of instant recognition - as if you see a person with whom you have passed your whole life, but this is not a moment of longing and desperate need, this feeling is very soft and pacifying in itself. In this situation, the Archon will be obliged to maintain their distance and be careful, while Tizian suffers from a lack of attention and a desire to be closer. For Tizian, this will be the right time to demonstrate his ability to influence people and how he can wrap his abilities for the Archon, although to society their relationship will immediately seem strained and cold. Their real meeting, when they can be alone, will have a special impact on Tizian, but at the beginning of a relationship he prefers to play from a distance, watching your actions very closely. He is very open with his desires and feelings, but will allow you to close the distance on your own, he seems invariably reserved and careful, but he has an incredible temperament and passion, which is very easy to let flare up.

Titian builds a special bond with Edwardis, their motivations and life experiences are almost identical, and although they have a sharp difference in temperament and position in society, they have a strong relationship based on mutual benefit, interests and respect. These relationships cannot be called paternal or brotherly, they prefer to maintain a respectful distance and observe each other from the sidelines, preferring to influence the Archon separately, without mixing their feelings and attention. But Tizian has the same tendencies as Edwardis - his life was destroyed by a witch hunt, but even if he was not born a magician, he would have to live in a society and under the hand of traditions and laws that are insensitive and inhuman to anyone. Cybele guided him, gave him her own guiding star and the promise of a future he desperately needs - and thereby endowed him with a crushing rage and cruelty that swept away everything else. But as long Tizian will get what he needs so badly, as long he will be next to the Archon, the snake will twist into a ball, and he will become a completely different person - his natural gentleness and caution will be revealed, he has an amazingly gentle and calm disposition and many other possibilities self-realization, not only manipulating and inflicting pain for the sake of survival and personal gain.

With Charet, as already mentioned in novel, Tizian's relations are very difficult - in one of the outcomes they can create a powerful triad with the Archon, uniting to take care of them and their interests, in the other outcome he will be the best ally if the Archon wants reject their patron. In both cases, Tizian has the most advantages, Cybele knows him very well - as well as the fact that he can change the dynamics of the Archon's relationship with Charet for the better, and at the same time remain happy and satisfied in all respects. At the same time, Tizian has more opportunities and desire to oppose both Charet and even the Archon themselves, he is ready to go against his kindred spirit, if by this he will push them towards liberation from burdens and vices, if then they can be with him forever in the halls of Cybele Tizian tends to be an external, destructive or creative, force, and he is no stranger to being a villain for sake of himself and his soulmate.

The personification of Cybele is a mare, and Tizian has always had a tender love for horses, like a nomad he was always attached to them. He lost them in order to move to the islands - but in his belongings remains the skull of his old friend, Morena, whom he summons when he needs her. The mare who appeared in dreams was Cybele - in the subtle worlds the patrons are associated with their vassals, in the same way the Archon always feels the movement of the scales of snakes on their skin. In turn, Cybele is a Greek and Roman goddess who personifies the feminine principle, whose lamia priestesses dressed in black horse hair and worshiped the night. Her priestesses were always chosen from the most beautiful and skillful in lovewomen, but they were just as striking and dangerous, as the appearance of a black mare in dreams could be both an omen of death and great love. In the same way, another mare goddess, Hecate, patronized horse breeding and dark magic, she also led the Wild Hunt, raising crowds of the dead, red-eyed dogs and demons in the night.

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dontgofarfromme · 4 years

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dathen replied to your post “Mmm okay just because the handling of race in tma has been on my mind,...”

what’s your opinion on white actors playing PoC? I know Penumbra and other podcasts do it, but have seen it spoken against. Most of the main cast was established in s1 as unpaid voice actors/family/housemates so I’ve seen a lot of mixed opinions on confirming them as PoC with white voice actors

Yeah, this is an issue I have mixed feelings about personally, and I know there’s probably a really large variety of opinion among fans of colour. Personally, I’d really prefer it if actors of colour were hired to play characters of colour--casting white actors contributes to taking away opportunities for actors of colour, who already have difficulties being cast anyway. Ideally, that’s what I’d want--actors of colour cast in these roles.

However, I feel like lately (we ran into this with critical role too...) I’m seeing situations like this, where a majority white group of people with pre-existing relationships start a thing, and the result is either...a completely white cast or white people playing characters of colour. (And again, I equate the lack of confirmation of any race to just making all the characters white. Podcasters especially love to do this “they don’t have a race” thing and it’s uh bullshit. You can’t create a “raceless” character because there are no “raceless” people. I almost feel like I’d like it better if creators in situations like this just said okay, fuck it, all our characters are white, because at least you’re owning it instead of trying to appear diverse with little to no effort?)

In this scenario, I’m still frustrated by the lack of opportunity for non-white actors. I want to critique situations like this by saying “Get a less white friend group oh my god!!!,” but I feel like that...doesn’t exactly help. So yeah, there are times when I look at situations like this and I go, okay, if they have to have an overwhelmingly white cast and they can’t cast people of colour, fine, go ahead, play a character of colour if you’re white. The role wasn’t going to go to a person of colour in the first place. I’m tired of shows with only white characters. (And if you’re going to do this for gods sake research, actually talk to people of the race you’re going to be playing, hire a sensitivity reader, whatever--try to write and play these characters well. Major problems with this can arise because in a show written by white people with characters of colour played by white people it’s really easy to run into steryotypes or harmful tropes if people aren’t thinking. Or in the other direction, charccters who are stated to be characters of colour but who are written/played by white people sometimes still read as white, probably either again, due to a lack of research or thought, or due to a worry of “screwing it up”--for example, I’ve seen critique to this end regarding Hamid from rqg, and this applies to Beau and Nott from cr as well imo).

The real issue in cases like this to me is just a lack of thought towards racial diversity in the first place. If you’re creating a show like this (especially something that was intended as a show rather than something that was thrown together somewhat accidentally like cr) and you know you’re going to reach out to your friends to fill roles because you’re low budget, why not reach out to your friends of colour? Why is it that white people are always thought of and prioritized and incorporated into things like this while people of colour are not? (And if your friend group is overwhelmingly or exclusively white....why is it that way lol).

I don’t know the exact circumstances of tma’s creation, and I understand that this is a complex issue. I don’t have a perfect solution and I don’t know if there is one that will satisfy everyone and effectively diminish the negative impact of having a majority white cast. The only way to fix something like this entirely is to avoid it in the first place--to think about race and to think about people of colour in the creation of your work. And to think about us in specifics--not to write us as tokens or as ambiguously brown facades but to consider specific cultural backgrounds and how that impacts the characters that are being created and how they should be portrayed. And to intentionally incorporate us in the process of creating, as writers and actors and every other job involved.

If white people were conscious of race rather than treating it as something that can be dismissed via a hand wave and a statement of “they can be any race you want,” something for which a “neutral” state is possible, we might run into these issues less. But as we are now, these situations where an all-white friend group created something and are now in a bind regarding racial diversity in their show keep coming up, and it’s just frustrating we are forced to deal with the consequences of that lack of thought again and again.

#dathen #the magnus archives #i didnt mean for this to get this long but i have Thoughts oops #the whole #'but when we started we were all frieeeeeennnnds' thing #is becoming very very frustrating #also like my opinions on white people playing characters of colour #also vary depending on the like popularity of the thing #if that makes sense #for instance #with the legend of vox machina?#all the characters of colour in that should be played by people of colour #you dont have ANY excuse once you're that big #and once you have the ability to choose from a massive selection of actors #(they should also hire fricking sensitivity readers/cultural consultants/whatever #if they havent already #but i digress)#alSO there are massive issues with undercompensating poc/expecting work for free/etcetc #i feel like the situation is different if u and a group of ur friends are all starting a thing and none of u are getting paid?#but im not any kind of authority on any of this so like. listen to the poc you are working with #and dont expect free shit or free critique of ur work from ur friends etc

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asma-al-husna · 3 years

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Allah calls Himself Al-Musta’aan— The One whose help is sought— on two occasions in the Quran. Al-Musta’aan is the one whose assistance and support are sought and in whom refuge is taken. Any help the creation provides to each other, is through His help alone!

The One sought for help

Musta’aan comes from the root ‘ayn-waaw-noon which points to two main meanings. The first main meaning is to seek or ask for help and assistance and the second is to aid, cooperate and help one another. A third meaning is to be middle-aged.

This root appears 11 times in the Quran in five derived forms. Examples of these forms are wa a’aanahu (“and helped him”), ta’aawanoo (“help one another”), nasta’eenu “(we ask for help”) and ‘awaanun (“middle-aged”).

Linguistically, isti’aanah refers to the concept of seeking help. It comes from the same root as nasta’een— we seek help— ta’aawun –help one another- and musta’aan – the one whose help is sought. Allah is Al-Musta’aan, which means that not only He is the Helper (An-Naseer), but He is the only one whose help first and foremost should be sought. He is the One who knows, sees, hears and controls all affairs and therefore His help is perfect at all times.

Al-Musta’aan Himself says: . . .And they brought upon his shirt false blood. [Jacob] said, Rather, your souls have enticed you to something, so patience is most fitting. And Allah is the one sought for help against that which you describe [Quran, 12:18] and . . . [The Prophet] has said, My Lord, judge [between us] in truth. And our Lord is the Most Merciful, the one whose help is sought against that which you describe. [Quran, 21:112].

The meaning of seeking help from Allah

In Islamic context, isti’aanah means to seek help from Allah ‘azza wa jall alone and it is an act of worship. In some circumstances seeking someone’s help other than Allah is considered as shirk and in certain circumstances it is not.

Firstly, in some issues you can only ask Allah and Allah alone and asking others in these circumstances is major shirk. Examples are asking others to seek blessings, provisions, removal of a disease or giving security.

Secondly, there are both worldly and religious matters that can be sought from the creation, however with certain conditions. An example is when you loose something and ask someone to help you look for it. Still you first turn to Allah and then ask the assistance of someone else in that matter.

The one sought for help needs to meet three conditions: they have to be alive, present and capable. We cannot ask the dead for help and we cannot ask those for help who are not present (the prophets could also not hear the calls for help from people who were not within their hearing). And we cannot seek that which others are not capable to give; like asking a shaykh to put you in Paradise, even if he is alive and you are with him. Only Allah ‘azza wa jall is capable of doing so, and asking someone else in this matter would be shirk.

How can you live by this name?

1.Say Allaahul Musta’aan.

Each prayer you say: You alone do we worship, and You alone do we turn for help [Quran, 1:5] Do you really seek His help? Allaahul musta’aan is a beautiful statement you can find twice in the Quran.

In Surah Yuusuf, his sons clearly described something that had not taken place to Yaqoob; no wolf ate Yuusuf, but what could Yaqoob do? All he could do was turn to Allah and he said: Allaahul musta’aanu ‘alaa ma tasifoon – And Allah is the one sought for help against that which you describe. [Quran, 12:18] We can learn to use this dhikr when falsehood is presented as truth which causes you or others difficulty.

In surah Al-‘Anbiyaa the Prophet salallahu ‘alayhi wa sallam used this statement himself when disbelievers were disrespecting Allah: wa Rabbunar-Rahmaanul Musta’aan’alaa maa tasifoon– And our Lord is the Most Merciful, the One Whose help is sought against that which you describe [Quran, 21:112]

2. Seek Al-Musta’aan first and foremost.

Ibn Abbaas radiyallahu ‘anhu said: One day, I was riding behind the Prophet when he said: O boy! I will instruct you in some matters. Protect the commandments of Allah, He will preserve you. Safeguard His Rights, He will be ever with you. If you seek help, seek help from Allah alone; and if you need assistance, supplicate to Allah Alone for help. And remember that if all the people gather to benefit you, they will not be able to benefit you except that which Allah had foreordained (for you); and if all of them gather to do harm to you, they will not be able to afflict you with anything other than that which Allah had pre-destined against you. The pens had been lifted and the ink had dried up. [At-Tirmidhee]

Focus less on people, don’t fear the effect of anyone’s decisions and know that even if people seem to benefit you, the true source is Al-Musta’aan. Even though you are permitted to seek help from others; it is crucial you first call on Al-Musta’aan to provide help and rely on Him alone and not on others. So next time you borrow money of a friend, or even ask a teacher to help you understanding a lesson, first ask Allah to help and guide you and He will provide His help, sometimes by means of other people or even objects or animals (think of the birds who destroyed the army of Abraha described in Surah Al-Feel)!

3.Help one another.

Al-Musta’aan says: And co-operate all of you together upon piety and righteousness. Help you one another in righteousness and piety; but do not help one another in sin and transgression. And fear Allaah. Verily, Allaah is severe in punishment. [Quran, 5:2] Extend help in that which is good and halaal to others and never help others in doing that which Allah ‘azza wa jall forbade. For example helping someone to buy alcohol, commit zinaa, etc.

4. Limit yourself in asking others.

Allah’s Messenger salallahu ‘alayhi wa sallam said: Who will guarantee me that he will not ask mankind for anything, and I will guarantee for him Paradise (in return)? So Thawban said, “I”, and he added, “And I would never ask anyone for anything.” [Abu Dawood] Even though in cases it is permissible to ask others, limiting yourself in seeking aid from others is a characteristic of the pious and takes courage and strength and truly reliance on Allah; the promise for those people is no less than Paradise. A dhikr you can use in this context is:

‎فَقُلْ حَسْبِي اللَّهُ لا إِلَهَ إِلاَّ هُوَ عَلَيْهِ تَوَكَّلْتُ وَهُوَ رَبُّ الْعَرْشِ الْعَظِيمِ Say: Allah is sufficient for me. None has the right to be worshiped but He, in Him I put my trust and He is the Lord of the Mighty Throne [Quran, 9:129]. The Prophet salallahu ‘alayhi wa sallam used to say this seven times in the morning and evening. Revive this sunnah and live by it!

Wallahu ta’alaa ‘alem

O Allah, Al-Musta’aan, we know that You are the only One whose help is sought. Make us of those who truly seek Your help first and foremost, beautify us with the feature of not asking others often and make us of those who help others in that which is good and encouraged by You, ameen!

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scoutception · 3 years

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Dragon Quest III: The Seeds of Salvation review

The original Dragon Quest was an extremely important and influential game that built the foundations to the Japanese role playing game genre, but was an extremely basic game that would end up outclassed by nearly any other RPG on the NES released afterwards that wasn’t completely incompetent, and while Dragon Quest II improved upon the foundation of the original, namely in terms of party progression, it was also a rushed, unbalanced, overly difficult and overall tedious experience. Despite its importance, Dragon Quest’s third installment would have to be a significant step up, and as luck would have it, it was, becoming another of the most legendary and important RPGs ever made, and firmly cementing Dragon Quest as a series that would stay around even to the present day, and how exactly this came to be is what we’ll be looking at today. The version I played was the SNES remake with a fan made English patch, so many of the names in the screenshots won’t match up with official translations. Other options are the Game Boy Color version, which was officially released in English, and even has a bit more exclusive content, namely a very time consuming sidequest and a bonus dungeon related to it, the Ice Cave, and much more recently, the mobile/Switch version, which is also available in English, and is based on the SNES version, minus some of its exclusive content. Be warned, there will be spoilers.

Story: In an unnamed land, geographically similar to the real world, the archfiend Baramos has appeared and unleashed monsters to plague the land, with its people’s woes ranging from groups of bandits robbing kings and kidnapping citizens, to monsters impersonating rulers, to entire towns being wiped out by the forces of Baramos, who ultimately plots to destroy the entire world. A hero from Aliahan, Ortega, once set out on a journey to slay the archfiend, only to fall in combat with a dragon over a volcano. The child of Ortega is thus given the task of slaying Baramos themselves on their 16th birthday, with the help of a group of adventurers recruited from Aliahan’s tavern.

On the surface, it’s still not much more of a plot than the first two games, and for the most part, that is true, but it’s still much more interesting simply because there’s much more going on. Many of the towns you visit are facing some sort of crisis, or have some sort of interesting circumstances around them, such as the immigrant town that slowly changes and expands as the game goes on, making them a lot more fun to discover and explore compared to the towns of the first two games. Additionally, there’s the famous and influential late game twist that strikes after defeating Baramos, namely the reveal of Zoma, Baramos’ superior, and the second world map of Alefgard, the setting of the first Dragon Quest. These two twists are a large part of what made Dragon Quest III so impactful when it came out in 1988, and considering the game presents itself as unrelated to the previous games, and that by the time you defeat Baramos, you’ll have explored the entire world, barring two small locations at most, they hold up fairly well even today. There’s not much more for me to add besides this, however, so it’s time to hop straight to the gameplay.

Gameplay: Dragon Quest III uses the same turn based battle system as the first two games, and besides things like new types of spells and weapons, not too much is changed with the combat itself. The biggest change DQ3 provides is to the party progression system. Instead of the Hero being completely alone like the first game, or gaining two fixed party members in the second, DQ3 allows you to build a party from the ground up, besides the Hero, who’s always required to be in the party, and has the exclusive Hero class, with well balanced stats and unique and useful spells. The party size has been increased to four at a time, and party members can be created and exchanged in Aliahan, with a total of 8 different classes they can be: warriors, slow, yet well equipped physical fighters that act has tanks and heavy hitters, priests, who specialize in healing and support spells and, contrary to most healers in RPGs, actually have decent equipment and offensive options, mages, typical magic attackers with great offensive spells, yet bad physical stats, martial artists, physical attackers with great agility who forgo most equipment and have a higher chance of landing critical hits, merchants, average at best fighters who have supporting abilities like being able to earn extra gold after battle, gadabouts, odd and clownish characters with bad stats besides luck, and a fixed chance to simply goof off and take random actions instead of doing as commanded, thieves, a class exclusive to the remakes, with great agility and several abilities that mainly help with exploration, and sages, who learn nearly every spell in the game, and have a wide selection of equipment options, yet cannot be put in the party to start.

Compared to Final Fantasy I, which had a similar class based party system, and came out only a few months before DQ3, this system actually has quite a few advancements. Most importantly, you’re never simply stuck with the party you start with. As long as you can make it to Aliahan, you can simply make new characters and swap out whoever you’re currently using. Obviously, doing this too much isn’t very practical, considering new members will be behind on EXP, but not being able to permanently lock yourself into an awful party combination is a big improvement alone. Party members who have reached level 20 can also change classes at Alltrades Abbey, resetting their level to 1, and cutting their stats in half, but keeping any learned abilities, meaning, if you were so inclined, you could make a mage with the physical stats of a warrior, a warrior with the speed of a thief, and so forth. Changing classes like this is also the only way to get sages into the party, and even then, only with the use of a Words of Wisdom book, of which only two exist in the game. This lends itself to a lot of creativity, and while I personally didn’t use this mechanic much, only turning my priest into a sage, it’s still an impressive level of complexity for a game this old.

The class balance is also fairly interesting, as beyond the upsides and downsides already listed, classes also level at different rates. Warriors are expensive to equip and very slow, but level the fastest out of the main offensive classes. Martial artists are, by contrast, very cheap, but have the third slowest leveling rate in the game, and the little equipment they do have is usually pretty difficult to get, especially their weapons. Merchants are guaranteed to eventually fall behind if you try to use them, but actually have quite a bit of exclusive, and good, equipment early on, and level the fastest out of everyone. Gadabouts are liabilities, but level second fastest, and can become sages for free once they reach level 20, making them an investment class. Despite how several classes are very obviously inferior in the long run, you actually can get away with some pretty unorthodox party combinations, at least earlier on. Take my party of hero, warrior, martial artist, and priest: very strong physically, but expensive to upkeep, despite the martial artist somewhat balancing it out, and lacking in offensive magic. While switching the priest to sage later on mostly fixed the latter issue, I was still left wishing I had taken a mage with me from the start several times, and yet I was still more than capable of finishing the game. While the difficulty has definitely been lowered compared to the first two games, that’s still a sign of ultimately successful balancing.

For some more combat related changes and improvements, some stats have been added or changed since the first two games. Resilience now determines how many hit points a character can gain when leveling up along with being added to physical defense as before, Wisdom determines a character’s potential magic points, as well as how soon they learn spells, with spells being delayed or expedited by up to three levels, and Luck determines how well a character can avoid debuffs and status ailments inflicted by monsters. Related to these stats, exclusive to the remakes is the personality system, which affects the stat growth of each character, with each party member gaining a personality during character creation or, in the case of the Hero, through a personality quiz given at the start of the game. While this generally doesn’t matter too much for casual play, assuming you aren’t unlucky enough to get the worst personalities on all your party members, it still adds an even greater deal of complexity, either allowing you to try to compensate for a character’s weaknesses, or add to their strengths. You could, for example, give a female warrior the Amazon personality, raising their strength growth, but lowering their agility, wisdom, and luck growth, stats they don’t care about much anyway. You can also change personalities during the course of the game, either temporarily by equipping certain accessories, or permanently by reading certain books scattered throughout the game, which further adds to the depth. It’s a bit overwhelming, but still pretty interesting to see.

Beyond the combat and classes, there’s still a lot of nice things to see. The bag from DQ6, which can hold an unlimited amount of items which can be taken out at any time, has been added, allowing easy inventory management on the spot. The Zoom spell now lets you return to towns of your choice, rather than the last place you saved your game, and while not every town can be warped to, it’s still a massive time saver. There’s a day night cycle, which gradually changes when traversing the world map and affects the state of the towns, and while it isn’t super prominent, there are a few towns pretty heavily affected by it, and you actually get a few ways to manipulate it later on. There’s also a few minigames added, once again exclusive to the remakes, those being the monster arena, where you can bet on computer controlled monster fights for the chance of winning money, and Treasures n' Trapdoors, which is basically a giant board game one of your party members can traverse, with several very valuable prizes available, both from winning and from landing on certain spots on the boards. Despite being very luck based, it’s creative and rewarding enough that the boards are actually a lot of fun to play, and the Switch version lacking this minigame entirely is a big shame. The remakes also added the Cloudsgate Citadel, a bonus dungeon accessible after defeating the final boss, with a superboss, Xenlon, waiting at the end. Defeating Xenlon within a certain number of turns allows you one wish, such as opening up a new Treasures n’ Trapdoors track, or resurrecting a certain character, and thankfully, you don’t actually need to traverse the entire dungeon again to refight Xenlon for more wishes, as a Zoom location is added only a few rooms away.

The biggest improvement DQ3 makes, however, is just how well the game flows. There’s still grinding to be found, yes, but generally, the game goes by much faster. Characters move quickly, the difficulty, as mentioned before, is much lowered, so you don’t need to grind 5 levels just to walk a bit north, and there’s just a lot of variety that keeps the game fresh all the way through, instead of becoming monotonous like DQ2. The dungeons are also much more reasonably designed compared to the giant, nightmarish mazes of DQ2, and while you do get a ship like in DQ2, it comes quite a bit later, keeping the amount of areas now available to explore from being as overwhelming. The obligatory key item fetch quest, this time collecting the six orbs to hatch the phoenix Ramia, is also much more reasonable to complete, with the orbs either being in locations that NPCs directly talk about, or being acquired by fighting bosses. Speaking of which, there’s also many more bosses than in previous games, and while they’re not as frequent as in most RPGs, they still add a nice bit of variety, along with actually being pretty challenging, in a good way. Overall, Dragon Quest III’s gameplay actually holds up very well, and just makes it a lot of fun to play. Even considering this is a remake with a lot of quality of life improvements, I was amazed that this was originally an NES game.

Graphics: DQ3′s visuals are quite nice, as the SNES version was made with DQ6′s engine. To give a comparison, whereas the games using DQ5′s engine were about comparable to the visuals of Final Fantasy IV and V, the visuals here are comparable to Final Fantasy VI, and considering that’s one of the best looking SNES games out there, that’s a pretty big leap. The character designs come out quite well, and many locations have unique looks to them, both towns and dungeons, with the Pyramid and Baramos’ ghastly castle sticking out the most to me. The enemy battle sprites are still great, and are actually animated whenever they attack, adding a lot of life to them.

Sound: As with the rest of the series, DQ3′s soundtrack was done by Koichi Sugiyama, and it’s once again a great soundtrack, even better than the soundtracks of the previous games. From the peaceful Small Shrine, to the iconic Overture, to the peaceful Heavenly Flight, to the world map theme Adventure, to the great final boss theme, Hero’s Challenge, it’s a soundtrack that’s a joy to listen to. It also gives towns different themes for both day and night, which is one of my favorite things to see in games.

Conclusion: Overall, I would give Dragon Quest III a recommended. It’s aged very, very well, and genuinely feels like it could have been on the SNES to start. Between the much deeper, yet ultimately accessible mechanics that give quite a bit of replay value, to much better overall design gameplay, graphical, and sound design, it makes a fantastic entry point for the series, if you have a liking for classic RPGs. Till next time. -Scout

#dragon quest #snes #game review #long post #rpg #square enix #dragon quest iii #jrpg

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glapplebloom · 3 years

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So how does Celestia and Luna move these solar objects? This is my take...

Recently a friend of mine completed their big Vs battle they wanted to do for years. I won’t spoil the results for you but I agree on most things including who wins. But one thing he brings up is the concept of Spells Vs Magic. Celestia and Luna move the Sun and Moon so it must be done with their magic. But is it because of a specific spell or is it their magical strength? If you read the battle, you know his answer is strength. But for me I always felt that the show was specifically going towards the “its their type of magic” deal. So let me explain my thoughts.

I’m not a fan of “Word of God”. Its basically a “get out of jail” card for creators who don’t establish things in their creations. Its how we got that the Moon and Sun are the same size as ours but not an explanation on why Celestia and Luna are the ones to control it. But it seems that later in the series they wanted to establish that it was specific magics that were able to do so. From the movie stating Twilight doesn’t have their magic to my later evidence below. And from Jim Miller (supervising director of the series since Season 5) states in his Equestria Daily’s Q&A on the Finale, that their intent was fusing the crown to show that they gave Twilight the full control of the sun and moon. Now because this is word of god you can take it with a grain of salt but if you accept one WoG you should likely accept another.

With the concept of Scaling, its logical for someone who is on that level to be able to perform the same feats as long as it is possible. For example, Goku scales to Frieza so he can likely blow up a planet despite never showing it. He can not breathe in space like Frieza however because Frieza’s biology allows him to and there are evidence that exist for Goku not being able to (as recently as the Moro arc in Dragon Ball Super’s Manga apparently). A lot of people do like to compare Starswirl, Twilight and Starlight to Celestia and Luna because they’re the best magic users in Equestria and evidence supports them to be such. So how come they can’t move them? For Starswirl to perform the feat, he needed five other unicorns to use up their magic and lose it forever. He has plenty of evidence to support him being as powerful or equal to Celestia and Luna but lore from the show and the journal shows him unable to do so on his own. If he is on the Princesses level, why couldn’t he just move it unless its their specific type of magic.

Moon raised! It's even easier than raising the sun.

Princess Celestia said that about raising the moon when she got Luna’s power. This is after a thousand years of using her own magic to raise the Moon in Luna’s absence. Now you could either consider this just the writer forgetting the lore but I want to take it a different direction. Celestia is comparing Luna’s power to move the Moon to her’s of moving the Sun. Since the Sun is bigger in most circumstances, it makes sense for it to be easier since its not the same size. And while not shown, we can suspect Luna having no difficulty moving the Sun using Celestia’s magic. We know this because Luna was extremely tired and if moving the Sun was a strain, she wouldn’t be able to do it. Now notice how the comic has Luna struggle to move the sun with her own magic. Notice how she struggles. This seems to suggest that while they have similar magics, one has an easier time moving the same thing as the other. Celestia didn’t have this struggle for a thousand years because, if we believe their Sun and Moon is like ours, the sun is 400 times larger than the moon. So its why Celestia can move the moon with her magic without difficulty but Luna struggles with the sun.

In almost all fiction, there are different types of magics out there. Avatar is split into 4 elements, Owl House has 9 main Covens with so many minor ones, DnD has two types of Magics, 7 schools and 9 other magics. In some cases you can mix and match and in others you are stuck with one. So someone like Sub-Zero, a Cryomancy, may have the same power level of Scorpion’s Hell Magic, but the two are not interchangeable. Many believe that moving the Sun and Moon is the Princesses doing telekinesis and that would make sense. But the problem is that ponies on their level don’t show the ability to do so. Only those who gotten Celestia and Luna’s magic (like the Storm King in the movie or Twilight in the series) show the ability to do so. So why is it that the case? Ignoring my other head canon, the show actually explains it...

A cutie mark appears on a pony's flank when he or she finds that certain something that makes them different from every other pony.

And what are Celestia and Luna’s Cutie Marks? The Sun and the Moon. According to the Journal of the Two Sisters, they got their cutie marks by moving said sun and moon. Something that previously only six unicorns can pull off with five of them losing their magic. The two Princesses have some connection to the Sun and Moon that allows them to pull off this ability that other unicorns who show the same level of magic or higher can’t. So even though ii seems to be telekinesis that’s moving it, its something special from them that allows such ease of movement in the first place.

And that is my thought on the subject. Do you agree with my observations or do you think its a case of might?

#other

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diatriblicaljottings · 4 years

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How significant is the representation of masculinity to the way Othello functions as a tragedy?

Literature review

Believed to be written in 1603, the existence of ‘Othello’ has not only been disputed to be one of Shakespeare’s most successful plays due to the “treatment of such timely issues as race, gender, homoeroticism and domestic relations” (Evans, 2015), but also one of the most controversial – mostly due to how the aforementioned topics were approached. This is particularly surprising as Othello is widely acknowledged as “the least political (Shakespeare play) and even the least philosophical but also as the most domestic and personal” (Evans, 2015). Perhaps this disdain comes from a place of misunderstanding towards Shakespeare’s often critical yet atypical approaches to what could be described as sensitive topics. However, the representation of masculinity throughout ‘Othello’ can be linked to most of the mentioned analytical approaches, particularly masculinity and race, in a way that enriches our overall understanding of the text, and how it fit into the genre of tragedy. A critical essay by John R Ford reads, “the play powerfully critiques the racist and misogynist constructions of Venice by making its codes and conventions so visible to the audience” (Kolin, 2001) Othello’s extreme desire for achieving an ultimate state of masculinity directly correlates with the gender politics of the time, a time in which the misogynistic attitudes Ford refers to were rife in popularity, yet still unidentified as problematic and were therefore routinely normalized. In their masses, men synonymous to Othello encouraged and expected each other to actively participate in the discrediting of women to obtain their dominance and in turn, their sense of masculinity, or at least, what they believed to be attributes of masculinity. Whilst they have been greatly unacknowledged for thousands of years, both gender and race have still influenced political structures, including the ‘constructions of Venice’ addressed in Othello and Ford’s critical essay. This directly contrasts with Evans’ earlier observation of Othello being ‘the least political’ play to come from Shakespeare, as it could arguably be one of the most. Alongside political ideals being a key function in the representation of masculinity, there are many contributing factors as to why Othello as a character could be protective of his masculine ego (the manipulation he endures at the hands of Iago being a namely one), though it is undeniable that as a person of colour with the ability to exist in such a high rank of power, despite living in a racist society, he faces much harsher judgement from other characters. Naturally this would also have significant impact on Othello’s personal difficulties with his insecurities, or when approaching threats to his masculinity. This becomes one of many tragedies described in the text – one that is very much involved in how the fundamentals of tragedy are incorporated into the thematic structure of Othello. “Culture is a masculine region, and everything that lies beyond its purlieus ± untamed nature, the sea, forests, brutes, cannibals, foreigners, belongs to the domain of the wild” (Wells, 2000) – in this case, ‘the wild’ could be referring to the existing fear of the unknown, but more importantly it could be used to define ‘the Other’ - a term that refers to “the creation of a dichotomy between Europe and its ‘others’ … central to the creation of European culture… part of the process of maintaining power over them” (Loomba, 1998). This coincides with the social context of Othello, particularly with the reference to ‘foreigners’ in the culture Wells speaks of. The often subliminal struggles that Othello faces as a black male character propel the tale of tragedy depicted within the text – as it is these very struggles that are used against him consistently, driving him to a point of ultimate self-questioning: when he makes the decision to kill Desdemona. Burning “with a desire to avenge the imagined loss of his masculine honour” (Wells, 2000) is quite a bleak outlook, given that many would dispute that this ‘imagined loss’ is not imagined at all. Societal norms, especially in the historical setting of this play, are so very much ingrained into the typical thinking patterns of many of the characters, that it is certainly realistic for the character of Othello to predict the tarnishing of his name or reputation. The vengeance referred to by Wells would not appear to be Othello’s true motive to kill her, as he denies having any knowledge of her death, so it plays no part in the restoration of his honour. It seems to be, however, a result of extreme expectations that Othello has internalised becoming a malformation of fear and unattainably high levels of self-respect. The main tragedy at the core of the play depicts the impact of unrealistic and limited implications of masculinity being a motive for murder. Othello had been systematically brainwashed into believing his only option was taking drastic measures to prove his worth in terms of his masculinity, threatened with the negative societal impacts the alleged misdemeanours of his wife would cause. Whilst his actions may not be remotely excusable in any way, they serve the purpose of truly representing how toxic masculinity can result in tragedy – and the lengths a man of his tragic circumstances may go through to preserve his ‘masculine honour’.

Analytical essay

The importance of masculinity in “Othello” is crucial to the genre of tragedy, as the desired trait of authority, achieving a true masculine status, is shared amongst the primary male characters - a persistent battle that eventually results in disastrous consequences. Iago’s personal lack of masculine identity is the cause of the downfall of multiple male characters, as he so clearly uses it as a tool of manipulation. Othello being such a high-status character, linking to his "manhood and honour" - is quite vulnerable in terms of becoming increasingly paranoid and suspicious of Desdemona betraying him. While Othello is being manipulated by Iago, Iago creates insinuations of Desdemona committing adultery in order to pressure Othello into a state of jealousy - before proceeding to essentially warn Othello not to worry about it. Iago’s mockery of the very concept he introduced into this discussion proves just how manipulative he is, and how he is manifesting Othello’s insecurity in his own masculinity proves this - "Oh, beware, my lord, of jealousy! It is the green-eyed monster which doth mock. The meat it feeds on." (Act 3, Scene 3). Othello’s perceived ‘fragile masculinity’, which has been even further amplified by Iago’s antics, births the creation of what would become Othello’s hamartia in the tragic events to come. Furthermore, Iago creates the lie of Cassio being a violent alcoholic. In order to steal his job, Iago persuades Cassio to partake in heavy drinking, which leads to him being disgraced from his job, and in turn, his reputation. Iago’s discrete manipulation is used once again in the form of reverse psychology “"I had rather have this tongue cut from my mouth than it should do offence to Michael Cassio" (Act 2, Scene 3). This becomes a tragic flaw in Cassio’s story, continuing to destroy not only his masculinity, but also his self-worth and livelihood. With all of this being due to Iago’s jealousy of Cassio’s higher-ranking position, it reinforces the link between the pressures of maintaining masculinity and how highly men rank in both works, but also society. “Iago seems to have too many motives for his evil and thus paradoxically, no motives for it at all." (Evans, 2015). Iago's own drive - to gain a higher rank - pushes the ideology that honour equates to your level of masculinity, something which Shakespeare is almost critiquing through his creation of Iago’s character – a erratic, self-serving and desperate person whom projects his own masculine insecurities for personal gain.

Within the play the character of Emilia is a key part of how masculinity is portrayed, with strong opinions and an understanding of the masculine ideology she said some of the most noticeable things about how significant masculinity is within the tragedy. “They are all but stomachs, and we all but food, They eat us hungerly, and when they are full / They belch us” (Act 3, Scene 4). This phrase clearly shows that for the men within this play, women are the source of sexual satisfaction and not much more than that. Not allowing women to have any position of authority or experience a liberty of decision-making - clearly shows how society’s obsession of masculinity at the time built a hierarchy, in terms of gender. Women only really had each other to rely on, and Shakespeare progressively shows Emilia's loyalty to Desdemona only growing stronger. As a woman of practical intelligence, shown to not be led by her emotions, Emilia becomes a key character in relation to masculinity within the tragedy. The juxtaposition between Emilia and her partner Iago creates the potential of her strong-minded personality being one of many causes towards Iago’s pathetic drive to emasculate himself. Although Emilia stands by Iago through the play, in the end she denounced his lies to defend Desdemona’s reputation after her death. With regard’s to Desdemona’s murder, after being severely wounded by her husband and close to death, she remains adamant on her refusal to reveal Othello as her murderer and claims it was suicide – “Nobody. I myself. Farewell. Commend me to my kind lord. Oh, farewell!” (Act 5, Scene 2) This may be because of how much she loved her husband, but it was primarily due to the extreme effects of Othello’s desire to achieve true masculinity – a virtue Desdemona herself intends to assist with as to prove her true loyalty in her final moments. Othello’s goal to prevent other men from being betrayed by Desdemona, further perpetuates the idea that truly masculine men must adhere to the heroic stereotype and make sacrifices for the sake of other people, even when it concerns the love of their life.

During Shakespeare’s life, there was a strict social construct of gender norms, as well as a hierarchy of sexes. As each gender experienced their own role in society, it was only logical that they'd be shown within Shakespeare’s plays. Throughout Shakespeare’s ‘Othello’ the ideology of masculinity is presented to us through the different themes that are addressed, whilst being set in a regressive and male-dominated world. The unachievable goal of obtaining an elite state of masculinity results in many conflicts of character, with horrific atrocities being committed as a result of this - from degradation of race and gender, to the sheer manipulative nature of many characters, there are a stark amount of negative consequences that can be construed as being tragic. Alongside the more obvious defining factors of tragedy within Othello, masculinity - and the constant urge to exude it – is the most consequential catalyst that results in the melancholic epilogue of this play.

Bibliography

Evans, R. (2015). Othello: a Critical Reader, Bloomsbury Publishing Plc.

Kolin, P. (2001). Othello: Critical Essays., Taylor & Francis Group.

Loomba, A. (2015). Colonialism/postcolonialism (Third ed., New critical idiom).

Wells, R. (2000). Shakespeare on Masculinity, Cambridge University Press.

#othello #shakespeare #english lit #literature #playwriting #essay #analysis #university #racism #misogyny #masculinity #bachelors #tragedy

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yioh · 4 years

Note

what are the main themes of the princess and the thief? like the main motives!! for example friendship or certain things being symbols or something like that!! this ties in with that a bit as well: what do you want your audience to take away from it at the end? take this as a prompt to just ramble away about it!! i hope you’re well laddoo!!! 💛

rahul omg hihihiii !!!!! im well, hope u are too my gulab jamunnieeeee, and this is such a good question tySM !!!!!!

1) i think primarily one of the most important themes would be family, and it would be showcased in 2 contrasting ways between nila and thendral. as for thendral, she had already lost everything before the beginning of the story, so this is essentially a story of her building the foundation and frameworks of her new family, she is finding love and peace again.

however for nila, she has everything at the start. she is a talented rich princess, everyone in the kingdom looks up to her(altho she isnt rly interested in her royal duties lmao) and she has the kindest loving family. is what she thought. she soon discovers a spiral cobweb of lies carefully constructed by those she held closest to her heart, and once she started climbing up it, once she started uncovering more and more about her family, she would soon realise she had no one left. one is the story of creation and the other is of destruction. (bro why does this sound so fucking cool like not to gush at my oWn ideas LMAO )

2)the second theme would be one of rightousness. thendral, a girl who despises royalty because of their cruelty and indifference toward their people's suffering, develops an unlikely friendship with a princess of all people. and that friendship just keeps growing and growing.... maybe it will even turn into something more. she knows that nila is from a family of evil... how could she be any different? she knows, she knows.... but she cant stop herself from being drawn to the moon(see what i did there;))) )

so there will be many circumstances when nila represents the evils of her family and thendral is forced to choose between her soulmate and rightousness. its a decision that shatters her.

the 3rd theme would be freedom. i think this is what our main character yearns for, and this is the essence of nila. nila has such a... free attitude to life, what happens will. nila comes from a place of privelage and her temperament itself naturally allows her to be a carefree troublemaker child. but thendral? the opposite. she has faced 1 too many difficulties and she has too many obligations to let the breeze carry her through life as her name would suggest. its her dream, one day, for her heart not to feel heavy, for the breeze to stay, for hope to stay till the end. freedom is her dream, little did she know it would come in the form of a very annoying princess :)

im not too sure what i specifically want my audience to take away yet hmmm i just want to make a super interesting well written story of lies and betrayal tied in with love and loyalty, i guess ..... i could say ....... dont trust ur very suspicously rich family that seemingly has no flaws whatsoever? jfndnDJSKDN its just a story of 2 girls who are constantly trying to make the Right decision, even if its so fucking hard, and i want people to be able to see maybe a little of themselves in these characters :^)

anonymously (or not) ask me any question you’d like to know about me

#talk to me!#rahul #THIS WAS SO FUN THANK U SM FOR THIS ASK !!!!!!!! the characters are so much clearer in my head #the princess and her thief

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wicked-storybrooke · 5 years

Text

Is Alice Jones Autistic?

I’m not entirely sure where the autistic!alice headcanon originated. It might have been from an Autistic Headcanons blog or it might just be from the observations of individuals.

I can’t speak for everyone because my main reason for believing she’s autistic is that I’m autistic and I relate to a lot of her traits. Now, some of those traits could be explained by her being forced to grow up in isolation or even by a mental illness (I do see her as having co-morbid mental illness(es)) and some of these traits are headcanons themselves, so it really just depends on how you see her.

I’ll list some of the things that lead me to believe she’s autistic and not all of these apply to every autistic person:

Has a possible special interest in painting/drawing, chess and maybe even parkour. Take for example in 7x13 when she needs to play chess to help her relax. She likely wanted to play chess a lot more than Rogers could keep up with and I bet she talks about it and art a lot.

She can talk in a very abstract way. It’s a way that makes sense to her but not necessarily to anyone else and I don’t just mean when she’s talking about the curse. It’s the way she talks about the curse: “See something? I see everything. Now I’m ten feet tall!” “There’s still time before the pills make me small again.” (I know it’s an Alice in Wonderland reference but say, in her cursed memories someone read the book to her, this could be echolalia). And I’d be willing to wager she makes up her own words.

She thinks outside the box. Like myself, she seems to have trouble thinking inside the box and doesn’t so easily conform to societal norms: “What’s the point of a solvable one (puzzle)” and she made a heart-shaped beignets that was literally heart-shaped. She also seems to have difficulty telling that some things are wrong (not that all autistics do this, but it can be an issue): “Weaver said it was for the best, and I can’t always figure that out for myself.”

Her father brings her things that could be seen as sensory aids (I know this was to help her experience the outside world but it’s an additional way of looking at it.)

Doesn’t have a great sense of danger. I know she’s got some mad skills, but still she doesn’t hesitate to jump out of the window of a goodness how many stories-high building. She’ll happily fight a jabberwocky, befriend a troll (that, at the time, she didn’t know was of her own creation) and defend said troll in front of angry dudes with weapons and she rolled out of a freaking moving car. She also walked across the road without looking in 7x14 (#relatable). That incident could have even been chalked down to her not being a good judge of distance or to her being over-stimulated by the traffic. When you get overstimulated your whole sense of exactly where everything is around you just goes out the window. It’s probably not the only time that’s happened. God knows how much trouble she got herself into in Wonderland and the other places.

Has a connection to creatures and and an attachment to objects like Mr. Rabbit and she even slept next to the viles of sand her father got her. It’s understandable that she would be attached to the inanimate objects that were her only company for years, whether she’s autistic or not. She seems to relate more to creatures, such as the troll and maybe even some creatures in wonderland (goodness knows if she was out-running the bandersnatch for fun or what).

Doesn’t like to sit still for long. Sometimes seen stimming with things in her hands.

Seems to be fairly selective with what she eats. Eating the same thing everyday is not an uncommon autistic trait (I literally have beans for breakfast, lunch and dinner) and it seems that marmalade sandwhiches are the thing for Tilly. It could be a sensory issue. She seems to have a preference for sweet food as salty food might be too strong for her or it could just be because we love routine. It brings a sense of much needed security in an otherwise over-stimulating world.

Likes routine. I’m sure her father liked to make sure they had a routine in the tower but as Tilly she seems to have her routine of going to the troll, playing chess with Rogers, talking to Weaver and eating marmalade sandwhiches. She doesn’t seem to be completely averse to spontaneity however, since she was willing to go to Wonderland and other places but then and again, she was desperate to find a cure.

Is more vulnerable to manipulation. Listen, I love Alice & Rumple’s frienship as much as the next guy but you can’t deny that he was manipulating her at first in 7x18. It seems she doesn’t have a brilliant sense for figuring out the intentions of others. The same goes for when Weaver tricked her into eating the pill-sandwhich.

Has what can be seen as autistic meltdowns. This is a difficult one to assess because her sometimes erratic behaviour is likely due to a mental illness but there are many co-morbid conditions that can come with autism. But if we are to look at her outbursts as meltdowns, then we can see that they are triggered by things not goin the way Alice expected. If an autistic person has pre-planned their day then any disruption to that can cause a meltdown or shutdown i.e. Rogers saying no to the game of chess, Rogers and Weaver not listening to her pleas for them not to talk to Eloise coming as a shock, Weaver giving her her meds and not remembering his life in the EF and the incident at the hospital. Nothing was going as Tilly expected and there was no way for her to fix it. She tried to calm herself down by pacing or swaying slightly from side-to-side. It could have all been further exacerbated by the bright lights and in some cases loud noises of the traffic/the hospital lights/the light in her shipping container. Her outbursts were completely out of her control. I’m sure she would have never pointed a scalple at Rogers and Weaver if she weren’t in that state. The fact that she didn’t remember how she got to the hospital could be because of her meltdown, often after or during one you don’t know what’s going on, what you’re doing or why your doing it. This could also explain why she loses time like she explains in 7x14. This could also be partly down to the fact that she might have poor short-term memory which is common in autistic people.

Could the fact that the curse couldn’t completely erase her memories be due to her having a very strong, photographic long-term memory? Just a theory!

Seems to prefer to socialise in small groups (this could be due to circumstance).

Is seen as ‘weird’, ‘eccentric’ or ‘odd’ by others who don’t understand her way of engaging with the world.

Sometimes repeats phrases “Something’s bad, something’s broken, something’s wrong.”

Has difficulty with conflicts, arguments and being yelled at.

Sees the world in a special way according to her father so it’s likely she’s not like other people he’s been around.

Is okay being around other people but may 'play’ on her own e.g. when she was in Rogers’ car with the mushrooms. She was content to be around him while doing her own thing.

In some situations she may be masking e.g. at first with Margot, so that she could pass for allistic.

Can sometimes get her words confused: “You know me better than anyone. I can't have done it, could I? Or I could've done it, can't I?”

Difficulties communicating her thoughts and feelings, in words, to others, especially if anxious, stressed or upset, hense part of the reason she ends up having an meltdown.

I personally think she’s undersensitive to movement and touch so she might have issues with personal space and it could be why she isn’t often still and moves around alot.

May have issues with executive funtion e.g. time management, orgazisational skills, inhibitions, working memory and problem solving which she may have been helped with by Rogers once she moved in. It makes your mind a freaking jumble so I wouldn’t be suprised if she has issues with this.

Seems to have some trouble in social situations. This could be due to all those years in isolation but there are definitely times where she will just speak her mind or do things that might be seen as socially inappropriate e.g. the situation with the troll, her just popping up in Victoria’s car and scaring the shiitake musrooms out of her. She sometimes seems a bit confused by what other people are saying e.g. the whole “Targot” thing and others seem confused by her.

I could honestly go on about this for days. Like, there’s so much more I could talk about. I might make another post expanding on this, but this is just my perspective! As I say, a lot of this could be down to her years alone in the tower or a mental illness but this is just one way of looking at her traits!

#alice jones #knightrook #curious archer #ouat #once upon a time #ouat s7 #ouat meta #meta #alice jones meta #s7 meta #i finally made the post!

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fyrapartnersearch · 4 years

Text

Howdy there! How are you?

Self

My name is James Home. I’m a 23 year old trans male from Olympia WA. In time zones that’s PST (Pacific standard time) am a visual artist, graphic designer, and storyteller. My Briggs acronym ENFJ. In saying so I’m a huge talker and communicator, physically and literally! Personal interests of mine include BOTW, FFXV, and Hanibal atm. I have a lovely and incredible wife named Isabella. We both additionally like DND (were even painting our minis), collecting Halloween decorations, and watching Avatar the last air bender with our roommate. Though I do have a history in plenty of other fandoms as well and always on the lookout for recommendations.

Preference

So for myself I love to take care of my Rp partners in all accommodations possible.

Meaning if your heart has been craving fluff, rough smut, or a plain ol hug. IM GAME! If none, no biggie let’s make a plot spot!

Roles I usually fall under are but not limited too….

-DOM , Vers, Power bottom

-caretaker, guardian, teacher

-father, handler, knight

-beefcakes, robots, selfless leaders

And so much more!

The roles I lean towards are

-caretaker, strong and silent-ish type, and flamboyant entertainers.

-male roles, trans male roles, open to trying a female role?, non binary, pangender role.

- I do enjoy topping, some aspects of BDSM, and some hard kinks.

-fallen leader, relearning about a loving world, hopeful in a dark world.

-not taking their role as important as they should have or are, “I’ve been doing this for years. But this is new”, and “I brought you your favorite drink wanna cuddle, I’ll provide the sugar?” Types

And so much more!

As far as story things themes are

-highly complex kingdoms

-High pace fantasy

-society by the ocean

-abandon green houses

-heavily dense forests

-fae and fiend worlds

-AUs of pre-existing universes from shows

-magic incorporated

-supernatural

Worlds we design collectively.

My HARD NOs are…

NO MINORS ROLEPLAYING WITH ME, 19 AND UNDER DO NOT APPLY

-abuse in active Rp (can be used from background and really has to depend on circumstance)

-harm of any children

-harm of expected mother

-any form of r*pe play

-blood play, degrading play, hard impact play

-crying kinks, humiliation kink, and electric play

-no smoking kinks either or character usage of substances.

Writing

I’m not too big on proper grammar or sentence structure as long as there was an idea getting across. I’m ok with role playing as many people as you’d like to actively work on, so doubles, and even triples are okay. Plus working two different stories is fun! I do prefer paragraphing and we all know the feeling of one word responses. This is a hobby and creative outlet from myself so that’s why I have no big stressors about punctuation or spelling.

Storytelling

Here are some story concepts I’ve come up with. Yet if you’d like to imply your own let’s talk about it!

Counterpart pathways

A magical filled fantasy realm where all is possible including the bad. One summer day a incubus/demon hybrid named Jona, father of three, learns someone has kidnapped all three of his boys! He's on the hunt for clues and finding them at all costs. Gathering the best crew possible of Moof the best wolf bounty hunter in all the realm, Bell the boys spider caretaker shapeshifter, and Glover the bull/bison hybrid the green alchemist, set off to find the children. Along the way by gathering clues they encounter obstacles and trials of skill and pursuit! Will they ever find the three octopus babies ? Will Jona have closure and put on a shirt? Will Bell ever stop stealing everything shiny? Will Moof grow more confident in his teammates? Will Glover not stop shaking and being such a wuss? Who will help this odd 4 on their epic abnormal quest?!

Puddles

A time traveler that gets stuck in between dimensions due to their powers temporarily weakened from the extensive work they've been doing end up meeting a stranger who takes them in. Not used to the timeline they shows up in, they have to knowledge of normal behavior. They must figure out a way to recharge their abilities but has not of the slightly clue as to what it causing them to have lost them in the first place. Is the person that's helping them good or evil? Who's side are they on? How will they figure them out? Why do they find the stranger oddly familiar?

When men become mortal

An alien/robot/human species that survives by using different masks/chips for various occasions. It's like buying different clothes but they adapt or transform the hoist for a month or less of another body/form/identity. The main character experiences a technical difficulty where their head socket cannot adapt to a new face for long and has to get it repaired. Though along the way he seems to find that not wearing a false identity they actually enjoy seeing the outside world with no expectation of appearance. The other is a identity artist, the one whom develops different faces and identity. He spends hours tweaking details of bodies and faces. He always has the nicest things because of his work and from important commissions and work for certain clients.They meet at a gallery that the artist is hoisting at a museum. The individuals there are decorated like some of the model pieces and others artist curators-part sellers. The faceless one decides to go to the museum to see what's or who's being showcased and since he has a little bit of extra money he saved up for the occasion. Everyone finds him interesting since he doesn't have an appearance, they think he's a model. Thus they send him to meet with the artist for the show. The artist doesn't know him at all. They find eachother very different but most parts similar. From their meeting the artist gets inspired by his original face. Coming to realize that even himself that he has given into the world he never wanted to.The two of them hit it off. Both dwelling into the matters of the "perfect" vessel. Asking the serious questions such as what makes a body, a face, a soul attractive? They go on for hours and it starts to inspire the artists work into his new resorted craftsmanship. The faceless impressed by the purposed questions and also work. The two of them grow closer resulted from talking so much about bodies and meaning. All the while testing out the new creations, body parts, and vessels capabilities. Not all though is good while the two develop this hoist. There's a villain at hand who one of the artist's main clients that goes unsuspected. They want to use the designs to create a vessel for the bad and wealth. Only to include to kill off all humans.The two of them hit it off. Both dwelling into the matters of the "perfect" vessel. Asking the serious questions such as what makes a body, a face, a soul attractive? They go on for hours and it starts to inspire the artists work into his new resorted craftsmanship. The faceless impressed by the purposed questions and also work. The two of them grow closer resulted from talking so much about bodies and meaning. All the while testing out the new creations, body parts, and vessels capabilities. Not all though is good while the two develop this hoist. There's a villain at hand who one of the artist's main clients that goes unsuspected. They want to use the designs to create a vessel for the bad and wealth. Only to include to kill off all humans. Thus forces the artist to reveal his true identity. A human being. Not a hologram. Plus he's not just an artist but a ex-con scientist from the labs that have bloomed into a internalized war. Faceless becomes confused and also hurt that the artist to mention this. Only for the two of them being followed. The artist informs the robot that the hybrids (the children of the robot-species, generations of offspring) are the real threat to society. The one who hoists and is in charge of the power sorce is human and machine. The first of its kind, and also the previous mentor of the artist/ex-scientist. Who will get to the power source first. Our main dynamic couple or the robotic uprising that believe all humans should cease to exist once and for all?

Gay Cryptids

Themes

Active night life

Next to the ocean, sea, body of water.

Beach city/lost boys/Mad max?/punk/ regal?/neon lights/old mascots/vapor wave af

Carnival / festivals

Dark market authenticity

Biker gang(s)

Aquatic features, art, incorporated in surroundings

Lifestyles like fish importing, dock workers, sushi shops, fancy diners

Common foods are all fish and sea foods

The city was a work in process for a resort city, and a major violent storm came too early taking out some of the fancier parts of the island. Most of the higher end houses and mansions were believed to be damaged in the outer edges of the island. There had been a castle built as a main part of the hotel/resort. Old costumes, sets, mascots were left to rot by the seas breeze. Barnacles, ivy, and vines with exotic flora and fauna growing wildly cover the buildings. Possibly even growing in the mansion and other houses. The main part of the biker gang is in a abandoned church next to the sea caves is where the biker gang mostly resides and work primarily as hit men and women. The island would be decided by the two head family of vampires one powerful family versus the other in over control if the current situation of resort in the actual tourist location.A rambunctious gang of young cryptics disguise themselves as human during the daytime but during the night it's quite the time to be alive and young. Various story arcs of love and lust between the group members figuring out their own sexualities and forming adulthood. Though most of it is all of them just fucking around.A rambunctious gang of young cryptics disguise themselves as human during the daytime but during the night it's quite the time to be alive and young. Various story arcs of love and lust between the group members figuring out their own sexualities and forming adulthood. Though most of it is all of them just fucking around.

Plausible locations

Old mill

Carnival / freakshow

Rides and amusement

Abandoned Church

Greenhouse

Garden

Boat house

Log cabins

CAMP grounds

Old schools

Warehouses

The Docks or Port

Boat houses

Boat docks

Abandoned Hotel

Studios

Bike store

Surf or like diving store

Knickknack shack

Ma and Pa restaurants

Antique stores

Downtown

Library

Hospital or infirmary excotic masion

I have story plots for days SONNNN so these are at skim level for plot.

If you’d like to contact me the best ways are

Discord at

Agodnamedhome#4202

[email protected]

I work from 11:30 to 4 Monday-Friday

But available before, and after for sure.

Thursday’s at 5 are my therapist appointments

Weekends are 100% free atm

Looking for a long term, short term, a friend!

#long term rp #oc rp #mulitfandom rp #email #discord #writting #hobby #rp #roleplay #looking for an online friend #pacfic northwest #orginal content #submission

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agodnamedhome · 4 years

Text

Howdy there! How are you?

Self

Preference

So for myself I love to take care of my Rp partners in all accommodations possible.

Meaning if your heart has been craving fluff, rough smut, or a plain ol hug. IM GAME! If none, no biggie let’s make a plot spot!

Roles I usually fall under are but not limited too….

-DOM , Vers, Power bottom

-caretaker, guardian, teacher

-father, handler, knight

-beefcakes, robots, selfless leaders

And so much more!

The roles I lean towards are

-caretaker, strong and silent-ish type, and flamboyant entertainers.

-male roles, trans male roles, open to trying a female role?, non binary, pangender role.

- I do enjoy topping, some aspects of BDSM, and some hard kinks.

-fallen leader, relearning about a loving world, hopeful in a dark world.

And so much more!

As far as story things themes are

-highly complex kingdoms

-High pace fantasy

-society by the ocean

-abandon green houses

-heavily dense forests

-fae and fiend worlds

-AUs of pre-existing universes from shows

-magic incorporated

-supernatural

Worlds we design collectively.

My HARD NOs are…

NO MINORS ROLEPLAYING WITH ME, 19 AND UNDER DO NOT APPLY

-abuse in active Rp (can be used from background and really has to depend on circumstance)

-harm of any children

-harm of expected mother

-any form of r*pe play

-blood play, degrading play, hard impact play

-crying kinks, humiliation kink, and electric play

-no smoking kinks either or character usage of substances.

Writing

Storytelling

Here are some story concepts I’ve come up with. Yet if you’d like to imply your own let’s talk about it!

Counterpart pathways

Puddles

When men become mortal

An alien/robot/human species that survives by using different masks/chips for various occasions.

It's like buying different clothes but they adapt or transform the hoist for a month or less of another body/form/identity.

The main character experiences a technical difficulty where their head socket cannot adapt to a new face for long and has to get it repaired. Though along the way he seems to find that not wearing a false identity they actually enjoy seeing the outside world with no expectation of appearance.

The other is a identity artist, the one whom develops different faces and identity. He spends hours tweaking details of bodies and faces. He always has the nicest things because of his work and from important commissions and work for certain clients.

They meet at a gallery that the artist is hoisting at a museum. The individuals there are decorated like some of the model pieces and others artist curators-part sellers.

The faceless one decides to go to the museum to see what's or who's being showcased and since he has a little bit of extra money he saved up for the occasion. Everyone finds him interesting since he doesn't have an appearance, they think he's a model. Thus they send him to meet with the artist for the show.

The artist doesn't know him at all. They find eachother very different but most parts similar. From their meeting the artist gets inspired by his original face. Coming to realize that even himself that he has given into the world he never wanted to.

The two of them hit it off. Both dwelling into the matters of the "perfect" vessel. Asking the serious questions such as what makes a body, a face, a soul attractive? They go on for hours and it starts to inspire the artists work into his new resorted craftsmanship. The faceless impressed by the purposed questions and also work. The two of them grow closer resulted from talking so much about bodies and meaning. All the while testing out the new creations, body parts, and vessels capabilities.

Not all though is good while the two develop this hoist. There's a villain at hand who one of the artist's main clients that goes unsuspected. They want to use the designs to create a vessel for the bad and wealth. Only to include to kill off all humans.

Thus forces the artist to reveal his true identity. A human being. Not a hologram. Plus he's not just an artist but a ex-con scientist from the labs that have bloomed into a internalized war. Faceless becomes confused and also hurt that the artist to mention this. Only for the two of them being followed.

The artist informs the robot that the hybrids (the children of the robot-species, generations of offspring) are the real threat to society. The one who hoists and is in charge of the power sorce is human and machine. The first of its kind, and also the previous mentor of the artist/ex-scientist.

Who will get to the power source first. Our main dynamic couple or the robotic uprising that believe all humans should cease to exist once and for all?

Gay Cryptids

Themes

Active night life

Next to the ocean, sea, body of water.

Beach city/lost boys/Mad max?/punk/ regal?/neon lights/old mascots/vapor wave af

Carnival / festivals

Dark market authenticity

Biker gang(s)

Aquatic features, art, incorporated in surroundings

Lifestyles like fish importing, dock workers, sushi shops, fancy diners

Common foods are all fish and sea foods

A rambunctious gang of young cryptics disguise themselves as human during the daytime but during the night it's quite the time to be alive and young.

Various story arcs of love and lust between the group members figuring out their own sexualities and forming adulthood. Though most of it is all of them just fucking around.

A rambunctious gang of young cryptics disguise themselves as human during the daytime but during the night it's quite the time to be alive and young.

Various story arcs of love and lust between the group members figuring out their own sexualities and forming adulthood. Though most of it is all of them just fucking around.

Plausible locations

Old mill

Carnival / freakshow

Rides and amusement

Abandoned Church

Greenhouse

Garden

Boat house

Log cabins

CAMP grounds

Old schools

Warehouses

The Docks or Port

Boat houses

Boat docks

Abandoned Hotel

Studios

Bike store

Surf or like diving store

Knickknack shack

Ma and Pa restaurants

Antique stores

Downtown

Library

Hospital or infirmary excotic masion

I have story plots for days SONNNN so these are at skim level for plot.

If you’d like to contact me the best ways are

Discord at

Agodnamedhome#4202

[email protected]

I work from 11:30 to 4 Monday-Friday

But available before, and after for sure.

Thursday’s at 5 are my therapist appointments

Weekends are 100% free atm

Looking for a long term, short term, a friend!

#rp #rp partner search #rp search #oc rp #orginal content #writting #fantasy #smut #fun #art #self promte

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beneaththetangles · 4 years

Text

Easter: Ten Anime for the Ten Commandments (II)

Happy Easter again! As most of us remain locked up tightly at home, like the Disciples at the first Easter, we may still hope that Our Lord will pass from time to time through the walls. Yes, and eat a good plate of fish with us to prove that He is not a phantom as we stare at Him with our Nichijou faces.

A new kind of life, as Nicodemus learnt, means to be with Christ in entirely new ways, to let us be guided by Him through circumstances one could never have anticipated. After all, He is the One who makes everything new. “The wind blows where it wishes, and you hear its sound, but you do not know where it comes from or where it goes. So it is with everyone who is born of the Spirit.” Life becomes kind of like baseball, or perhaps kind of like Haruhi Suzumiya´s brand of baseball.

Anyway, in my last Easter article, I commented on that promise of Ezekiel concerning the Law being solidly written in the heart of the People of God, which will be then a heart of flesh and, by the obedience of the Son, defeat evil and darkness, participating in the victory of Christ. It is a prophecy which brings me great joy, perhaps because at heart I cannot help being a Izuku Midoriya, a fan of the triumph of the superhero. One of the consequences of this newness of the Easter mystery is precisely that now Christ is living in us without destroying or denying us, for God has not come to Earth to destroy His Creation, but with a thrilling plan to save it.

And just as Boku no Hero Academia´s world needs a Symbol of Peace at its center, and a received gift in the heart of such a hero to carry him beyond his limits, so it is with Our Lord, Crucified, Resurrected and Alive, and us. Our union with Christ will not be completed in this life, requiring as it does to go through death and beyond when the time comes. But such is the wonderful, strange hope of the Christian. Back to the Ten Commandments, then, to that intimate, deep and heroic path at the heart of God´s creation, and at ours! A path that is both a prophecy and a spiritual portrait of sorts of our human and divine Messiah, and of which anime can offer some glimpses.

“Thou shalt not bear false witness against thy neighbor” implies the prohibition of a human reality as commonplace and everyday as is lying. It is a striking Commandment: after all, as quite a few of us are uninteresting jerks at least most of the time, wouldn’t that be a little dull, sometimes unsafe and even depressing? Yet, many of us recall the anguish, the burning feeling of being confronted with a world of lies, and have felt the thirst for truth, for authenticity, and the intuition that others can lead us to deeper dimensions of both themselves, us and the world. Only in time, we came to learn that others, even among our loved ones, deceived us intentionally or unintentionally, and that we ourselves were often deceivers even as we tried not to be. Oregairu, a very rich show we have commented on a number of times here at Beneath the Tangles, is just about that discovery, that path and that feeling, and something more. Lies, the difficulty of truth, no doubt, but also the world beyond, what may be at the other side. “Sagashi ni yukunda soko e”| “I’ll head over there to search…”

The protagonists, Hachiman Hikigaya, “Hikki,” and Yukino Yukinoshita, are clever teenagers who see the world, not without reason, as a playground of liars, and who try to cope with it while remaining true to their respective characters. After a rough middle school in which both experienced the injustice and the superficiality of their classmates in different ways and for different reasons, they have fortified themselves using their intellects as a defense, which provides viewers a ton of hilarious monologue and dialogue. But this starts to change, little by little. Quite appropriately, in the first season they live in a cartoonish world and are drawn like caricatures of themselves, while in the second season, under the direction of Studio Feel, the world has gained in beauty, human-like characters, and beautiful colors. And each of the characters has given the rest something valuable and difficult to put a spin on.

Hachiman, in particular, reminds me of my teenage self. He is just as self-satisfied, defensively analytical, socially awkward and comedically philosophical as I was, plus a reformed chuunibyou, all while harboring a deep thirst of real, meaningful human contact. After his experience during middle school, he surely thinks of youth and society as an elaborate setup, a game of phonies for power, and of himself as an uninteresting jerk. And yet (minor spoilers for the first and second seasons of Oregairu), he bears such a thirst, even if it is shameful, even if he knows it is out of the question, even if he honestly thinks that communicating with others and getting to know them is impossible in the real world. Recently I have come across the translation of the second opening, Harumodoki (“False Spring” or “Imitation Spring”). It is beautiful, and also well worth a read:

“I don’t want this replica I’ll only be satisfied with something I can call the ‘real deal’ I’ll head over there to search…

“But that’s like a time-old fairy tale”

I gaze at the empty space where my answer has disappeared It should have been filled in But however hard I try, I can’t tell for sure”

Hikki has a good head, for sure, but that can be a disadvantage as much as an advantage in trying to find the truth (after all, it is easy to cleverly deceive ourselves for us intellectual types, and we should learn from the Gospel that the wise of the world are in danger of hiding the important things from themselves). But he also has the integrity of the people he admires, even if it is not always bulletproof; the good instinct of friends and relatives, even if they sometimes cannot really argue with him; the wisdom and advice of patient mentors, even if he is a hard student; and most of all, the flawed, extraordinary humility and hope of my favorite character (because, I´m sure, these are the two essential requisites for aspiring to truth), even if… I will let it at that. And so he comes to be able to do soul searching when he is trapped in his own lies.

And, as he fights his inner shame, his lack of hope, the lies of the world and his own carelessness, he will try to say what he really wants to say. To express this desire: the hope of truth, even bearing with the unavoidable ugliness of something genuine. He wants to deepen the conversation, to go on. And this, in itself, opens the door to this whole new world where anything may happen, hard and difficult, for sure, but also increasingly authentic, and truly helpful. Because every word, when spoken with deep sincerity, has true power, and is a true vehicle of communion between the speaker and the one who hears. Not immediately, perhaps, but it will be. We are starting to see the fruits, and I hope that the third season may show us more of them. After all, “Tooi tooi haru wa/ yuki no shita,” |“The distant, distant spring is/ Underneath this snow”.

If we go on and on with this part of vulnerability, openness and wisdom, it will ultimately lead us to God. Because Christ is the Truth, and every particular truth, every intimate truth, every ray of meaning we may discover on this Earth, is connected in some way to Him, to the truth of the Bible, and is some kind of sign of the Kingdom of Heaven. And God is truthful. He is truly in His Word. When Christ speaks, His words transcend time and place, and bring us to Him and to others, more solid that the heavens and the Earth, each of them a prophecy, each of them a sign of hope, a step closer. Harumodoki expresses our character´s fear that “However hard we try, things that can’t be seen/ Will end up fading from our memories.” But only He can assure us that “The heaven and the earth will pass away, but My words shall not pass away”.

Hikki, Yukino and Yui are starting to struggle for to learn to express our reality and the reality of the world; to be increasingly informed by it; and to help others towards the meaningful, ever-expanding, personal but solid truth. In the Bible, we translate the word “jada” as “to know,” and that´s what it means, but jada also implies “to deeply experience the truth of something,” as in “and they shall know that I am God,” “if you knew the gift of God,” “and no man knows the Son, but the Father; neither knows any man the Father, save the Son.” We cannot imagine yet what knowing this means, but hopefully we will. Our Lord is the Word of God, always sharing the truth with us, with every action, every conversation—always in conversation.

Hachiman invents new ways to get to the truth of the matter, overcoming this lie or that lie the others will not acknowledge. Christ does it better: He may be pretending to walk away in disguise so the disciples of Emmaus invite Him to dinner, letting Bartimaeus scream a little more before turning to him, rebuking a Pharisee, and laughing with Lazarus or chatting with His Mother, but He will be entirely in every single word, freely communicating Himself, the saving Truth of God, and searching for a way into our defenses. He is the True Witness. Through Him, we will get to know one another and the Father, and to communicate the living truth, ours and His at once. He finds our personal truths interesting and wants to speak with us. He wants to go deeper. And He has many things to tell us, things that will bring us closer and closer to whom we really are. “Arigatou chiisa na me mitsuketekureta koto/ kimi wa tsubuyaita,” |“Thank you, for finding this tiny sprout/ You whispered.”

For the Seventh Commandment, “Thou shalt not steal”, I have chosen instead One´s Mob Psycho 100. The art is quite ugly, the main character is overpowered, the humor is somewhat hysterical, but in this particular show, these are not flaws. Imagine having supreme psychic powers (of a non-realistic kind), from telekinesis and super strength to levitation, and living in what seems to be a cramped world of screaming, vulgar nobodies. With such an insane range of abilities, so different from those of the rest of mortals, you can get what you want with a snap of your fingers, full of power and beauty they will never experience. You may feel that you don´t have to work to earn your part. You may ever think that this is the natural balance of things, and that the rest of the people work because they are either not so gifted, or maybe stupid, unimaginative or not strong enough to do otherwise. So you, the powerful one, the clever one, take what you want.

But the thing is, if you fall into this temptation and start bending the world to your will, exploiting others, you are impoverishing your world and that of others. Precisely when you think of yourself as a powerful, terrible force of nature, you are in fact choosing to become a parasite, a nuisance, a burden on the shoulders of those you are abusing. And that, when you could be someone who helps in building the world, a valuable part of the team, with whatever talents you have, is sad. It is a waste. By commuting injustice, I rob the talents I have of their proper glory, their goodness and role in the world. The thing is, most valuable things in life and society take work and coordination, often a lot of work and coordination. And after the Fall, work became hard and tiresome, and feels a little like death. The path where, in deep alliance with the world, you come to master the ability you need and put it to good use, and learn its wisdom, has become hard. The temptation of taking shortcuts and simply getting what you want, measuring the world according to your desires, is strong. And almost every character in Mob Psycho 100 falls into this temptation, whatever their ability.

But Shigeo Takeyama, Mob, the protagonist of the series, insists on doing the opposite, again and again. He may be the most powerful of psychics, but he will not be blinded by this fact. He knows his limitations. He wants to be physically strong, so he will train to exhaustion with those who are strong. He wants to be popular, so he will try to learn social skills, talk to girls, and even try to be school council president. He may be immensely strong, but is wise and humble enough to understand that he depends on others, and also that he needs to put it to constructive use and follow the natural rhythms of things and people. And he does that, again and again. He does his work, or tries to. And he repeats this lesson to every rival, with humility and strength.

And we come to see it. Those who have built their lives on their own power and domination are ultimately childish and immature, even if they think of themselves as threatening, powerful, and imposing. To be truly strong, you train your body, and artificially inflated muscles will never be the same. Can you make glass? Grow food? Put it into a can? Distribute it through the country? That is a wonder, achieved by coordination and hard work. If not, when you break the showcase of a commerce to take it with your psychic powers (or whatever), when you try to get what you have not earned by shady means, when you slack off and bury the talent you could put to good use, when you take what is not yours without doing your part, the world is all the less rich for that, and what you are becoming is the work of those whose part is solving these kind of injustices, like Mob. But if you work, you will slowly come to grow, enrich the world, help others, and learn that you need the work of others as well. You will build and mature. And hey, maybe these people are not so ugly after all, and maybe they can help build the world, or they are already doing so in one way or another.

Mob knows this. It is like the definitive anti-Matrix: forget all the anti-social coolness, the black clothes, the disdain for the lives of the non-redpilled, learning to pilot a helicopter in a minute and the Chosen One distorting the everyday world, and think about the valuable things around you, and how they got there, and how you can contribute. And Our Lord knew that, too. He told the Apostles that the leaders among the nations behaved like tyrants, and the great became oppressors, but that it must not be so among them. Instead, the great must serve, and the greater they are, the more they must serve. We will only be happy, mature, and grow when we are able to do so. And He Himself, the Lord and the Master, washed their feet, the humblest of labors, to show them that He has come to our world to build, to serve, for He loves us, for He wants a world of justice. He was not a burglar or a mercenary. He worked in our salvation everyday, with effort and humility everyday. God´s unlimited power, infinitely more vast than Mob´s, was, and is, used to serve us.

When we come to be able to imitate Him, every power, every talent, every strength, every leadership is a blessing for the world, ourselves and others, and thus true to its deeper meaning. And He, knowing that we need one another, also gave us the Church and the communion of saints, in which we share the goods He gives us. By praying for others, receiving help, offering up our sufferings, and taking care of the materially and spiritually poor, we are doing the same things for Him, for he identifies with those in need, the hungry we can feed, and the thirsty we can satiate with our talents and riches, which will then be glorious, shining treasures of Heaven in this anodyne world.

And lastly (for now), there is the Sixth Commandment, “Thou shalt not commit adultery.” I have commented on the beauty of chastity before, but it is much harder to do so while maintaining the “minor spoilers” profile I have chosen for these articles. Unless, of course, I use the one romantic comedy series that starts with the protagonists going out in the very second chapter, and goes on from there: I´m referring, of course, to Ore Monogatari, literally “My love story.” This is a very wise show, one which I really wish I had watched before having a girlfriend for the first time, and whose solid Austenian ethics and character comedy have also been brilliantly commented here by our writer Annalyn a number of times, saying, among other things, “Also, everyone should watch Ore Monogatari.“ I concur.

If the first thing which makes Ore Monogatari different from your standard romantic comedy is how fast the protagonists come together, the second is undoubtedly the protagonist, Takeo Gouda. The guy is a beast! Seriously, he is huge! He is fiery, clumsy, loud—a teenager who looks like an adult, and is questioned by the police if he waits in front of the school, bigger than everybody else, compared by others (and by the opening) to a gorilla! And he is impulsive, too: He shouts, he cries, he laughs, he gets angry, and he falls in love every year. When he eats, he devours. And yet (minor spoilers ahead), his new girlfriend, Rinko Yamato, is small and delicate, timid and a good cook of small and delicious sweets. Her friends are absolutely flabbergasted, even worried. What is this red ogre going to do to her?

But Yamato´s friends are wrong. Because Takeo, for all his strength and threatening face, has the virtue of subordinating his strength, his fire, and his powerful body to his will, for taking care of others and to sacrificial love. He is very able to appreciate things, to be able to show delicacy. And we come to understand what Yamato has seen at first glance: That his enormous body can and does convey his kindness, his forbearance, and both his strength and his vulnerability as he opens to her. That, even if he looks scary, he would never harm her, and she is safe with him, no matter how strong his feelings for her. That, even if he is strongly attracted to her (or maybe precisely because of that, because she is a precious woman to him, and dear to his heart) he will only touch her, or take her hand, when he is convinced that she wishes him to do so, and will understand it as a sign of love and intimacy. That he is a true man, and for Yamato as a woman, also an attractive one.

Of course, the desire to love another person right does not automatically solve the complicated problems of relationships. From minute one, there is a misunderstanding when he thinks he is being pure and protecting her by avoiding physical contact, when she wishes that he would take her hand, and in time come to kiss her. But that is what allows them to enter this new adventure in such a way that every gesture, every look, every touch, every feeling (or so they intend and fight for) matures in the heart, sometimes refined with fire of passion and tenderness and, without losing any of its strength, to be personal, intentional, meaningful, directed to the specific person that they love. Takeo Gouda. Rinko Yamato.

So we will see them explore, in the midst of their everyday lives, with deep emotion and care, how to make this person happier and more of who they are: affectivity, corporeality, personal biography, defects, learning, the struggle to be better, social and family life, dreams and hopes. The deep, strange, personal realms of the heart, which have been waiting for “the man” or “the woman,” will open from the inside, one by one, and ignite in new light: That between them, who would let the other suffer alone if that was the best for him of her, there will be something new, complementary, shared, stronger because they are together, in increasingly deep communion. Maybe including, eventually, everlasting commitment, sexual union and new life, reflecting the always deeper, always more alive, always more intimate, always more rich love that God provides each of us, a generous, personal love which brings new life to us and the world.

And the body is important, as part of us as the soul. We are incarnated spirits, one being, as Serial Experiments Lain shows it in a powerful way. Our bodily reality was intended by God, and all of it is meaningful in some way, even if veiled by our scars, deformities, and wounds, for ourselves, and for others. God chose to take flesh, to Incarnate too, and he decided that His steps would be the steps of God, His eyes, the eyes of God, His hands, the hands of God. He gave us His body and blood at the Last Supper, and the communion he established with us that way goes even further than that of the husband and the wife, which while retaining its intrinsic goodness and its character of path to holiness, in a way is a prophecy for it, as St. Paul notes. And this is also hopeful, because He will save and complete the person we love in a way we cannot. As Ore Monogatari shows, when you truly love someone, this becomes a major issue: Some things are out of our reach, the loved one suffers in ways we cannot understand, we inadvertently hurt the other. But God can do what we cannot, and in Him, our communion will be greater. He truly gives us the hope of a pure bridge, and of a happily ever after.

And yet, Our Lord was and remains virginal. This has a powerful meaning, too. Chastity is not only for the married, but for us too, because our body is also a part of our relationship with God, who loves us in body and soul, and how we relate to our intimacy and our impulses is a part of learning to be gradually closer to Him. Impurity leads to blindness. As Annalyn brilliantly (and enlighteningly) pointed out, Suna, the friend, the third character on this trio, is an example of this celibate love. On Earth, the celibate keep company to the married, aid them in their struggles, struggle themselves to deepen their intimate relationship with the Lord, and remind others and themselves that there are other possibilities, and that our body ultimately points to Him, in whose image and likeness our full being was created. They are friends of the Spouse.

And this is it for now. Next time, I´ll go for the Fifth, the Fourth and the Third Commandments. Stay safe!

=====

Oregairu, Mob Psycho 100, and Ore Monogatari can be streamed on Crunchyroll.

#Anime #Christianity #Oregairu #Mob Psycho 100 #Ore Monogatari!!#Easter #Holy Week #Yahari Ore no Seishun Love Come wa Machigatteiru.#My Teen Romantic Comedy SNAFU #My Youth Romantic Comedy Is Wrong as I Expected #My Love Story!!#10 Commandments #Articles #Author: Gaharet

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