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#Biblical Truth Made Simple
youryurigoddess · 1 month
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The stuff dreams are made of, or the interesting case of Anthony J. Crowley
We’ve talked a bit about Crowley’s trauma and his way of reclaiming the narrative in the past, but it’s time for some deep dive into the story he’s trying to tell. A story that meanders through the fabric of time and space, slightly changing with the human fashion trends, but slowly and surely bringing the demon closer to a certain angel like the red thread of fate.
1793
Some stories start in a garden, some even Before the Beginning, but this one starts with an Arrangement. Or, to be precise, a little bit after that.
See, most of the iterations of Crowley we saw throughout the history until then didn’t delve too deep into human cultural tropes. If anything, they were the inspirations behind more or less prominent biblical figures, maybe some nameless villains matching his demonic provenance and role assigned to him by his employers.
But in the hustle and bustle of the revolutionary Paris, Crowley emerges as a prototype of the Scarlet Pimpernel — a chivalrous Englishman who rescues aristocrats before they are sent to the guillotine. Stan Lee famously called him “the first character who could be called a superhero”.
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Sir Percy Blakeney, the main character of the novel and the West End play under the same title, leads a double life. Appearing as nothing more than a wealthy fop, in reality he’s a formidable swordsman, a quick-thinking master of disguise and an escape artist. Even his own wife, Marguerite, has no idea.
Unfortunately Marguerite is being blackmailed with her brother’s life to find and expose the wanted Pimpernel. She regrets betraying her husband the moment she's forced to do it and spends the rest of the plot working to save him. She does, they make up, and return together to England.
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In Aziraphale and Crowley’s case there was just a short stop for crêpes. But what seems to be an inspiration of a specific scene might as well come up later in the wider perspective of the show, so keep in mind those fragments of the musical’s libretto:
We all are caught in the middle
of one long treacherous riddle.
Can I trust you?
Should you trust me too?...
We shamble on through this hell
taking on more secrets to sell
'til there comes a day
when we sell our souls away.
We seek him here, we seek him there,
Those Frenchies seek him everywhere!
Is he in heaven? Is he in hell?
Where is that damn elusive Pimpernel!
1941
The London Blitz is when we see a full-fledged iteration of the superhero Crowley performing dashing and heroic deeds under the literal cover of darkness and air bomb smoke. In a bespoke double-breasted suit and a fedora — still free from the unfortunate modern connotations from the internet culture — he’s clearly channeling Humphrey Bogart as a private investigator Sam Spade in The Maltese Falcon (1941) now.
It all starts with a woman and a simple plan gone wrong: Spade’s partner is shot dead, just like the man he was supposed to be tailing upon the request of a mysterious Miss Wonderly. And when a very soft-looking, sweet-scented man named Joel Cairo appears in his office willing to pay a hefty price for a "black figure of a bird", Spade starts not only a new job, but also his own quest for truth.
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On the surface, The Maltese Falcon ends happily: the killer gets caught, and the hero winds up with the Falcon. But Spade's victory is completely hollow. The Falcon itself, originally meant as a symbol of loyalty, transforms into a symbol of a corrupting, futile, and self-destructive greed that makes people betray their own loyalties.
The treasure is just a worthless forgery and he’s fallen in love with the criminal — one of the first femmes fatales on screen. Despite his feelings for her and a kiss, Spade gives her up and submits the statuette as evidence, describing it as "the stuff that dreams are made of".
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Remember the eagle lectern? The eagle was believed to be flying highest in the sky and therefore closest to heaven, symbolizing the carrying of the word of God to the four corners of the world. Aziraphale in the 1941 church scene is the closest to Heaven we’ve seen him on Earth. Just look at him: dressed in a smart, well-fitted coat with peaked lapels, symbolizing his Heavenly allegiance, and doing good this time not as a work assignment, but of his own accord. Being the closest to Heaven means the furthest and most unattainable for a demon like Crowley.
The Maltese Falcon is a metaphor for unattainability — things out of reach to desire and fight for, although never truly possess. It’s “the stuff that dreams are made of”. But Crowley secured the original — made of gold and encrusted with jewels, but hiding its real value under black enamel — eerily reminiscent of the demon himself and the unending kindness behind his inappropriately tight black clothing.
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Quoting Michael Ralph — the production mastermind behind Good Omens — from the S01E04 “Saturday Morning Funtime” DVD commentary, “We wanted to tip our hat to the Maltese Falcon as being a precious object that no-one thought really exists but it does”. So we can safely assume that Crowley can and will achieve his dream in the future.
1967
Do you know what else happens in 1941 in Scotland? Ian Fleming, a British naval intelligence agent, meets with the famous occultist Aleister Crowley and asks him to lead the interrogation of newly imprisoned Rudolf Hess — a leading member of the Nazi Party in Nazi Germany appointed Deputy Führer — given the two men’s shared enthusiasm for the occult.
This meeting has a significant impact on Fleming’s work as a writer; Aleister Crowley becomes the inspiration for his first villain Le Chiffre and creates a blueprint for most of the James Bond’s franchise ever since 1953, the publication date of the novel Casino Royale.
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Meanwhile our Anthony J. Crowley believes in himself not being the villain he’s usually and sometimes forcefully painted as, but a superhero in disguise. The character of James Bond in particular inspires him so much that he buys petrol to get the limited You Only Live Twice (1967) window decals for his Bentley, dons his own tactical turtleneck, and sets off to organize a heist like no other. Sean Connery style.
Like a typical superhero, Crowley’s once again both saved and betrayed by his love interest. Aziraphale leaves him with a thermos of Holy Water, a faint smile, and a hope that they’ll soon match their speeds to meet halfway at the Ritz. The cancelled heist is not an ending, but a promise of a new beginning. And the fact that UK decriminalizes homosexual acts in the very same year is more than telling in this regard.
2019
An exceptional situation calls for exceptional solutions, and what’s more important than the impending Apocalypse? Demon Crowley does his best to put the arsenal of his 20th century film inspirations to good use.
"Ask yourself, do you feel lucky?" Crowley drawls, clearly imitating (although slightly misquoting) the titular Dirty Harry (1971). He’s hoping to be menacing and making the point of being the one on the right side of the law and history.
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Some situations require more than quoting action heroes is not everything though. He knows what to do:
A jeep was heading purposefully towards the gate, and it looked as though it was crowded with people who were about to shout questions and fire guns and not worry about which order they did this in.
[Crowley] brightened up. This was more what you might call his area of competence.
He took his hands out of his pockets and he raised them like Bruce Lee and then he smiled like Lee Van Cleef.
'Ah,' he said, 'here comes transport.'
When in doubt, Crowley acts. He transforms into a combination of a stoic martial arts phenomenon and a sardonic, menacing character. His smile alone — even on Aziraphale’s angelic face, as seen in one of the final cut scenes — seems to be enough to ward off evil spirits, angels, and humans alike.
But we all know that even as breathtaking performances as those can’t protect anyone from the cogs of the Heavenly machine and its plans.
2023
No wonder that Crowley’s tactical turtleneck comes back in style after mere four years of retirement with a self-introduction “Former Demon, hated by Heaven, loathed by Hell. How will our hero cope?”. Something has changed during this time; he’s more mature now, not playing pretend by hiding behind the usual veneer of sarcasm and movie quotes anymore. Finally comfortable with the fact that this is his own story and there’s no need to become anyone else than himself.
The bookshop fire and the Heavenly trial still seem to haunt the demon in a way that makes him realize what all humans know: that every hero is his own biggest enemy. His ultimate dream might effortlessly change into his greatest nightmare any moment now, and the only thing he can do about it is hover in a two-minute distance from the epicenter of his feelings. But Crowley has no time to work on it when a new mission appears, to protect his angel from Gabriel and the combined powers of Heaven and Hell. Even if this — rather ostentatiously — is the last thing he wants to think about at the moment.
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Crowley tries to plan ahead, while his story slowly warps into a different genre due to Aziraphale’s interruptions. He eventually changes back into his usual Henley shirt after agreeing to swap places and guarding the bookshop while the angel is off to Edinburgh, collecting more clues. Did he finish his personal quest off-screen? Did he just give up on it in the whirlwind of matchmaking shenanigans? Remains to be seen.
In the S2 finale our master of disguise in yet another turtleneck proves that he can successfully infiltrate even the universe’s back office. We don’t know where he drives off in the end, but one thing is certain — he’s got a plan. And a world (and his dream) to save, like a superhero he is.
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our-lord-satanas · 20 days
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SATANISM INFO
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TIPS FOR PRAYERS AND OFFERINGS:
PRAYER TIPS:
• A prayer can start with anything you want. For example, beginning it with “Lord (deities name), I humbly bow before you and pray you give me an answer if we may work together? Ave/praise (deities name).” Can be as simple as that.
• Before praying to any deity; cleanse first, get comfortable, and pray.
• Burning your prayer note could be a perfectly acceptable way of disposing of it, as that is a way of symbolizing offering it to the deity. The act of burning the note also has the effect of transferring your energy along with the message. So long as you are being respectful and expressing your gratitude, the method of disposal is not as important as the intention behind the action.
OFFERING TIPS:
• Can have just one altar for deities (adding things to it for certain deities)
• Eating, burning, or burning (if it’s safe for wildlife) and drinks can be poured into the earth, so any grassy area.
ITEMS TO ADD TO YOUR ALTAR:
• Athame: to channel, direct, and cast protective circles. Can also simply be used for decorative purposes.
• Bell: to mark the beginning and end of a ritual, and to clear away any negative/stagnant energies.
• Bottles and/or jars: for spell work, potions, herbs, etc.
• Iron cauldron: for burning herbal offerings, paper for spells, or or paper for rituals.
• Besom/broom: used to metaphorically sweep away negative energies.
• Wand: used similarly to the athame, but wands have a gentler energy. Used to channel and direct energy, and cast protective circles.
WHAT IS THEISTIC SATANISM?
Theistic Satanism, otherwise known as traditional Satanism, is a religion where we worship one or more supernatural beings. Our major deity, Lord Satan, is often viewed as a father/brotherly figure. Although, some theistic Satanists actually believe in a version of the Egyptian God “set”.
Regardless of which one you believe in, none of them resemble the Christian Satan (we do not worship the biblical Satan). They both share the qualities of the symbolic Satan, which are sexuality, pleasure, strength, and rebellion against Western mores. Satan as an entity can be found all throughout Paganism as several different Gods.
The same role, the same realm, etc. He also traces back all the way to the Egyptians. The term “Satan” originated in Judaism as a title for those who were opposers and accusers, many people held that role, not just one. The role can also be seen throughout different Pagan Gods as well. Many demons hold the role of a Satan, there is not just one. They are not all abrahamic and certainly are not evil.
Theistic Satanists follow a more Pagan lifestyle, as it is considered a Pagan religion. Therefore, the Satan we follow also has Pagan aspects. Not biblical whatsoever. Worshipping the biblical Satan and believing he is not evil is actually Diabolism, not Theistic Satanism.
Theistic Satanists never have and never will worship the biblical Satan.
Don’t listen to anyone who says we do and that there is “only one” Satan. They’re very uneducated.
WHAT IS ATHEISTIC SATANISM?
Atheistic Satanism, otherwise known as LaVeyan Satanism, is an atheistic branch of Satanism made in 1966, where you do not believe in a supernatural being, rather they view Satan as a symbol. There is no God nor Satan, the only “God” is the Satanist themself.
Atheistic Satanism is a religion that questions authority, stands up for the truth and fights for justice.
Atheistic Satanism also takes part in magic and rituals of self-empowerment and therapy (not everyone does, but many do). As defined by LaVey, Satanism is celebration of the self. It encourages people to seek their own truths, indulge in desire without fear of sociable taboos and perfect the self.
THE 7 FUNDAMENTAL TENETS:
I. One should strive to act with compassion and empathy toward all creatures in accordance with reason.
II. The struggle for justice is an ongoing and necessary pursuit that should prevail our laws and institutions.
III. One’s body is inviolable. Subject to one’s own will alone.
IV. The freedom of others should be respected, including the freedom to offend. To willingly and unjustly encroach upon the freedoms of another is to forgo one’s own.
V. Belief’s should conform to one’s best scientific understanding of the world. One should take care never to distort scientific facts to fit one’s beliefs.
VI. People are fallible. If one makes a mistake, one should do one‘s best to rectify and resolve any harm that might have been caused.
VII. Every tenet is a guiding principle designed to inspire nobility in actions and thoughts. The spirits of compassion, wisdom, and justice should always prevail over the written or spoken word.
UNDERWORLD GODS:
• Cerberus: Hound of Hades, guarded the gates of the underworld and prevented the escape of the shapes of the dead.
• Charon: ferryman of the dead.
• Cronus: King of the Titanes, and the God of time.
• Erinyes: three Goddesses of vengeance and retribution.
• Hades: King of the Underworld and God of the dead.
• Hecate: Goddess of magic, witchcraft, the night, moon, ghosts, and necromancy.
• Hermes: the guide of the dead who led souls down to the underworld.
• Hypnos: God (or Daimon) of sleep.
• Moirai: three Goddesses of fate.
• Nyx: the Goddess of the night.
• Persephone: Queen of the Underworld and Goddess and Spring growth.
• Thanatos: God (or Daimon) of non-violent death.
FAQ:
HOW CAN I ASK A DEITY RESPECTFULLY THAT I WOULD LIKE TO WORK WITH THEM?
To ask a deity respectfully that you would like to work with them, you could say something like this:
"Dear (deity's name),
I have heard great things about you and feel a connection to your energy.
I am seeking guidance and knowledge, and I was wondering if you would be willing to work with me?
If you are interested, please let me know what I need to do to establish a connection with you.
Thank you for considering my request,
(Your name)."
After you have written the note, you can either keep it as a record of the prayer or dispose of it in a way that demonstrates respect and gratitude. If you decide to keep it, you can place it in a special box or file to keep as a reminder of your connection with the deity. For disposal, you could burn the note as an offering to the deity, to represent sending the message with your intention and energy. Or, you could bury the note in the ground, as a way of returning it to the earth and giving thanks for the energy and guidance you received.
IS THERE A TIME LIMIT TO LEAVING OFFERINGS OUT FOR DEITITES?
There is no specific time limit for leaving offerings out for deities. You can leave offerings for as long as you feel that they are needed or wanted, and then take them away when you feel the connection has been made or when you feel it has run its course. It's important to be respectful of the deities and to approach offerings with the intention of connecting with them rather than simply "paying tribute." As long as you're mindful and respectful of the deities and their energies, you can leave offerings for as long or as short a time as you wish.
DO I NEED TO ASK EACH DEITY IF THEY WOULD LIKE TO WORK WITH ME BEFORE PRAYING TO THEM?
It's not necessary to ask each deity if they want to work with you before praying to them. However, it can be a good idea to do so out of respect and as a way of establishing a connection with them. Each deity has their own personality and energy, and different deities may be more or less willing to work with you based on your compatibility and their own interests. By asking first, you're showing consideration and respect for the deity you're wanting to work with, and they may be more likely to respond positively to your request.
CAN I USE ONE ALTAR FOR PRAYING TO MORE THAN ONE DEITY?
Yes, you can absolutely use one altar for praying to more than one deity. Each deity has their own energy, but using one altar is a convenient way to streamline the process. By having one altar, you can create a space for all your deity work, saving time and effort on setup and cleanup. Additionally, you might find that the synergy of multiple deities on one altar provides an even greater connection between you and the deities you're working with.
CAN I PRAY TO MORE THAN ONE DEITY IN A DAY?
You can absolutely pray to more than one deity in a day. Each deity has their own energies, so it can be beneficial to invoke different deities at different times for different purposes. For example, you might pray to Lucifer in the morning to gain strength and confidence, and then pray to Lilith in the evening to gain insight and inspiration. There's no right or wrong way to work with different deities, so feel free to experiment and find what works best for you.
DO I ALWAYS NEED TO GIVE OFFERINGS TO DEITIES I WORK WITH?
No, you do not always need to give offerings to the deities you work with. It's a matter of personal preference and the individual relationship you have with the deity. Some people give offerings to establish a connection and build a relationship of respect and reciprocation. Others may have a different arrangement with deities that may not involve offerings, such as exchanging energy or favors. Ultimately, it is up to you and the deity to determine what arrangement works best for both of you.
DO I HAVE TO USE A HAND SIGN WHEN PRAYING?
Some people feel that using a hand sign or gesture when praying to a deity can help you to better connect with their energy and express your intentions. However, it's not a requirement. The important thing is to make sure that you are being sincere and genuine in your prayers. The deity you are speaking to won't require any specific gestures from you, so focus on communicating your true feelings and desires.
CAN I USE THE SAME OFFERING BOWL FOR OFFERING STUFF TO MANY DIFFERENT DEITIES?
Yes, you can absolutely use the same offering bowl to make offerings to multiple deities. This is quite common and can be a respectful way of showing gratitude to multiple deities or expressing your devotion to a variety of energies and forces.

When making offerings to multiple deities, it's important to keep in mind the differences in their energies and preferences. You should make sure to choose items that are appropriate and relatable to each of the deities you are offering to. You can experiment and see what combination of offerings seems to suit the different energies you are working with best.
WHAT DO I DO AFTER OFFERING A PHYSICAL OBJECT TO A DEITY THAT I CAN’T BURN, EAT, OR DRINK?
After offering a physical object to a deity that you can't burn, eat, or drink, you can keep the offering as a sign of devotion and appreciation. You could display the object on an altar or shrine dedicated to the deity, or place it in a special spot in your home as a reminder of your connection with them. The important thing is to show respect and gratitude for the deity's presence and influence in your life.
It's up to you whether or not you would like to cleanse the object after offering it. Some people believe that offering items to deities can create a spiritual connection or attachment between the deity and the object, and that a cleansing can help to reset the energy and clear out any negative energies that may be lingering. If you feel drawn to cleansing the object, it can be a good way to ensure that it is a pure and clean vessel for the energy of your deity.
WHAT CAN I USE TO CARVE A DEITY’S SIGIL OR RUNES INTO THEIR CANDLES?
• A sharp, pointy object such as a knife or pin.
• Sewing needle.
• Wood-burning pen or tool.
• A marker or felt tip pen.
• The edge of a metal object (e.g. a pen or paperclip).
• Paintbrush: to apply acrylic or oil paint for more elaborate designs.
• Small tool: You can also use a small chisel or carving tool to carve the shape of the sigil or rune into the candle.
WHAT CAN I USE TO CLEANSE AN OBJECT?
• Moonlight: exposure to moonlight can be a powerful way to cleanse an object of negative energy.
• Natural cleaning agents: you can use natural cleaning agents such as salt water or herbal infusions to cleanse an object.
• Smoke: burning incense or white sage is a common way to clear negative energies and cleanse objects.
• Sound: you could also use sound such as bells, chimes, or chanting to help remove any unwanted attachments to the object.
• Energy clearing: some people utilize reiki or other forms of energy clearing to remove negative energies from an object.
• Burning herbs or sage (or other cleansing materials): is a common and straightforward way to cleanse and purify an object.
• Sound cleansing: playing certain tones, mantras, or frequencies to cleanse is a simple and effective method.
• Water cleansing: spraying water or soaking an object in purified water is a simple and effective way to cleanse and purify it.
• Crystals: using crystal energy and/or placing crystals on or around an object is a unique and effective way to cleanse and purify it.
HOW CAN I TELL IF SOMETHING IS A SIGN FROM A DEITY OR IF IT’S JUST A COINCIDENCE?
• A physical sensation or feeling: when you pray or meditate and experience a physical sensation or feeling that feels distinct or out of the ordinary, it could be a sign from a deity, especially if the feeling is unexpected or unaccounted for.
• An unexpected event or occurrence: sometimes, something unexpected or out of the ordinary can be a sign from a deity.
• Change in energy or vibe: if you notice a noticeable shift in the atmosphere or energy of the space, it could be a sign from a deity, as energies can be very strongly felt and can often be very distinctive.
• Sudden synchronicity or coincidence: when you notice something that feels too uncanny or too specific to be just a coincidence, it could be sign from a deity, as they often communicate through synchronicities and meaningful coincidences.
• Unexpected thought or feeling: when you experience an unexpected thought or feeling that feels out of place or unusually strong, it could be a sign from a deity.
HOW TO RESPECTFULLY DISPOSE OF A BURNED OUT CANDLE THAT WAS USED FOR A DEITY?
When you have burned out a candle that you used for a deity, you can dispose of it in multiple ways, depending on your personal beliefs and practices. You can either bury it in the ground, recycle it and dispose of it as a normal candle, or discard it in a ritualized manner. It's important to take into account the candle's symbolism and your relationship with the deity you used it for. This will help you decide on what disposal method is right for you and your practice. Ultimately, it is up to you to decide how to dispose of the candle properly and honor the deity.
CAN I LIGHT ALL MY DEITIES CANDLES AT ONCE?
Yes, you can light all of your deities candles at once. It is appropriate to honour each deity in their own way, and lighting candles is a common way to dedicate offerings and prayers to your deities. You can either light each candle individually, with a specific prayer or dedication to each deity, or you can light all of the candles together with a single prayer or dedication for all of the deities collectively. The choice is up to you and how the candles resonate with you and the deities that you seek to connect with.
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mania-sama · 8 days
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Fyodor Dostoyevsky and Crime and Punishment: Short Bungou Stray Dogs Analysis
Finally finished Crime and Punishment by Fyodor Dostoevsky. i might do a post talking about my actual thoughts on the book, but not right now because I'm INSTEAD gonna talk about BSD Fyodor because, if I'm gonna be honest, a large part of the reason I read this book was to see if I could get an insight on what his ability could be (obviously I also read it because I know it's an extremely influential book to the psychological thriller literature genre, and it's made me want to read more of his books because I am absolutely entranced by his writing style).
SPOILERS: This book did NOT give me a single damn clue to Fyodor's ability.
However, I do have a better understanding of why Asagiri chose to write Fyodor in that specific way, with the added effect of making Fyodor much more understandable. I have a better appreciation, I think, for Asagiri's character writing. Let me explain:
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The large, overarching theme of C&P is the idea that some people are naturally born with the right to kill. That is, people are naturally born into two categories: "Ordinary" and "Extraordinary". The majority of the population falls into the former - they live their lives in submission to the law and to those above them. In essence, they do not have the "right to kill"; they are otherwise overcome with guilt, regret, or simply caught for their wrongdoings.
The latter category has very few people in it, and for a simple reason - they are the ones who are, essentially, above the law, and therefore, the lawmakers. They are the ones who lead the revolutions, sit on the throne, and most importantly, kill when they need to kill and do not hesitate to "step" over their crimes as nothing more than the necessity to power. They are not caught. In fact, they are hailed as the greatest leaders. Alexander the Great, Julius Caesar, and his most constantly referred example, Napoleon. These are the born with the "right to kill".
The main character, Raskolnikov (of whom I will be calling the affection Rodya because I am NOT spelling his name over and over again), believes himself to be a "Napolean". Rodya is the one who came up with this theory in the book, after all. However, he finds out, near the end, after several blunders and mental breaks, that he is not one of the people who can "step" over their crimes. He hesitated before killing his target. His guilt for his two murders sent him into a feverish state for days on end. He walked to the police station to confess his crimes a million times before finding some reason, right before he was meant to do it, to chicken out and continue living life under this ever-evolving notion that he was sorely mistaken about himself. Rodya is not the "Napolean" he thought he was born to be.
How does this relate to the Bungou Stray Dogs character? I believe that Fyodor is, essentially, the embodiment of the "right to kill". He is everything that Rodya thought he was, which is an excellent analysis on the part of Asagiri. One of the first things Fyodor does is kill Ace, then a relatively innocent child, Karma. He does this without blinking, without a hint of remorse, and proceeds with his day. He knows that this is his right, that he is the one above others, that he can kill and he cannot be caught for it. He claims to have mastered and tamed his own ability. Why? Because he is the "Extraordinary."
Another theme that I find quite intriguing is religion. In truth, it really isn't that prevalent (though there are a great many Biblical quotations and references throughout) until the last part, Part 6, of Crime and Punishment. Rodya has a near-constant epiphany with religious belief, even at one point stating, point-blank and in irritation, that God isn't real and He certainly isn't helping anyone in the mortal plane. He oscillates between claiming that the "Devil" forced him to kill, to saying that believers are frantic and stupid, then to kissing the dirty ground in repentance for his crimes. He state of mind ends in that repentance state, a supposed believer and eager to start his life anew.
To make Fyodor a devoted believer in God, with a set viewpoint and acting as an executor of God's will, is, once again, an excellent choice. Rodya's irritation and inner turmoil were one of the many reasons why he failed miserably in maintaining the secret of his crimes. Fyodor is none of those things: he is calm, cool, collected, and set in his ways. Interestingly, in Crime and Punishment, the vilest character also seems to have no particular issues with religion himself. And he, for the most part, gets away with his heinous crimes completely. This battle of belief, and relating it to God, provides a healthy insight to why Fyodor has obtained the "right to kill", versus Rodya, who was born "Ordinary."
The last point I want to seriously touch on is less about Crime and Punishment and more about the author himself. However, I did learn about this through reading the translator's notes (the translation I read is by Richard Pevear and Larissa Volokhonsky, Second Edition (2021), Vintage Classics). Dostoevsky was hugely indebted to Nikolai Gogol as a successor to Gogol's ingenious literary developments in "fantastical realism" and satire. Dostoevsky made several references to Gogol's works in C&P, and none in a critical manner. In the animanga, the roles are completely reversed; Nikolai is the one chasing after Fyodor, admiring his intellect and "ingenious" with the eventual goal of setting himself free. This idea of flipping authors' relationships on their heads is part of what makes Bungou Stray Dogs so entertaining to consume, and it takes a great deal of research and effort to be able to adjust these relationships so that they clearly reflect the real-life ones.
As for one afterthought, the name "Rats in the House of the Dead" appears to be a clever play on the Dostoevsky book Notes from the Dead House. I haven't read this book yet, but I want to (along with Notes from Underground). I'm curious to see if there is any further correlation, but I would assume not, considering the contents of the book.
NO. I did NOT find literally anything that could help me decipher Fyodor's ability. Rodya literally confesses his crime like a week and a half after he commits it. No character in this novel, nor theme, reflects whatever the h e double hockey sticks Fyodor has going on in BSD. I have theories, but they have literally nothing to do with Crime and Punishment outside of the base fact that his ability has something to do with killing (which we already knew). Woe is me. I'll get over it, I guess.
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saywhat-politics · 27 days
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In January, Republican state Rep. E. Werner Reschke appeared on Christian nationalist Jason Rapert’s “Save The Nation” program to discuss his role as the new Oregon state chair of Rapert’s National Association of Christian Lawmakers organization, a collection of right-wing state legislators and activists dedicated to electing “godly leaders in our nation at every level” for the purpose of seeing its “biblical worldview spread across the nation.”
During that discussion, Reschke stated that only those who understand the true “nature of God” are qualified to hold public office, declaring that Muslims, atheists, and the “godless” are unfit to serve in such a capacity. When Reschke’s comments inevitably began to cause controversy in Oregon, he baselessly claimed that his remarks had been “grossly taken out of context,” though he conveniently refused to provide any explanation of what he had supposedly meant.
Last Thursday, Jason Rapert, on whose show Reschke had originally made the comments, appeared on the “Truth & Liberty Live” program where he defended Reschke by glossing over and spinning what Reschke had actually said. Rapert also reported that Reschke is now facing a “formal complaint” for his remarks.
“He was just articulating a winsome, ‘I believe Christians should be involved because we know the truth, we uphold truth,'” Rapert claimed. “Rep. Reschke made a simple statement and, do you know, they turned that into a national story. Right Wing Watch—who’s watching you right now, probably; they’re probably gonna get both of us on this—they clipped it out. It’s the same standard operating procedure: Clip out a piece, twist it, and try to make people hate them.”
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muzzleroars · 7 months
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out of curiosity, how do you think an encounter between Micheal and Gabriel would go after Micheal's botched fall? not only did Gabriel fall, but he's with a machine? surely that's gonna do a number on Micheal's mental state. (btw, i'm utterly enamoured with your archangels and gabv1el content! seeing you post about them is always a highlight of my day)
i talked about how i think gabriel would react here, so i want to go in a little more on michael's perspective as well as the WHOLE v1 issue. because the thing is....his rallying against gabriel lacks context at first, knowing only that he fell and that, as hell's warden, he is determined to restore full order beginning with gabriel. he is grieved at his loss, he feels wholly responsible for it as he has long feared that gabriel's questioning would lead to his fall, and the only way he can manage that terrible guilt is to see him bond to his proper punishment. just the same way he always handled lucifer. however, the situation becomes much more complicated upon actually meeting with gabriel and fully understanding his fall. as well as meeting v1.
michael, importantly, takes no joy in the work he forces himself to carry out - this is about his repentance, this is about maintaining god's order no matter the consequences, this is about proving that something of saint michael is left in him. he condemns gabriel, he proclaims his own righteousness, yet his voice reflects none of it in spite of how he tries to feel the rapture at carrying out god's will - no, all of his words are flat with a barely concealed grief and anger behind them. he wants detachment from this awful task, to bind gabriel and let him haunt him the way he always has been. yet this is all that can save him, it's the only action he can take in his desperation to not leave such a hideous stain on his own memory. and when gabriel begs to know what's become of him, he offers the simple, automatic response: my light was severed. nothing more needs to be said of his heinous actions.
yet a dam breaks in gabriel at the words, the frozen shock melting away into a furious indignation that demands to know who did this. who stole michael's light, who dared touch the prince of heaven and tear him away from god's people - he vows to find them and rend their heads from their shoulders just as he did the council. that admission resounds in michael's skull - is this why he fell? damned to treachery for the assassination of the council? michael laughs, the first welling of emotion he can't contain. gabriel had done what he would have - in michael's mind, the council was nothing more than a self-selected group of heretics who laid claim to god's throne and his authority. they deserved their deaths, yet he knows no exception can be made because any exception means to stray. gabriel has taken life eternal and michael's adherence to god's law is biblical - a sin is a sin, even if the sinner was right. his whole body cries out against the action as he draws his chains, telling gabriel there is no need. he tore out his own light. and seeing gabriel stricken still again, he rushes in to complete his work and be done with it. he hopes gabriel will make it easy on them both.
but while ice roots gabriel to the floor, v1 enters to fend off michael with a few solid hits that seem to do less than it hoped in deterring him (though it quickly determines the underwhelming response seems to be due to an inability in michael to feel pain) and THIS is when the encounter goes entirely off the rails because michael hadn't really registered v1's presence, let alone that it might be related to gabriel. and before he can reach any conclusion, gabriel snaps back to attention as he calls out to it and the small machine signs back to him, gestures quick, a bit irritated, and unreadable to an outsider. michael would voice his disdain for it, a low alliance that proves gabriel's deterioration, yet i think gabriel would counter it with the truth of what v1 means to him. he is far beyond caring, especially with how disoriented this encounter has already left him - and hearing v1 disparaged incenses him besides (v1 has never understood it, but gabriel is adamant about maintaining its honor).
michael is flooded with relief, the ache in his open chest releasing him as his thoughts narrow into a single objective. this is gabriel's true treachery, to love what wasn't made by god. this is so much easier, this rids him of his guilt at punishing the sin he would have committed himself, extinguishes the pride he felt in gabriel's rebellion against unlawful kings. he is a demon, like any other, and gabriel is dead. he smothers any other emotion before it can drown him, refusing to show anything to the unnatural pair before him - the assault is immediate, singular in focus as the vessel of god's holy wrath and shut down to anything else. gabriel has seen it before, michael's uncanny ability to throw a killswitch in his head and drain himself of any semblance of a personality. even with god dead, it seems he's retained that talent - gabriel had never been on the receiving end of it but thankfully v1's reflexes are as fast as ever and gabriel had always been the only one that was able to talk michael down when he couldn't seem to come back to himself. this feels just off though - gabriel thinks little of the difference given michael's state, but it's obvious he's targeting v1 specifically for dismemberment. if this is what gabriel fell for, it better prove itself worthy.
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Apollon, Helios and the Archetype of the Sun
A Theological Analysis (part 1/??)
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Disclaimer: this post is made with pure theological observation with limited basis in historical documentation. I do not make this post with an intent to present a fact, but rather a possibility.
Apollon's Conflation with the Sun
A common misconception in the majority pagan community is that Apollon was for all of his history a sun god. This of course is not true. Apollon was originally a god of prophecy, healing, light and music. As his worship grew he became conflated with the Sun God, Helios. This was because Helios too was a god of divination through his affiliation with sorcery along with being the Sun itself, which is the most prominent source of light. This affiliation was further enhanced during the time of the Roman Empire where he was syncretised with the major Sun God, Sol Invictus.
History aside, the question is: were the Romans wrong? Simple answer: no. Apollon as the god of light, can also be the god of the sun. The Sun is only the sun because it gives us Light. Does this mean we erase Helios? No. The two can work together.
Disolar Theory
Let me pose a controversial point, what I have dubbed the Disolar (Two-Suns) Theory. Now before you scientists come at me, what I mean is that there are two 'types' of Suns. The Archetypal or Universal Sun, and the physical nuclear fusion factory of a star in outer space which we all depend on, the Physical Sun.
The Universal Sun
What is the Universal Sun? I don't mean a object/entity around which the cosmos revolves. I mean the Archetype of the traditional sun gods. Let's look at the Sun tarot card for this one.
The Sun card is associated with the following: generosity, truth, illumination, power, abundance, success, life-giving energy, healing, nourishment, protection and knowledge.
The Archetypal Sun is not a physical entity, but rather all the qualities we commonly associate with the physical entity of the Sun. The physical sun is limited and impermanent, it's qualities however are eternal and universal. The Archetypal Sun, I propose, is Apollon.
So, which came first: The Archetype or the Entity?
Depends on how you look at it. Humanity looked at and experienced the Sun and attributed certain qualities to it. In that regard, the Entity came first. This is why in popular mythos, Apollon is younger than Helios; and in some cases his direct son (pun intended, hah) through syncretism with Zeus. However, the Archetype of the Sun existed long before humanity. These qualities weren't born only when humanity perceived it. They were always there. They are eternal. So if Apollo is the Archetypal/Universal Sun, then wouldn't he be older?
Hi, Michaelangelo
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We all know this painting right? It's the Biblical God giving life to Adam. But there's more to it, an interpretation Michaelangelo himself wouldn't have liked.
If you look at the veil surrounding God, you'll notice it looks eerily similar to the human brain. Another thing to note is that Adam is relaxed. He's relaxed and he's thinking, represented by the floating brain veil. Contemplating a concept. Contemplating the Concept of 'God'. Adam gives God form. He perceives God and gives him appearance, thus the image of God is coming out of the brain of Adam. Adam wasn't made in the image of God. God was made in the image of Adam, but that's besides the point.
Does this mean that God didn't exist before Adam? No. God is eternal. However, God was perceived by Adam, and thus painted to look like him.
The case is same with Apollon. The Universal Sun is the Eternal Apollon. However, the son of Zeus/Helios is the Perceived Apollon. Apollon as Humanity saw him.
Then, What of Helios?
Do we abandon him and worship only the Archetypal Sun? No. The Physical Sun is the reason we know of the Archetypal Sun in the first place. The Archetypal Sun depends on the Physical Sun and vice versa. Besides, without the Physical Sun (Helios), humanity wouldn't exist in the first place. We depend on Helios, might as well honour Him.
Grace to the Gods, Euoi
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darkcastle167 · 10 months
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The dance of madness (p.1)
WARINIGS: Murder, Violence, In-depth murder scene descriptions, Religious trauma (religious murder?), strong language [warnings for the whole story]
Fandom: Hannibal
Hannibal X OC, Will Graham X OC (some Hannibal X Will Graham in future 💅🏻💅🏻💅🏻)
I do not own Hannibal or any other characters in this story. All rights go to the respective owners.
I only own my OCs. (Belladonna, made up secondary characters, etc.)
• • •
"What do you see, Will?"
For the first time in a while Will Graham wasn't sure what he was looking at. It was as if a bloodhound tore the place apart. To the untrained eyes it might have looked sloppy, but Will could see for what it really was- an epiphany, art. Church was supposed to be a place of prayer, light, the holy house of worship.
But again, who is to say this wasn't worship itself, a sacrifice to the almighty. Looking trough the church, the simple white walls splashed with red spots, two bodies in both ends of the large building. Both bodies held up by fishing rods, tightly tied to the balconies railings. Hands held up in the air only due to the thin rods, threatening to collapse every second. Palms open, so receiving.
One dressed in a white robe, standing on a hill of flesh, splattered all over the floor. Blood coloring the the end of the robe. It seemed to be a woman, no older than 20, blonde, her flesh fully ripped out from her skill. A faceless savior standing on the suffering on men.
A long trail of delicately spattered blood led straight to the second body. An old man, dark hair, wide open brown eyes, covered in flowers and willow. Victorious even in death, glowing in glory. Standing there, surrounded by flowers, perfectly preserved, looking almost alive. As is Will could just ask him who did this, who gave out a part of their soul, or more likely, sold their soul to create this piece of morbid art.
To Will it seemed the killer had a high level of knowledge, enough to perfectly preserve a human body, as well as surgically remove flesh with no visible flaws. The flesh on the floor, the hill of dismembered arms, legs and other body parts told him a more terrifying truth- they surely weren’t the only victims.
The light coming from the colored church glass made the view even more dramatic.
Will was silent. It almost seemed as if speaking would destroy the beauty of this art piece. So Biblical, yet it didn’t make any sense. This was the work of non other, but the killer they have been after for the past months - Belladonna. The first murder scene wasn’t that impressive, it looked just like a regular accident scene, but it wasn’t. Every time Belladonna struck, with every body, the scenes became more and more demented, unholy.
Jack on the other hand was becoming inpatient. He only saw this as a murder, not a piece of art, as the creator of it intended. He has been getting pressed by the FBI to solve the case already, as quickly and quietly as possible. They already had the Chesapeake Ripper, they did not need Belladonna. They had to get rid of her.
“The killer likely had a personal relationship with the victims. I see resemblance with previous Belladonna strikings, so I would say it's her."
"Her?" Asked Jack, “Why do you think it's a woman. This required a lot of labor, Will. It's not easy to lift bodies with fishing wire, it would take a lot of physical strength."
"Call it a gut feeling. You see the flowers around that man over there? It's atropa belladonna, commonly known as belladonna or deadly nightshade. Putting a halo of death on the body. This is a signature.”
• • •
A storm was coming, it was evident as the winds were picking up, the gods were going to rain their anger on human kind. During his appointment with Hannibal Lecter the storm was reaching peak intensity, so they both agreed it's better to wait it out.
“You seem bothered” said Hannibal.
Will looked at him, slightly rising his eyebrows.
“The recent case has really gotten into my head. That’s all.”
Hannibal expected Will to share more, so he calmly looked at him, sitting on his couch.
After a few moments of silence, Hannibal finally stood up, walking up to a book stack on the nearby table, saying “maybe you should look at the killing in a more symbolic way. To the victorians, the Belladonna was a symbol of death or a meditation on the nature of good and evil. Maybe the killers is trying to guide you, so you can truly understand them.” He said those words as he was sorting trough the old books in-front of him.
“Well, that’s an interesting theory. I will keep it in mind if another body drops” said Will, letting out a breath he didn’t know was keeping.
“Please do.”
• • •
//not edited//
The first one is short, hope you like it. 🫶🏻✨💅🏻
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Take one look around our world and at the church. A need for a new reformation is evident in the church, which then has consequences on the culture as a whole. We must return to the Bible as our absolute authority.
Whether it’s liberalism, evolutionism, Gnosticism, Mormonism, Islam, New Age, moral issues (e.g., abortion and gay marriage), or the age of the earth, these are all ultimately battles over the same issue.
In 2 Corinthians 11:3, the Apostle Paul, under the inspiration of the Holy Spirit, warns us about this ever-present danger: “But I fear, lest somehow, as the serpent deceived Eve by his craftiness, so your minds may be corrupted from the simplicity that is in Christ.”
Paul in essence is warning Christians that Satan will continue to use the same method on us as he did on Eve: Satan will try to seduce people away from a simple devotion to Christ and his Word.
To understand this better, we need to go back to Genesis 3:1: “Now the serpent was more crafty than any of the animals the Lord God had made. He said to the woman, ‘Did God really say . . . ?’”
From the beginning, the battle has been over the authority of the Word of God. The first woman, Eve, followed by her husband, Adam, gave in to the temptation not to take God at his Word. Instead, he relied on his human reason to determine truth.
Because Adam was the head of the human race, his rebellion plunged the entire human race into sin. All his descendants inherited a sin nature that refused to take God at his Word and instead made human reason their supreme authority.
This battle against God’s Word has manifested itself in every era of history.
Paul faced skeptics on every side, who questioned the clear proclamation of God’s Word. In its early centuries, Christianity fought several challenges to the authority of the Scriptures, including Gnosticism, which taught that man was his own god. Modern issues like the age of dinosaurs or carbon dating are merely new manifestations of age-old attacks on God’s Word.
Human reason has replaced God’s Word, and compromise has crept into the church. This is now reflected in an increasing number of church leaders becoming soft on gay “marriage,” etc.
A reformation is needed again to call the church to take God at his Word from the beginning—starting in Genesis.
In the sixteenth century, the sale of indulgences by the church, for forgiveness of sin and release from the pains of Purgatory, marked a climax in the elevation of human thinking above God’s Word. The monk Martin Luther nailed his 95 theses to the door of the Wittenberg Church, challenging indulgences. This act sparked a debate about the ultimate authority of the Bible above the church, and it essentially began the Reformation.
Others joined this reform movement. The Western world was dramatically changed, as Bibles and tracts were printed on the new presses and thus biblical truths were disseminated widely. In fact, until recent decades, much of the West was still heavily influenced by the Reformation and its call to take God at his Word.
The battle against God’s Word never ceased, however, as a series of men and events sought to undo the positive effects of the Reformation. Behind these attacks was an effort to make human reason supreme and steer people away from the authority of the Word of God. It was another manifestation of Genesis 3:1.
In the eighteenth and nineteenth centuries, the attack against the Bible intensified. New speculation about the age of the earth and the evolution of life raised questions about the accuracy of the Bible. The core issues can be seen in the Scopes trial—said to be the most famous and culture-shaping trial in history (other than the trial of Jesus).
The Scopes trial of 1925 was not really about the teaching of evolution, as is commonly believed, but a deliberate ploy by the American Civil Liberties Union to put Christianity as a whole on trial. Even though the prosecution lawyer William Jennings Bryan was a great Christian statesman, he let the Christian faith down by not standing on God’s Word concerning the book of Genesis. For example, he was unable to give an answer about Cain’s wife, allowed the possibility that the earth is millions of years old, and didn’t accept the days of creation as literal days.
The trial marked a symbolic turning point in Christendom and American society which impacted the church everywhere. The world’s media reported that Christians were not taking God at his Word (in Genesis), and also that they could not adequately defend it.
The failure of the church to stand on God’s Word has brought devastation to countless lives. Just one example is the once-prominent evangelist Charles Templeton. While in seminary, he was taught to believe in an evolutionary timetable, including millions of years, which eventually led him to reject God’s Word and write a book called “Farewell to God.”
Compromise about biblical authority in Genesis 1–11 has made the church so weak that the Bible no longer impacts the culture as it once did. This has largely occurred because human reason was allowed to invade the church and push aside God’s Word.
A new reformation is needed. It’s time for a new generation of reformers to stand up and call the church back to trust in God’s Word where it is most under attack—the history of Genesis 1–11. We need to call people to turn away from the opinions of fallible mankind and stand firmly on the entire Bible.
It’s time that believers made their voices heard, nailing Genesis 1–11 on church doors and secular buildings across the world! We need to take God at his Word and return to the “simplicity that is in Christ.” Then we can watch the power of God’s Word transform lives and influence the culture. – Ken Ham
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hhorror-vacuii · 2 months
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Hey, might I ask why you like Chosen? I did not see it yet, so I was wondering where did the positive opinion come from.
The short answer: because it is an actually good christian media, and because I'm a religious catholic, who actually enjoys her religion, the personal relationship we all may have with God, all that - and that series provides in this aspect.
The long answer: to build up on all of the above, if you've heard anything of The Chosen, you probably heard people tell what I just said: it's a christian TV series, but it's actually good. And that may sound like a hook we're trying to recruit new people to watch something with, but the truth is. ..This series is, in fact, good. It's shot beautifully, 99% of acting crew gets so in character you'd be hard pressed to believe they are acting, the director/producing team works with culture/history experts as well as religion experts to make the story not only as true to the hypothetical original as possible, but also falling in line with religious beliefs. The experts they're working with are a catholic priest, a protestant pastor and a reformed rabbi. The crew is varied, they come from all sort of backgrounds, but they all channel the simple truthfullness of the story, which is: Jesus was both divine and human, and we cannot forget about either of these things. There have been personal conversions among them, too, and it just goes to show that the show is doing an actual, good thing in this world, in addition to being a nice series to watch (I was very deeply touched by the conversion of Nick Shakuoor, if you like listening to testimonies, you may like this one).
The Bible doesn't actually give us lots of details with regards to the stories it tells, and the series fills the blanks in a plausible way. It often puts an emphasis on a line or an action that comes directly from the Bible (or sometimes from theology) that has not caught my attention befor, and I was poorer for it, becuase the moment they put the emphasis on this, new horizons opened to me. Basically, watching the series with open eyes and open heart makes it possible for you to grow and learn caveats (sounds stupid to call them this) from the Bible I was simply not aware of.
I also think - for the reasons above, for the whole experience of my watching it - the creation of this series is divinely inspired, and so is the casting of some of the actors. This conviction alone would be enough for me to give it a go, because there are countless stories of people who got to know Jesus through watching the series as a piece of television. I actually started watching it, because the scene of calling Matthew showed up on YouTube one day, and I couldn't shake the sense that Matthew is supposed to be autistic. If you know me, you know I am autistic, so seeing this been woven into a biblical story made me happy. There are more examples of saints being given more flesh, so to speak: Simon Peter starts out as a reckless cheat, Matthew is autistic and has broken ties with his family, Mary Magdalene has no one else in the world, Thomas would like to marry but is not an acceptable suitor, Nathanael has just lost his livelihood, John seems to be falling in love with Jesus (tbh I don't know if the last one is intentional or not, but this has always been my interpretation of the relationship between Jesus and John in the Gospels, and as I believe both Jonathan Roumie and George Harrison Xanthos were cast divinely, it just comes out like this), James the Elder has a temper problem.
And the way the series portrays women. When you think about Bible, you may not think at first women are an important part of the Gospels, but actually, Jesus has done almost all of his "first times" to/for/in the presence of women. The series accentuates that. We have canon saints and figures, like Mary Mother of God, Joannna Chusa, Photina, Mary Magdalene, and we also have added plausible female figures who would follow Jesus for the same reasons others have.
I am also a person who is not emotional almost at all, and gets teary eyed almost exclusively when she's thinking about God etc. This series helps me to see these new facets, ponder over things I didn't think about before, think on my own moral and spiritual constitution, cry for the sheer feeling of God loves us so much He has sent His only Son to save us.
These reasons ,ay of course be not enough for you, or not entirely convincing. However, if you're already curious, I'd encourage you to give it a try, especially since it's free to watch in a myriad of languages, and in a myriad of places. If there's a specific story from the Bible that you feel connected to and would like to see if its portrayal was done well, you can message me again and if it's been done already ,I'll tell you in what episode, so you don't have to search blindly. However. I am very certain in saying that once you saw a bit of it, you will want to see the rest, because it's just that good.
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ohwynne · 1 year
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A quick guide about Protherians & deals with demons.
Head's up! This post talks about human and animal sacrifice, and though I won't get into minute detail, it will still be present throughout as its at the core of Protherian belief.
TLDR: Welsh farmer and patriarch Corwyn Prothero made a deal with a greater demon, some three centuries ago. In return for reverence, sacrifice and devotion, he and his ilk would receive good crops, good fortune, privacy and stability. Ever since, traditions and rituals have sprung up to make the downright simple truth more digestible: from moon-cycle based sacrifices to equinox-celebrations. Early in the 20th century, the then-patriarch attempted to relocate his group to the US in an attempt to shake their demon and never ending debt. It, naturally, didn't work and did disgruntle said demon quite a fair bit. Ever since seeing its wrath, the commune has lived in greater fear of it.
Click HERE for a visualisation.
The Protherians (named after their once-founder, whose painted image still hangs in mess hall) can currently be found in the area of Moosehead lake, where a large estate is the home of a small, self sufficient community. Contact with the outside world is limited and extended to a fair few, who do business with nearby towns.
Over the centuries, Protherian scripture has become the base of the cult's beliefs. There are biblical themes and stories there, though they do not believe in God. Stories like that of Abraham and Isaac, as well as Noah, however, are often referenced. The texts are seen as absolute truth. When speaking of the demon with whom Corwyn Prothero made a deal all those centuries ago, they prefer to use the word gythraul or simply It. Most people have not seen it (and those who claim to have might be lying), though there are drawings. Yes, the demon has goat legs. Yes, It might have chosen to appear that way to scare the bejesus out of previously god-fearing people.
There is a soft hierarchy within the cult, with elders having the highest position. The patriarch (often a direct descendant of Prothero) stands at the top of society. In two instances, this role has been filled by a woman — but the commune is quite a patriarchal mini-society. Mentors are highly revered. Most other members are just that, and tend mostly to the farming, livestock and other tasks that keep society turning. There are commune-wide referendums, though they are not always heeded by those in charge. Keeping their followers in check with fear is an effective method, though there are other means as well. Disobedience and cynicism are not met with kindness. Desertion means being disowned. Generally speaking, these measures are not taken often due to a lack of need.
A lot of the fabricated beliefs are based in nature. With their lives still so tied to the change of the seasons as well as the whims of the weather, perhaps this is only logical. They celebrate each equinox with large feasts, bonfires and dance. While Protherians are superstitious in nature, they don't subscribe to most Anglo-Saxon superstitions and have their own ways. A bone in your pocket, an innocent creature bled out, a chicken heart on your doorstep, a smear of blood on each cheek. To be connected with death is to respect life. They are very respectful of all living things, but also deeply revere the cycle of life and death. It's why sacrifice is such a fundamental and core part of their community.
Animal sacrifice is deeply normalised and is part of most celebrations and rituals. In the centre of the estate stands an altar, where fruits, flowers and at times, dead animals are placed to appease gythraul. Every blue moon, the best sheep of the flock is bled out — its coat dotted with braided flowers and scented with infused oils. Every fourth blue moon, it is a young adolescent in stead. This knowledge is shared with the intended sacrifice after the end of a previous cycle and the rest of their life is lived in preparation of the best thing they could possibly do for their community. Human sacrifices are sanctified when alive as well as dead, given the best portions and nicest room. The person receives lamb-rib necklaces, rabbit phalanges to keep under their pillow and dried flowers to hang in their room. To have someone among you destined for death is in and of itself something honourable and holy. It is said the person's destiny is solidified due to their date of birth. The one born closest to the latest human sacrifice shall be destined to fulfil that role one day. Such was the case for Wynne. (This is a lie. At the end of the day, there's nothing special about Wynne. It exists make it so that the elders and patriarch can't be blamed for choosing someone to die: leaving it up to fate is more easy to accept, for most.)
Modernity is largely rejected, though there is electricity and radio. There even is a router somewhere on the estate, as a few mobile phones — but this is not at all advertised and limited to elders alone. Clothes are mostly handmade and, thus, rather traditional. Plaids, cotton, wool. Simplicity. They aren't necessarily traditional in all other ways, and do have a tendency towards 'hedonism'. Corwyn Prothero rejected Christianity, after all, and his community soon started to live in what they had once considered sin. Children are homeschooled and do learn a fair bit of the outside-world curriculum, though are always taught to take it with a grain of salt. Mentors teach them to look down on modern society and their brutish, self centred ways. They have lost their way.
The threat of gythraul is very real, no matter how Wynne doubts it at times. When the community moved across-seas in an attempt to shake It, they met its wrath as it claimed young souls, leaving the commune child-less in 1934. Wynne fears their abandonment has caused another event of sorts, though they cannot bring themself to do the research needed to find out. Any thought of what they might have set in motion leaves them frozen and shut off — so it might be a while until they find out. Allow me, then, to lift the veil. The birth order makes no difference. Wynne was only ever special because they were told as much, because they were adorned with flower-bone wreaths. All that gythraul requires is a young life ended before its time. When the elders found Wynne's bedroom empty and their coffers depleted, they held their head in their hands for a moment. That night, it was Wynne's brother Iwan they laid on the altar in stead.
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mcdonaldsnumberone · 2 years
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unholy
“you picked a dance with the devil, and you lucked out.”
demon! ruggie x priest! reader
gender neutral reader
synopsis: a priest of hypocrisy and lies—that was who you were. you were the furthest thing from a scion of holiness, only because of the deep longing that went unfulfilled in your heart. but the secret that you harbored for so long takes a malicious turn, and you’re forced to face the reality of your indulgences.
a/n: this piece will contain religious themes, particularly that inspired by christian belief regarding priests and demons. this fic is in no way meant to influence a reader into one religious belief over another, nor is it meant to defame any religions depicted. it is not based on research into biblical canon into christianity or demons, and this fic is not meant to be taken as part of the biblical canon in any way, shape or form. this fic is purely meant for entertainment, and entertainment only. i will be more than happy to edit it or take it down if need be.
content warning(s): religious themes, biblical allegory, death mention
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Struggle was the path of the believer. That was what you had always placed your faith in, and that was the doctrine that you had matured with on your journey with your spirituality. Belief and faith were all you needed; worldly desires and selfishness would be unbecoming of a beacon of holiness like you. You wouldn’t be human if you could honestly say that you weren’t swayed by sin, but you worked hard and courageously to uphold the virtues that you preached so wholeheartedly.
You were used to it. You were used to this life of humility and simpleness, living off of only what you needed and dedicating every waking moment to your faith.
That was what everyone else believed about you.
The cathedral held no light except for the few candles you had lit around you to keep you company at night. The silence that settled around the vast worship area felt loud to your lonely ears, and you pulled your dark robes closer to yourself as you sat alone within the pews. All the other members of the congregation were safe within their own homes and beds, and you had consistently been the only one to always linger behind and practically live within the walls of the holy building. 
Your fingers itched for temptation, and your conscience burned with shame as you turned your dirty eyes away from all the untainted iconography surrounding you. You wondered what everyone would say if they knew that the holy priest so many revered turned out to be no better than the lowliest of lows—if everything you had preached to them were no more than lies that not even you acted upon. Your holiness was a facade: a once-truth that had withered away to nothingness in your blackened heart.
Sweeping your gaze around the empty cathedral as if someone was following you, you made sure you were truly alone before lifting your robes to reveal your unmarred skin. Right in the middle of your stomach, about the size of a small plate, sat a royal purple rune carved into your skin. No amount of soap or water could scrub the mark off, and if you sat in a room dark enough, you could even see it glow against your body.
Your heart panged with loneliness, and despite the sin burning against the inside of your mind, you let your fingertips trace the marks of the rune. Crisscrossing over all the ornate details and wishing for the touch of other than holy deprivation, you succumbed to the same temptation that ensnared you for nights and nights on end. You knew somewhere out there, a spirit would shudder and revel in the depths of Hell at your actions. 
A very specific spirit, in fact. 
You tried not to hate yourself too much. You wanted to make an excuse for yourself: anyone forced to walk down this path would inevitably become crazed in the way you did, anyone would be in the same position you were, and no one—no one—had the right to condemn you more than you would ever condemn yourself. 
After all, what kind of priest makes a pact with a demon?
“Heyyyyyy, you called?”
You almost screamed, jerking upwards in your seat as if you were a kid caught red-handed stealing from a candy shop. All your lit candles flickered dangerously as if on the brink of being blown out, but they all steadied immediately and started to glow with a luminosity that was physically impossible. The austere atmosphere of the harkened cathedral began to grow thinner, as if whatever entity that had just entered was defiling the area by simply existing.
Well, you supposed that last part wasn’t wrong.
“Ruggie,” you breathed, exhaling deeply. You lifted your nose high, pretending to maintain some degree of pride, and cleared your throat. “Ruggie, how many times have I talked to you about surprising me like that?”
“Sorry,” a languid voice laughed. It was clear that there wasn’t even a scrap of remorse in Ruggie’s voice. “I know you humans get your underwear in a twist about being all high and mighty in a church, but that kind of stuff doesn’t apply to me.”
You turned your gaze away from where it was fixed elsewhere, and for the first time that night, you faced your guest properly. There he was, that beautifully twisted demon that you had given your soul to. The demon that laid claim to you for every waking moment of your life and every moment after your death, simply because at the height of your desperation, he—instead of the god you thought you had pledged your life to—was the one that listened and offered a remedy for your lonesome torment. 
Ruggie didn’t appear like your standard human by any means, but he was definitely not your stereotypical image of a demon either. He had dirty blond hair, the same color as sun-streaked daisies in a field of flowers, and his eyes sparkled with a lively mischief that tickled your heart like nothing else. Black shadows crawled all over his body, as if he was imitating your robes and other loose human clothing, and behind the animal ears that sprouted from his head, a pair of minuscule twisting horns laid behind. Leathery wings and two tails protruded from his back: one fluffy hyena tail and one long, pointed demon’s tail.
Despite his odd features though, there was something about his appearance that made your affections soften for him. Maybe it was the lazy smirk he had or the casual way he seemed to coo at you, every little thing about him that pointed at his demonic status faded away when it came to the parts of him that seemed just like you. You supposed that was how he gained your trust so easily, but you felt less like an impossible priest around him and more like a close friend.
“Still, this cathedral is a place of reverence for many. Even if you are a demon, you should treat this place with respect, out of courtesy for the countless people that visit these walls in search of serenity,” you scolded half-heartedly. Ruggie shrugged, plopping himself down on the spot next to you. The rune on your skin pulsed as if acknowledging his presence, and you slowly lowered your robes to hide your body once more, putting on a mask of decency.
Ruggie’s ears twitched at your words, and he shot you an unimpressed glance. “You have some nerve to lecture me when you’ve literally invited a demon that you made a pact with into these walls. You only ever call me when you’re lonely, which is like… every night? C’mon, I think we’re close enough to let all these formalities drop.”
You exhaled again. “Fine. I missed you. Did you feel me call for you when I touched the mark? I know that’s how you know when I’m calling for you, but I’m afraid that one day you might not respond…”
“As long as you live, there’s no way I won’t come when you call,” he laughed, wiggling closer to you. He draped his arms sensually over your neck, peering up at you through his eyelashes with a seductively lowered gaze. “Do you crave me that badly? What a sinful person you are. I knew I would be privy to all your desires the moment you handed your soul over, but I wonder how many people on this blasted earth would know about your trysts with me, with a demon? What would they think?”
“Don’t talk about other people.” You swallowed heavily. 
“Right,” Ruggie teased, tapping his fingers against your body. “You don’t like it when I talk about other people whenever I’m with you. Does it make you feel bad? Do you get jealous? Is it both?”
“Does it matter? I called you here because I was lonely, Ruggie. If I wanted to be preached to, I would simply work on a sermon in my office.” You chewed on the inside of your cheek. Ruggie hummed thoughtfully, but when you cautiously leaned into his touch, he broke out into his signature sloppy smile again.
“There we go. There’s that side of you that I like best. The part of you that can’t live without me,” he proudly announced. He pulled you close to himself, cradling your form with his tail and arms. “Tell me. How much did you think of me today? What did you think about? Don’t lie—I know more about you than you realize.”
Your mouth felt dry, but it felt so, so good to be held by this demon. This was the sort of intimacy that you craved so badly as if it were a drug, and even if the demon held you for hours every night, you still couldn’t get enough. This comfort was everything you wanted, and any solace you might find in your faith wasn’t anywhere close to the closure that Ruggie was providing you like a loyal lapdog.
“I thought about you constantly. From the moment I woke up to the moment that I called you, all I thought about was how much I wanted to be with you like this. I wanted to be held by you, to have your attention on me, to feel you next to me,” you admitted slowly. Your voice shook as you spoke, but as you gradually spilled your heart to him, your voice grew more stable. The words became easier for you to say, as if you weren’t preaching the opposite to believers merely hours before.
“Wow. That’s a lot,” Ruggie remarked. He grinned at you, truly like the hyena he was, as if he was narrowing in on prey. “You wouldn’t be mad if I said something really bad, would ya? Demons like me love doing bad things.”
“Regardless of how I feel, I wouldn’t be able to stop you.”
He snuggled up close to you, and he leaned his face in towards yours until it was a mere breath away. “Do you know what this sounds like to me?”
“No.” You blinked, not wanting to move too suddenly in case you might brush your face against his. Did you want to touch him? You weren’t afraid of him, even if you knew that you should be.
He laughed again, his voice echoing around the walls like a chorus singing your doom. “It sounds like you’re in love.”
You flinched, and Ruggie smiled down at you with a pitying yet amused look all over his countenance. He held you tightly while you clutched at your chest, nearly keeling over in the midst of his embrace. You didn’t know what to say to him; how could you know what was love and what wasn’t, when you were the one lonely enough to be driven into making a deal with the devil?
“Shh, shh, there’s no need to be so scared,” Ruggie soothed. He smoothed your robes down with his hands, pretending to comfort you. “I’m surprised you never put the pieces together. Then again, I suppose priests are all about turning away from any love that isn’t the kind of sniveling worship they offer to their gods. But you have nothing to worry about with me. You adore me more than anyone else, don’t you?”
“I- Don’t do this to me,” you whispered, hanging your head. 
He shook his head. “This is the price you pay for calling me. I like it when you’re honest. I told you already, didn’t I? Don’t lie to me. Silence is lying, isn’t it? It’s not the truth, and anything that isn’t the truth is a lie. So c’mon, tell me. I know more about you than what you want me to know.”
There it was again, the foul aftertaste of sin that pressed against the back of your throat as an accompaniment to the sweetness of wrongdoing that had you addicted. You had drank the nectar of the gods, wolfed down the ambrosia of the immortals, reached out and eaten the same fruit that the serpent had used to tempt on the first sin. It tasted so good, so irresistible, and it tasted like the same words that filled your cheeks and gullet, as if to choke you on your own guilty conscience and remind you that these would be the words that would cast you down in the deepest circles of Hell alongside the worst sinners.
You spat them out, savoring each and every one of the damned flavors.
“I do. I love you.”
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elia-de-silentio · 1 year
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TENTATIVE ANALYSES: THE CASE STUDY OF VANITAS
Mémoire 6: Altus, Other World
NARRATIVE STRUCTURE
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We open with Noé who tries to draw what he saw, showing Vanitas and the world that he is a terrrible artist. Dominique breaks into the scene, apologizes to Orlok, and then drags Noé away. Literally, by putting a collar and leash on him. She uses the excuse of a masked dance she has been invited to and wanting Noé to accompany her, but the reality is another: she is worried for him. She knows that Noé is investigating the Book of Vanitas, and worries that an insofar unexplained event might be influencing him. She also doesn't like Vanitas. The story of the Bal Masqué is real through: it is in Altus, the parallel dimension inhabited by vampires and connected to the human world after the 'Babel Incident'.
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But they are interrupted: Vanitas has been following them, and joins them in the jump between worlds, forcing Noé to grab him before he fell into the void (vampires can cross as they please, but humans can't unless they are in contact with a vampire). Turns out, the doctor has figured out that Dominique wants to keep them apart, and is determined to prevent it.
A comment on Noé's naivete after, a shocking truth is revealed on our hero: he was a victim of the slave trade as an Archiviste survivor, and 'Teacher', Dominique's grandfather, literally bought him.
NARRATIVE TECHNIQUES
To create suspence, Dominique's answer about Vanitas' questioning of Noé's past is fragmented: she starts answering, we cut to another scene, and then we go again to Vanitas reflecting on her answer, which is what finally gives it to us.
CHARACTERS
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Dominique: here she is more properly introduced. She presents herself as a confident, wordly woman, one who sees no issue putting a leash and collar on her purported fiancé. At the same time, she presents a thoughtful, sensitive side, guessing Noé's state of mind and worrying about him. These two, it's clear, go way back.
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Vanitas: he has a more marginal role in this chapter, but he is back to his cheeky behaviour. He guesses Dominique's desire to keep him apart from Noé, and immediately decides to counteract her wishes. He acts recklessly, jumping in the void and counting on Noé's ability to grab him; he still teases him about his sheltered upbringing. But he is seen alone and thoughtful after (part of) Noé's past is revealed to him: something about this story of slavery struck a chord in him.
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Noé: once again the star of the chapter. Here is seen for the first time with someone he is already familiar with, and he acts a lot more comfortable and visibly affectionate. He appearently really enjoys drinking Dominique's blood, confides in her and returns the worries about her wellbeing; a simple yet effective way to showcase a solid relationship.
THEMES
This chapter, rather than having a precise theme, serves to introduce and illustrate the relationship between Noé and Dominique: playful, affectionate, but also marked by a tragic event in their past nobody explicitly mentions. Just like Dominique doesn't openly express her desire to keep Vanitas far from Noé: the relationship is good and solid, but has a good share of untold things.
SYMBOLISM
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• The flower-spewing machine: it follows Dominique, throwing around rose petals. Something that spreads artificial beauty around her: keep it in mind for later developments in the story.
• The collar and leash: objects used to physically restrain Noé and bind him to Dominique; they appear right about as she starts interfering with how he is conducting himself in Paris.
REFERENCES
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• Babel: a clear reference to the Biblical story of the Tower of Babel. The story goes that once humanity spoke a single language, and they planned to build a city and a tower that would have reached the heavens; God, to avoid it, made so that everyone spoke a different language, so there was too much confusion for the project to continue.
This is all for the chapter. Thank you for reading insofar!
If you liked my analysis, you can support it by reblogging this or offering me a coffee (link in first reblog).
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skloomdumpster · 1 year
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This is just example to my question, I saw the new HBO show “ the Last of Us” which based on a Video game and the media is saying that “ the show will break the infamous "video game curse" for adaptations.” To you what dose make a show considered a good adaptation from a source material like game or cartoon? Does it need to follow each scene like that show or create new ideas like Fate did to Winx ?
Anon it's so funny you mentioned TLOU, since just yesterday I was ranting about it. Anyway... This is long and nerdy.
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What constitutes a good adaptation, should be the first question, right? And so we don’t have to tip toe around it, we're all grown ups who are aware that "like" is subjective and the product of your own cultural baggage.
However there must a place where we draw a line, what constitutes a categorically good adaptation, using what criteria? Most people will say how "faithful" it is, how does it stand to the source material. I, for one, disagree and recommend the read of “Beyond Fidelity: The Dialogics of Adaptation" by Robert Stam, which goes into excruciating detail of what is fidelity and how unattainable it is when we're thinking of different mediums. Television is not the same as writing, it has it's own set of challenges, from budget to people management to the simple obstacle that is the fact that all decisions are final. But I digress, since this is all about the literary medium versus the filmmaking one, which is not the case when talking about TLOU or Fate the Winx Saga. We're not adapting from a novel, we're adapting from an already visual piece of media.
Which begs the question, what is there to adapt? What does "adaptation" even imply? Adaptation, the word itself, implies change. Adapt. So it's impossibly funny to me when people go in long tirades about all the changes that an adaptation made, when the act itself of adapting implies changing. Otherwise, this would not be an adaptation, this would simply be the source material.
Yet, it would be facetious of me to harp on change without drawing a line. You'd present me a featherless chicken and say, behold an adaptation. We must then define something that must be its touching stone.
Here's where it gets tricky. Most people will say, simply follow the recipe of the original. In Fate's case, in particular, this is specially true, most of the criticism it received was about the show fundamentally misunderstanding the core of the cartoon, which is friendship, colorful adventures and magic. They'll say the original creator's intent was not respected, thus it is a bad adaptation.
Is it, though? Must an adaptation, especially when we're talking of a multicrew one as a TV show respect the intent of the original creator, seeing as creator's intents and believes change and are susceptible to the passage of time? What is more important when I am adapting, to tell an engaging story or to remain truthful to the source material, whatever the cost?
Would a tv show, rated for sixteen year old or older, benefit from presenting characters who immediately adore each other, such as is the girls’ friendship in the cartoons? Maybe, but the thing is, the large majority of the people who would enjoy watching this, are the people who don't want to watch a new product, they simply want to watch the same product with real faces to their favorite characters. And a TV Show, a Netflix show, must appeal to more than just the original fanbase. It has by obligation of its medium, to adapt to be more marketable and appealing for those who didn't watch the source.
Alright, backtracking, The Last of Us - TV Show. TLOU does what Fate didn't, it stands by “canon” and I use canon very purposefully as in almost its biblical sense, of “canonization”. I’ve played the games, I’ve watched the first episode of the show. Was it quality television? Yeah, absolutely, the writing was seamless, the characters’ motivations made sense, the framing was beautiful, the acting spectacular (xoxo Pedro Pascal), the soundtrack didn’t stand out but also didn’t do anything bad and it had a million nods to their original fans... And it was boring. 
It didn’t adapt shit, because The Last of Us the videogame already uses its own medium (video games) very little, it is basically a TV show and I don’t need to watch the same thing again. If I wanted to, I could play the game. 
And if I wasn’t this type of person, who likes changes and adaptations, if I was one of those fans who swear by the “canon”... I still wouldn’t have liked it. As many many original fans didn’t, because when you are in that spectrum, that level of preachiness, any change is a bad change. Joel no longer being a guns runner, a minor change that softens the blow of his character making him immediately more likable to a wider audience, is a bad change. One that would then take me away from the show. 
My conclusion from TLOU is that when you adapt, without adapting, truthfully, you fall in this limbo, where it is simply boring for those who wanted to see something different (me) or you’re constantly chasing your own shadow, because the fans who want a “faithful” adaptation will never be happy with any change made, no matter how necessary for the existence of the product, aka to make it more marketable. 
This is not to excuse FTWS on all of its faults, because we’ve talked at ad nauseum of all of its mistakes, from ignoring cool storylines that would’ve been engaging in a this new medium, to bending backwards to fans who will never be satisfied, to not exploring its own medium (really, you’re a TV show and you don’t explore cliffhangers? Really?), to bad writing, etc. However, it adapts, it proposes a new read of the text and it proposes new interpretations and it’s equally engaging for a new fan or for an original fan who wants to have their expectations subverted. In that particular criteria, Fate does its job. 
Now if I can nerd out a little more, I want to point out one of my favorite books that had adaptations made. Wuthering Heights.
Wuthering Heights has over 200 adaptations out there, I’d know, I counted. It ranges from soap operas, to Hollywood movies, to a Japanese niche movies and so on so forth. Anything that could be made out of this book, was made. So many many adaptations offer a completely different read from the source material, for the simple fact that the source is old, outdated and unpalatable for the big audiences. 
Wuthering Heights is a gothic romance, that talks about incestuous, codependent and toxic relationships and it’s not everyone’s cup of tea, believe it or not. Therefore when adapting it, film makers must make a choice. Do they want their movies to be faithful or to be liked? Do they want to make an engaging story or not (which btw is not the same as being liked)? Both answers, are completely valid! What is your intent when choosing what to adapt? Do you want your audience to connect with the characters by showing them grow on screen (Fate’s choice when they decide the girls do not love each other at the very first meeting) or do you want to be stick by the canon? 
The 2011 adaptation, out of the 200 ones, was the most faithful one. It was also the most boring one, ugly and simply disliked. No one wanted to watch 2 hours of mud, rain, and frankly unlikable characters. Even if that is the source material. Even if being unsettling, ugly and unlikable was the author’s intent. 
So is being faithful something to be praised or simply one of the many, many choices that transforming requires? 
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lily-moon-art · 1 year
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Venti is Jesus?????
***Disclaimer: I don't think Hoyoverse put this much effort into this, I just went to a Christian school and want to overanalyze something. Also I'm not trying to convert people or anything. I'm figuring my beliefs myself, and simply am applying the religion I grew up with to some media I enjoy. Don't read too much into this***
So with the latest addition to the Archon quest, I realized that all of the Archons have some theme that also relates to the Christian God. With some more thought, the Archons not only parallel many aspects of God in both the new and old testaments but also that they fall short in these aspects. Venti seemed like an outlier, but after reading more into it, he actually fits the best and he is my favorite so I'll be talking the most about him.
Freedom is not the first thing to come to mind when you think of Christianity, but for many sects and denominations, the freedom to choose to love him is the most important, because you cannot truly love something if you cannot choose to. Venti gives Mondstadt the freedom to do what they want and govern themselves. However, this does not work out because Venti is weakened by his lack of control and he even mentions that he didn't give his people the freedom to choose to be ruled by him.
With the Ballads and Brews event, we learn that Venti is somewhat of a parental figure for the people of Mondstadt, even if they do not know it. It is a running joke in the fandom that Anemo visions are given to people who have lost loved ones, and from what we can see, very few if any playable Mondstat characters have present, living parents that they have a good relationship with. As we see with Razor, Venti leads him to find the truth for himself of his parents, but also helps the people at the festival, even if only as a bard.
Another similarity is how Venti reveals himself to people, but they still do not believe. He is merely a bard and while he isn't too afraid to tell people he is Barbatos, no one other than the traveller believes him. He does miracles and easily could appear in his archon form, but still no one believes him, similarly to how people denied the miracles that Jesus did.
Looking at the lore of Venti, he also delivers Mondstat to freedom from Decambrian, who kept them imprisoned, similarly to Moses saving the Israelites from Egypt or Jesus saving people from sin.
Zhongli is more straightforward: he makes contracts, and God made covenants. Zhongli saved his people from the other gods and is known as the warrior god. There are many biblical references to putting on the armor of God. Zhongli can take on many different forms and is genderless, as evidenced by the line in the archon quest in Liyue where Paimon says the perfume for Rex Lapis's funeral is the kind an old woman would use, and Zhongli said that Rex Lapis could also have appeared as a woman at one point. Despite what many may say today, the Christian God is not exclusively male and has no gender. In fact, there are references in the old testament to a motherly aspect.
Ei is also quite simple, she wants to build an eternal nation and rules from a different realm using the puppet to enact her will, however the puppet does horrible things like the vision hunt decree in the name of eternity.
Nahida is all knowing and quite powerful, but her people instead worship dead gods and do not acknowledge her. She also reveals herself mysteriously to let the traveller find out for themself and she seems weak in the form of a child, like Jesus.
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jonfarreporter · 12 hours
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Another “Sword & Sandal” movie for Easter time
An interesting move, well acted (it stars Joseph Fiennes, brother of Ralph) and production quality good. But it isn’t historically accurate. The premise/perspective from the Roman point of view is unique but it’s inconsistent.
Movies such as this are based upon historical novels. “Ben Hur,” “The Robe,” “The Silver Chalice,” are all based around historical novels. And in the situation of the novel “Ben Hur” turned out to be very successful and well-received.
Embellishments and “stretches of truth” do occur but it’s based upon what is known and understood.
When ‘Risen’ gets a simple fact known, wrong that takes away its attempt at a realistic interpretation.
The simple fact I noticed immediately was that of “the Marys.” (Where in the New Testament does a Roman consider to speak to Mary the Mother of Jesus?) Especially that of Mary Magdalena.
It’s been an established fact (even the novel “The da Vinci code” highlights it) that Mary of Magdalena wasn’t “a woman of the street” as the movie’s dialogue says.
‘Risen’ reminds me of the very well produced Franco Zeffirelli made for TV series, ‘Jesus of Nazareth’ (1977) and Mel Gibson’s “The Passion of The Christ.” These were made meticulously to reflect historical accuracy. Well, what’s up with this movie, ‘Risen?’
The realism is there and it’s striking to say the least. But what’s the point if facts are not upheld! It’s doubtful that a Roman Tribune would be hanging around the Apostles (for the New Testament says they were in hiding) and spending time with them just as Jesus makes his resurrected visit to the Apostles and then again with the ascension into heaven, that’s very unlikely.
I thought it interesting that like in previous “sword and sandals” Biblical epic, type movies, Romans or overlords have British accents. It’s kind of a tradition or maybe an unintentional habit?
And maybe the overlooking of certain historical facts and making very stretching embellishments is also an unintentional habit here in the movie ‘Risen.’
Even though this is the situation, the movie has some insight and entertainment value.
If you like realism in battle scenes and rustic biblical period pieces then ‘Risen’ is a movie to see. Avoid eating anything for the very first part, the crucifixion scene is brutal and you might barf up your popcorn and soda.
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donveinot · 5 days
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