#HE TALKED ABOUT HOW LAWS ARE A MORTAL CONSTRUCTION

[imissthembutitwasntadisaster]

I think O Brother Where Art Thou is about humility and realising that there are greater forces at work than you, and the only thing you can do is let them work though you and believe it'll work out and how your story seems pretty small but it's actually one of the biggest and oldest out there if you accept your part in it but I also genuinely think that the guy with the sunglasses was literally the devil himself so I may be wrong who knows

#o brother where art thou #HE TALKED ABOUT HOW LAWS ARE A MORTAL CONSTRUCTION #THEY WERE SAVED BY A MIRACLE #AND HE HAS FIRE IN HIS EYES OK HE'S SATAN

[monstersdownthepath]

Herald of Irori: The Old Man

CR 15

Lawful Neutral Medium Outsider

Inner Sea Gods, pg. 294

Yes, Lawful Neutral. I know, I know, he's not technically the Herald of a Good-aligned god, but I myself have trouble conceptualizing Irori as Evil-leaning, and Master Roshi the Old Man here is noted to only ever want to help and to motivate his students. Yes, one can take Irori's doctrine of self-perfection in a negative light (how many villains do you know fight just for the sake of fighting and becoming stronger?), and the Old Man can just as well choose to teach an evil student instead of a good one, but almost every piece of supplemental material about Irori signals that he leans towards Good, from his Monks and Paladins archetypes leaning Good, to his personal rules for Quivering Palm allowing a nonlethal option, to his divine servants stalking prey like a proper tiger only to bap them once with their paws and let their prey run off free... all the way to his Champions being restricted to Lawful Good. That last one's pretty convincing.

Anyway, onto the Old Man. Unlike most Heralds, the life of the Old Man before he became the Herald of Irori is basically nonexistent, with no hints as to who he was or if he even existed at all before Irori created him. He may simply be a divine construct born into existence by the Master of Masters, or he may have been the old master to Irori himself before he ascended. This isn't the only unusual bit about him: also unlike most Heralds, the Old Man freely wanders the world where Irori's faith is building, seeking out pupils to instruct in the ways of the Master of Masters. His teaching methods and even his entire personality changes depending on what his chosen pupil or pupils need the most, and while he's among mortals, he himself limits his powers to those of a mortal which his advanced age would suggest, so as not to discourage his limited students with his true superhuman might. This does come with a few drawbacks, but none he hasn't already considered; many times his mortal form has been beaten and even killed in pitched combat... though always to provide motivation to a student of significant promise.

Yes, he can pull the Mentor Occupational Hazard trope out on himself, and has done so many times in order to give a specific student a much-needed kick in the pants. As the Old Man reforms unharmed in Axis each time he dies as a mortal (dying in his true celestial shape is much harder to come back from), it's not even all that inconvenient for him. The only real pain he feels is if he looks upon the student he died for and sees a lack of improvement... which may prompt many spiritual or dream-based visits. The Old Man lives and breathes fulfilling every trope one expects of any old master in a martial arts movie in cycles lasting years at a time, something I find charming.

Of course, when I say every trope, I of course not only mean Old Master... but Awakening the Sleeping Giant for those moments when the Old Man shrugs off his mortal disguise and unveils fists that can dent steel.

I gave the Hand of the Inheritor a lot of guff for being an angel with Paladin class levels, but in truth I was mostly annoyed that he didn't get any of the good class abilities, or any class abilities which made him interesting to talk about at length. The Old Man is an immediate improvement in that regard, because instead of having some Monk abilities, he has all of them.

It made me laugh to see that the Hand of the Inheritor's heavy armored form and heavy steel shield actually gave him 32 AC, which is less AC than the simple robed Old Man, and that's because the Old Man--whom I will be referring to as TOM from now on--has +4 AC from being a Monk and can add his Wisdom modifier to it, bringing his AC up to a considerably more impressive 37 (with a TOUCH AC of 35). TOM has more AC than almost any other Herald! Killing the TOM as a mortal is a tough feat, but killing him in his true form? Hell, just hurting him is a mountain of a task. Even making it past his AC and his honestly impressive saves (+10/+20/+20 WITH Improved Evasion), he's got DR 10/Chaotic protecting him... and 30 Resistance to every element except Force. And if you DO damage him? That's what his 3/day Heal is for, just to spit in your eye.

And he's not just resilient, he's mobile. With Air Walk, Water Walk, and Dimension Door available to him 7/day and the ability to walk near as fast as a human can move at full sprint (80ft movespeed, and 30ft of both climb and swim), there's little one can do to escape from him once his ire is roused except, perhaps, tunneling away. Thankfully, he's still quite vulnerable to all manner of restraints, lacking both Freedom of Movement and, strangely, any ranks in Escape Artist... But to take advantage of that, you first have to survive him long enough for him to fail a save.

TOM has a frightening offense, as one can expect from a 16th level Monk stapled onto the resilient frame of a powerful Outsider. That staff of his is just for decoration; he doesn't use weapons at all unless he's giving his opponents a measure of mercy. While unarmed, he can throw out up to four unarmed strikes for 2d8+5 damage each... or he can perform a Flurry of Blows, sending out seven such attacks, plus one extra one if he spends one of his 18 Ki points, plus one more if he's used one of his 3 castings of Haste on himself for a grant total of a potential nine attacks. 2d8+5 for a single attack isn't special, but 18d8+45 (with the damage averaging out to around 140) with the ability to bypass 5 different types of Damage Reduction is likely to be enough to humble whatever beast pushed TOM into battle.

Against foes that have a ranged advantage against him, or if he has the ranged advantage against them, he can also flick flick up to four pebbles every round for a humiliating 1d3+5 damage. They're not even magic, they're literally just stones he can pick up off the ground and hurl with the force of a bullet, and he has as many of them as he needs.

Of course, like all Monks, his frightening offense is somewhat mitigated by the fact it's tied to attacks which decrease in accuracy as they're thrown out; he has no magical accuracy modifiers or even Weapon Focus, so a DM wanting to up his challenge a little bit can get away with giving him an Amulet of Mighty Fists or similar. His most accurate attack is a modest +20, but his least accurate attack is a pitiful +5, which at this level means his final blow is unlikely to actually hit any level-appropriate foes wearing modest medium armor. Unarmored or light-armored is far more likely, but his main prey are creatures hovering around the 10~12 Hit Dice range, which is where the party is going to be if they ever face TOM as a boss.

But if your AC is too high, he can always just make it lower. He's a 16th level Monk, so TOM can throw out 16 Stunning Fists every day, potentially locking down a single target for the entire battle if he just keeps combo-hitting them and they keep failing the DC 28 Fortitude save. While he lacks the power to fully paralyze a target, he can also swap out the stun for fatigue (which turns to exhaustion if the victim is hit twice), a 1d6+1 round stagger, or permanent blindness or deafness. Every single option benefits him as much as the stun does, with exhaustion robbing foes of their damage, staggering severely limiting their options for at least 2 rounds, blindness making him much harder to hit (and cast spells at), and deafness being extremely damaging to spellcasters, Bards, and teammates relying on coordinating with one another.

The fun icing on the cake, though, is that he doesn't need to actually do damage. He's got a feat suite of nonlethal options to disarm, disable, debilitate, and humiliate anyone who tries attacking him: Improved Disarm to throw your weapons aside, Trip to throw you off your balance, and Grapple to just throw you, with the seldom-seen Greater Grapple waiting in the wings to let him wrestle with superhuman speed and proficiency... or just Stunning Fist the snot out of anyone he's got in a headlock.

In a one-on-one fight against similarly powerful foes, TOM is almost unbeatable due to his long list of options to demean and debuff his enemies, and even full parties can struggle against his towering stats and staggering damage... unless, of course, you have some method of staggering him, or simply continuously step out of his reach. A nine attack flurry with a menagerie of debuffs attached is quite scary, but he's a Medium creature with Medium reach; he's insanely fast--especially with Haste--and incredibly mobile through almost every terrain, but his speed means nothing if you just keep moving 10ft back and denying him his Full-Attack. This isn't a reliable tactic, mind, and eventually you WILL lose (his Regen 15 will outpace your single attacks) unless you do something to hold him still or debuff him; he has high saves and 26 SR, but no immunity to paralysis, negative levels, death effects, or mind-affecting effects, so if luck is on your side, you may yet prevail.

Say, what's the average saving throw for a 10th~12th-level caster's most powerful spell? 24? ... Okay, maybe you'll need a lot of luck on your side. But it's still possible!

You can read more about him here.

#Monster Spotlight #CR 11 to 15 #Holy Heralds Month #Pathfinder #dungeons and dragons

[nicki0kaye]

so let's talk about Kallus and Void Screamers

All of this is nonsense I came up with, there's no canon basis for any of this, I just like thinking about it deeple.

my background for Kallus has him growing up in the deepest parts of Coruscant, on level 833, which is lower than I think even Legends implied people can live on Coruscant. Why do I think people can live that far down? Because people are crazy and if you tell them not to do something, they will out of pure spite. Also, its implied that after a certain arbitrary level, the laws of the surface just stop mattering. Which means no one is actively monitoring these communities, which means no one is actively documenting these communities. So who's to say where people are living? The surface doesn't know. People from off world just diving down into the Underground for a bounty wouldn't know.

And I wanted some motivation for Kallus to want into the Imperial Navy, to have a unique perspective on the wider universe, and more than anything to subvert the well manicured erudite 'upper crust' bond villain he passes himself off as.

So Kallus isn't from the surface of Coruscant. He's from a part that most people assume is abandoned. In a way, he grew up sheltered in this subculture of the forgotten and invisible, a civilian of triple zero, THE planet at the core of the known universe, that has none of the luxuries or amenities it's known for. No one in his family has even seen the sky, it's so far above them, practically in enemy territory, where someone without a government issued ident chip simply cannot reach without risking incarceration.

And ultimately I decided he still should come from a privileged background within the Underworld--a son of one of the many gang lords that rule over their little slices of Basement--but that's not really important for the discussion of Void Screamers.

What is important is trying to decide how people who have lived for generations below several thousand layers of duracrete would interact with religion. I decided it'd be kind of a non-relationship. These people would have had to rely on themselves and one another for so long in this purely man-made hive of rusting tech, I thought they'd consider the gods as good as dead.

I'm not sure when I decided that there was still one god left behind, but I know it wasn't initially going to be an extension of the Bendu. I think that was just a happy accident. Basically; there were gods once, of many different domains, but then the mortals decided to defy the gods and wall off the sky. Unable to forgive this transgression, what gods were not killed by having their domains destroyed by human construction just straight up left, leaving only one behind. A god who could not leave, because its domain was any empty space, an unfilled cavity. It had no blessings to bestow or worship it required, but it was there all the same, in the deepest levels of the planet, and above, cradling the stars.

#nik v sw #kallus

[iviarellereads]

Network Effect, Chapter 9

(Curious what I'm doing here? Read this post! For the link index and a primer on The Murderbot Diaries, read this one!)

In which Murderbot can't help but be a little happy to help screw over a corporation.

After twenty-seven minutes and twelve seconds,(1) Ratthi tapped on the hatch and sent me the feed message: Can I come in and talk to you? I sent back, Do you have my jacket?

Murderbot has been keyword-monitoring its surveillance, so it doesn't have to listen to everyone actively, and it knows nobody's in mortal danger without it. Well, unless Art murdered them all, but it keeps trying to poke MB in the feed, and it probably wouldn't keep calling MB ungrateful and and "a sulky dumbass" in MB's words, not Art's, if it had murdered all its humans.

Ratthi says he has it, and MB says he can come in. He asks if Amena can come too. MB leans back on the wall.

MB's been messing with Art, trying its patience, and cleaning the leaked fluids off itself. It didn't have a shower, though, because showers feel good and it wants to stay angry.(2) It almost rejected the Art-branded shirt that "fell" from the recycler, but it needs a shirt.(3)

MB doesn't want to upset Amena, so it says yes, she can come too. They enter, just the two, and MB warns them that Art can hear anything you say onboard it, anywhere. Ratthi says he's used to that, and doesn't say it's about MB, but it knows.

Ratthi asks about MB's relationship with Art. MB gets grossed out and defensive at the first implication of a sexual one, and is no less horrified at the idea of friendship. MB felt Art stop pinging it when the humans started talking, so it knows Art's listening. Ratthi asks if MB has made many bot friends, and MB thinks of Miki,(4) but says no, not friends like humans make. Ratthi is skeptical, saying Art seems to think it is, but MB says Art lies and is mean.

The lights flicker, imperceptible to human eyes, but visible to MB's. It knows Art heard that.(5)

Amena asks why MB keeps calling it Art, when its name is Perihelion. MB says it stands for Asshole Research Transport, an anagram. Amena says that's not what anagram means, but MB dismisses it as human pedantics.

Ratthi says it's possible that, while both MB and Art have relationships with humans, they don't seem to be sure how to have one with each other. MB gets grossed out at relationship again, and Ratthi says, other than friendship, what other word is there?

I had no idea. I did a quick search on my archives and pulled out the first result. “Mutual administrative assistance?” The lights fluctuated again, in what I could tell was a really sarcastic way. I yelled, “I know what you’re doing, ART, stop trying to communicate with me!”(6)

Ratthi informs MB that, if it hasn't been paying attention, they've come to an agreement with Art to get its crew back, in exchange for assistance returning to Preservation after. MB points out they're just doing what Art wants. Ratthi says there's not another good choice out here. Even if they sent a distress beacon, any response will put everyone in trouble, especially Art and its crew and their university. MB points out several ways it's even worse and more exploitative, that they'd have to pay out the nose just to get rescued.

Amena is aghast, Ratthi says he hates the Rim, and MB agrees, sarcastically, and notes that it's realized something it should have seen sooner.(7) Amena asks if MB would be okay, as a construct, but they have a short discussion about how Mensah technically owns it, under Rim law, and Amena is her legal representative in this. Ratthi confirms, if corporates show up, Amena has to assert ownership of MB. She's disgusted. MB says it doesn't like it either.

At any rate, Ratthi says Art still has repairs to do, and everyone has plans and preparations to make, and asks if MB will come out of the bathroom now. MB says it will, because it knows Art is lying.

This time when the lights fluctuated, it wasn’t sarcastic.

The humans have shifted around, but still have their video call active to the control room. Overse asks if they're all ready now. Ratthi says not quite, and MB says Art didn't come here for a distress call. Thiago is suspicious, and Arada asks if MB wants to jeopardize the deal they made with Art. MB says it absolutely needs to bring this up now.

Overse asks how MB knows, and MB says it's a research and teaching vessel, but all the educational spaces are out of use, the lab inactive, and no cargo module attached. MB asks what Art was doing when it received the distress call. Art asks if this is MB being helpful. No, MB says, this is quite the opposite. It's being held against its will and it will make its keeper regret it.(8)

Arada asks if MB wants to go back in the bathroom for a while and think about what it's doing. MB says it's done thinking, Art snarks about that being obvious. MB asks again what Art was doing.

Across the room, Eletra is asking Overse and Ratthi why they're letting their SecUnit do this. Overse almost says MB is independent, but Ratthi stops her and says merely that MB is usually more responsible.

Thiago, surprisingly, agrees with MB that it's a valid question. MB interprets this as the sensible humans abandoning it. Art says it's none of MB's business. MB argues Art made this its business when Art told the hostiles to kidnap MB. Art suggests MB can put itself out the airlock if it's unhappy with its situation.

The humans, for their part, are trying desperately to wave for MB's attention as Art makes this incredibly threatening statement. Only, this is what MB wanted. It says Art is upsetting Amena. MB noticed earlier that Art's tone with Amena is totally different from with the adults, and Art is fundamentally an educational vessel.

And before this when I was stupid and we were still friends(9) it had talked about human adolescents in an indulgent way.

Amena takes a breath, and before she can object, MB asks her privately in the feed to be honest. So, she says the grey people and being shot at scared the crap out of her, and she really would like to know what's actually going on.

After a long silence, Art says it has to violate its crew's NDA to answer. MB says Art kidnapped itself and its humans, that violated MB's contract with them. Art says it will consider it, then shows MB that it's talking only to it and its humans, cutting Eletra out.

In this more private channel, Art says that if any of them reveal what it's about to say to the corporate, it will kill her. MB isn't particularly attached to her, but it doesn't want anyone dying near its humans and traumatizing them more. So it's not opposed when Arada speaks for them and agrees. Aloud, Arada asks if they can use Art's cabins to clean up, so they don't accidentally indicate anything to Eletra. On the public channel, Art graciously invites them in.

Ratthi and Overse get Eletra settled in one of the rooms the grey people didn't get their growth medium scent all over, and supplies so she can take care of her business and might not feel a need to wander. MB posts a drone scout, just in case.

MB's humans go to the galley, far enough away that Eletra won't hear them even in the corridor before MB spots her moving. The humans are eating and drinking something warm Thiago made them. MB is pacing.

Finally, Arada asks if Art is ready to answer MB's questions. Art gives a lengthy explanation that amounts to, its crew sometimes acts on behalf of anti-corporate organizations,(10) and were on a data-collection mission to the abandoned colony. Amena notes the similarity to how Preservation's great-grandparents' colony had been abandoned. Art notes that sometimes, colonies cut off from the corporates can survive.

This colony had previously failed, but no data existed on why. One of Art's crew, Iris, had found some newsfeed archives about the takeover of the corporation that had controlled the second colony. Some employees were in a firefight, and deleted the database before the hostile takeover was completed. Iris made a note that it's possible, though unlikely, that they were trying to protect or conceal the colony.

After all the humans have read the article and notes, Art says its crew's mission was to see the colony's status, and if active, make contact and offer assistance against corporates, such as by evacuating the inhabitants. Amena asks why, surely if the colony survived, the other corporations would have no jurisdiction. Overse says no, another could easily, and legally, move in and take over. Amena is horrified, but Thiago says that's how the Corporate Rim is.

Ratthi asks what Art and its crew do, in these cases.

ART said, The University has the means to produce the colony’s original charter documents, which often contain clauses specifying that if the originating corporate body has ceased operations, then ownership of the planet is ceded to the colonists or their issue or successors living on the original site.

MB asks if that means the university forges the documents to free the colonies, and Art refuses to acknowledge the question, which probably means yes. MB has no qualms with the method of sticking it to the corporates, even if it's still angry at Art.

Art continues, in very passive voice, that a contract is facilitated between the colony and an independent transfer station, and once the station is established in the system, the colony is relatively safe from corporate ravaging.

Arada says Eletra said there were two corporate ships, and asks if Art was here before them. It was, and was forced to fire on a Barish-Estranza ship by those holding its crew hostage. It doesn't know what happened to the vessel or the crew. Ratthi asks if Art knows why the grey people would have brought Eletra and Ras aboard, but it really has no clue. The rest happened as it already described.

Overse suggests they put together a timeline. MB is about to say it has one, when Art provides its own. MB is annoyed, privately, that Art left out the point where it told the gray people MB was a weapon they could use.(11)

Amena says before things got weird, Ras tried to tell her about the colony reclamation, but Eletra cut him off. Thiago wonders whether the gray people came from the newer colony, or the original one, if they're remnant-contaminated, or if they were manipulated genetically by their corporation.

Discussion moves to the language they used, which has at least three pre-Corporation Rim languages involved, and their tech, which is also pretty ancient. Thiago says most of the alien contamination incidents happened before the Rim, though everything's suppressed so it's hard to know much detail about any of it.

Ratthi brings it back around to Thiago's question again. Art says evidence points to them being from inside the system.

MB takes the opportunity to point out Art's memory archive issues, and that it can't be sure who or what was aboard it before. Arada tries to interrupt, but Art says MB's earlier statement that Art lies a lot was untrue, but it cannot reveal information that would be against its crew's interests unless the circumstances call for it. Arada says they understand, and MB is looking out for their interests.

Art demands an apology. MB makes obscene gestures at the ceiling, since the humans are treating the ceiling like Art anyway. Art says that was unnecessary.

In a low voice, Ratthi commented to Overse, “Anyone who thinks machine intelligences don’t have emotions needs to be in this very uncomfortable room right now.”(12) ART was suddenly in my feed, on a private channel. I did what I had to do. You should understand that. I said aloud, “I’m not talking to you on the feed! You’re not my client and you’re not my—” I couldn’t say it, not anymore.(13) All the humans were staring at me. I wanted to face the wall but that felt like giving in.

Out of nowhere, MB has views all over the ship. It snarls at Art to stop being nice to it.

Amena takes MB's side and says maybe Art needs to give MB some time to process. MB, however, is suspicious and asks if Art is talking to Amena privately. Amena winces, and MB yells at Art to stop talking to its human(14) behind its back.

Privately, MB acknowledges that it isn't being at all logical, even if it felt like it was at the time.(15)

Arada says it's time to stop this unproductive arguing. Art needs to stop pressuring MB, she understands it's upset about its crew but MB is upset too. So, if it can give them any other information about this colony, it would be appreciated. Until then, she and Overse will get some data on the alien remnant on the engine, and see if they can help fix things faster. She assigns Ratthi and Thiago to med-scan-autopsy the dead Targets, and translate what they were saying in MB's recordings, to help narrow down who they were. She also asks Amena to talk to Eletra again, see if she can get her to open up.

Finally, she asks MB to figure out what caused Art's first reinitialization process, and how the Targets boarded, so they can prevent it happening again. She asks if Art is alright with all this, and it says an ominous, "For now."(16)

=====

(1) You know, bravo to everyone (but Art) on their restraint. (2) God if that ain't the mood sometimes. It's not quite "I don't deserve nice things" but it's a close cousin to that feeling, you know? (3) I love the implication that Art deliberately withheld the jacket, could have pushed it through but didn't, so MB would have to talk to a human sooner or later to get it back. (4) Precious cinnamon roll Miki who could kill you to defend its human friends but would rather make you a friend too if it could. Taken from us too soon, but a good reminder to MB that friendship is possible for bots. I think that's part of why it let itself open up so much to Mensah after. (5) Telltale upper-corner message: Perihelion will remember this. (6) Those poor humans having to deal with MB acting so unhinged. (7) This is where it figures out Art was lying about the distress, in case you missed it like I did on my first pass. (8) One of the classic blunders. Don't take a stubborn asshole who lives for chaos, prisoner. (9) So much for never having been friends. MB can't help but admit the truth sideways a lot of the time. I love picking up on its little slips, don't you? (10) Comrade Perihelion! No wonder it wasn't opposed to helping MB all those weeks ago. (11) Anything to avoid the conclusion it knows is inevitable: it cares for Art's crew, just for the sake of their being innocent humans, and it's going to help rescue them eventually. Otherwise this wouldn't be a book. (12) [quiet snicker] (13) You know it is still your friend, though. It betrayed you, because it knew you would be able to handle the betrayal. It didn't mean for MB's humans to get involved. I think Art even expresses, in its own way, that it feels bad for their involvement. It's not like Art is withholding supplies or passage back to Preservation, as long as it gets its crew back first. And, it may see them as an asset, more people means less danger individually, means better chance of success. (14) Amena is particularly MB's human here. It's not worried about Art talking to the others, but it doesn't want Art influencing Amena while it's still angry at Art. They're just so… human. (15) This really extra feels like an observation after the fact, versus most of MB's asides where it could have been the uncensored train of thought it was barreling down at the time. Thus, my use of a touch of past tense. (I'm capable, it just doesn't feel natural.) (16) Ominous in that it implies Art will change its mind sooner or later. Do you think so? Or is it just sulking at being dressed down like that by a human?

#the murderbot diaries #murderbot diaries #network effect #murderbot #secunit #amena #eletra (murderbot) #ratthi #arada #overse #thiago #art (murderbot)

[idv-askchaoticduo]

This is a small love story and a folk tail from my hometown, hope you enjoy it:-

Time and Death were two entities that existed in the void of eternity. Time had always been fascinated by Death, watching as he moved through the world, taking life and passing it on to its next phase. Death, for his part, found the construct of Time to be intriguing, watching as events unfolded in his wake.

As they watched the world go by, the two of them became more and more curious about each other. They started to talk, and the more they spoke, the more they realized how much they had in common. They talked about the cyclical nature of life, the intricate dance between birth and death, and as they talked, they started to fall in love.

One day, they decided to take a walk together, wandering through fields of stars and galaxies. They danced around each other, their movements in perfect sync. They knew that they could never be together in the world of mortals, but in this timeless place, they were free to be themselves.

But as they danced, they noticed that something strange was happening to the world below them. Time noticed that the sands in his hourglass were shimmering, their movements slowing down. Death felt his power weakening, as if the world below was slipping away from him.

As they watched, they realized that their love was disrupting the natural order of things. The world could not tolerate their union and was starting to break down. They knew what they had to do. They couldn't bear the thought of the universe falling apart because of their love.

So Time and Death decided to part ways, each taking a piece of the other with them. Time held onto Death's essence, keeping it safe; while Death took a piece of Time's essence, using it to mark the end of every mortal life.

With this agreement, things settled back into their natural order. The world of mortals was safe, and Time and Death knew that their love would never be forgotten. Even though they could no longer be together, they knew that in some small way, they were still connected.

As time passed, the universe shifted and changed, but the mark of their love remained. When people looked up at the stars, they could see the threads of Time and Death, intertwined in a dance that could never be denied or forgotten. And the world continued on, safe in the knowledge that even though love could change the universe, it could never destroy it.

Some say that the concept of Past, Present and Future was created soon after the two God’s departure from each other. They are now seen as the children of Time and Death!

Lawrence listens to the tale of love told, a soft smile slowly makes its way to his face, feeling genuinely touched and moved by the tale. "Such an interesting story from your home town. Something about it feels familiar to me...but I don't know why." Samantha, who was previously un-interested, seems to be an a bit of shock? . . . She shakes her head and goes back to her neutral expression. "You've always been the one to like romance stories, Law. No wonder you liked this one." "Pfft, I guess you're right. Thanks for the beautiful story, Anon~"

#identity v askblog #idv askblog #idv oc ask blog #idv ocs #idv rp blog #[♦]lawrence the gambler #[♦]samantha the candy dealer

[darkxmartcom]

Another Obelisk' Lifeform' Is Concealing Inside People:

Stanford College specialists have set up infection like' lifeforms' that live inside mortal mouths and guts. More modest than an infection and not considered standard life, the heritable material can in any case move data that can be pored by a cell. We had no indication these effects was, and we absolutely are not sure yet what theydo.We do not know whether it's interesting or not that experimenters just set up new' lifeforms' within our bodies. Smidgens of RNA, more modest than an infection, populate bitsy organisms inside our mouths and guts and have the capability to move data that can be pored by a cell.

Named' ridiculously peculiar' by the group of Stanford experimenters expounding on the discovery in Nature, the disclosure presently has a name sepultures. Also, we. do not actually know their ultimate ideal. " It's crazy," said Imprint Peifer, a cell and constructive scientist at the College of North Carolina at Church Slope, as per wisdom." The further we look, the further insane effects we see." Named pillars due to their pole moldered structures, they're significantly more modest than infections, yet they can in any case shoot directions to cells. What they are talking about, notwithstanding, we simply do not have the foggiest idea. The nanosecond substances, as per a explanation written in The Discussion by College of Shower microbial development schoolteacher Ed Feil, refers to the pillars as" circular pieces of heritable material that contain a couple of rates and tone- kind out into a pole as are shape

." They, conceivably, veritably small' lifeforms.

' The preprint paper from Stanford refers to them as" viroid- suchlike" a viroid is one stage down from an infection. While an infection needs a host to permit it to recreate, that hasn't telephoned them back. We have lost count of exactly the number of infections this world has to offer since they're so ample. still, a viroid is vastly further oversimplified — a piece of heritable RNA that can not make proteins, yet can direct, and has been known to torment blooming shops. " The newfound organic substance falls nearly near to infections and viroids," Feil composed. That is what he added, analogous to viroids, the pillars have a round, single- abandoned RNA genome and no protein fleece.

Yet, as infections, their genomes contain rates that are anticipated to law for proteins. What is further, it is not analogous to the Stanford judges saw as only one of these effects they set up nearly 30,000 particular feathers of megalith. That's only first out. They were positioned in each member corner of the world, and were regularly tracked down in the mouth( yet also in the stomach). Presently the undertaking becomes sussing out assuming these pillars are companion or adversary. Experimenters need to find out about the host cells that they needs to repeat, how bitsy organisms and spongers assume corridor in their capability, and what their factual reason truly is.

All satisfied materials on this [A little tip] are safeguarded by intellectual property regulation and are the proprietor's property. No piece of this [A little tip] might be replicated, dispersed, or sent in any structure or using any and all means, including copying, recording, or other electronic or mechanical strategies, without the earlier composed consent of the proprietor, except brief citations encapsulated in basic audits and certain other noncommercial purposes allowed by intellectual property regulation.

#latest news

[mdjalhokbabu]

Amap launches Apple product purchase service, online purchase & offline pick-up

Recently, AutoNavi Maps has reached cooperation with more than 4,000 Apple authorized dealers across the country HE Tuber to launch the "buy and pick up on the go" service for Apple products. From now on, users can search for "Apple" through Amap, and information about all Apple authorized dealers nearby and in their area will be displayed. Users can view all Apple products on sale at dealers' online stores and place orders directly, making them easy to buy. The store will retain the user's order for 48 hours, so the user does not have to make a special trip to the store to pick up the order. Amap's core capabilities such as route planning, which is accurate to the minute, can help users plan a drop-in route, and users can pick up their mobile phones along the way at their convenience. It is understood that the service of buying Apple products on the go and picking up along the way is another iconic case of Amap's exploration of the "drop-in" service model. This service is committed to opening up "third life service scenarios" in addition to "home" and "in-store" for users and offline physical merchants.

4. Recommend good articles

Author of "Diao Kuai B Red, 10 Years of Dilemma" @IC Laboratory

Editor's recommendation: Have you noticed a problem: in Douyin Kuaishou B station Xiaohongshu, the shortest Douyin is about 8 years old, and Xiaohongshu just celebrated its 10th anniversary some time ago. On these platforms, they are all taking Mortals talk about things. In this article, the author will talk about the relationship between these Internet platforms and “mortals”.

"There have never been simple and crude rules in the Internet industry" author@伟西

Editor’s recommendation: Everything has its own rules, so is there a rule-based rule in the Internet industry? In this article, the author takes the contemporary nature of the Internet industry as the starting point and clearly explains the view that there are never simple and crude laws in the Internet industry. It is recommended for people who are interested in the Internet to read.

"Multiple dimensions, dismantling power bank product design ideas" author @tomato

Editor's recommendation: Nowadays, when users go out and do not carry charging equipment, the existence of shared power bank is particularly important. This is one of the reasons why many players choose to join the game. So, how should power bank products be designed? In this article, the author shares his design ideas, let’s take a look.

5. Wonderful Q&A

Q: What do “conspicuous bags” look like in the workplace?

Conspicuous bag, also known as eye-catching bag, means a guy who likes to be in the limelight and embarrassed. Some people often do some incredible things, but they are also quite funny. What are some of the “obtrusive” behaviors around you?

Meituan Waimai announced that it will continue to strengthen the cooperative ecological construction of instant delivery, and has reached cooperation with SF Express, Flash Delivery, and UU Errand. Meituan Waimai officially stated that Meituan Waimai will combine its own delivery system and work with SF Express, Flash Delivery, and UU Errand to create a richer delivery network for merchants and build a win-win instant delivery industry ecosystem.

#video #sharing #watch #upload

[absynthe--minded]

If you don’t mind because I love to hear it, what editorial choices did Christopher Tolkien make that really frustrate you?

My top one would be Turin’s character assaination.

I do not mind being asked!! this is an incomplete list but I hope it gets the point across

Túrin’s character assassination is astonishing, you’re right, for me it’s specifically everything in Nargothrond as well as the minimizing of Saeros (and sometimes Daeron) harassing him for racist and xenophobic reasons. This is really well-known so I’m not going to spend a lot of time on it unless people want me to? it’s probably best encapsulated in another post lol.

WHERE ARE THE WOMEN, CHRISTOPHER, WHERE ARE THEY. Haleth’s all-woman bodyguards get cut out! Míriel being the inventor of sewing gets cut out! Indis and Nerdanel having a friendship gets cut out! Andreth gets cut out, with not even a mention of the Athrabeth! Morwen and Niënor lose all their character traits! Finduilas is a ghost of her former self! Idril’s character gets cut down to nothing!

Findis and Lalwen not existing. I’m actually going to give them their own bullet point because Lalwen goes to Beleriand with her brother Fingolfin. That’s an entire extra Finwëan princess to talk about!

cutting the Wanderings of Húrin from the Silmarillion was a Bad Choice because it robs Húrin of his status as like. almost a warning of divine punishment. With the Wanderings, and specifically his travels to Gondolin and Menegroth, you can make the argument that Doriath falling and Gondolin falling were in large part because they failed to look after innocents and refugees, and that’s a really neat angle

Gil-galad Son Of Fingon. Gil-galad’s parentage changed so many damn times. I am all for Gil-galad the adopted son of Findekáno and also kind of Maitimo? but Gil-galad the biological son of Fingon has caused so many fandom problems. Leaving his parentage ambiguous would have been the right choice, and Christopher himself agrees with me here.

Beren and Lúthien being directly involved with killing the dwarves who killed Thingol. Christopher also admits in HoME that having Guy Gavriel Kay help with ghostwriting that Silm chapter was a mistake, and that he probably could have succeeded in creating a coherent narrative from his father’s later work (specifically the draft where Celegorm and Curufin kill the dwarves, assuming they have the Silmaril, but Melian actually took it and went to Lúthien)

I’m still doing research on this so I can’t actually speak authoritatively on it yet but what inspired my original frustrated post was the fact that as far as I can tell, the bits in the Silm chapter “Of Maeglin” about Maeglin’s desire to marry Idril being seen as incestuous and twisted and disgusting? Entirely absent from the drafts. All I’ve found in HoME and TFOG so far indicates that J.R.R. Tolkien never wrote anything close to that - Maeglin wanted to marry her, sure, but in the Book of Lost Tales, their marriage is frowned upon because Turgon thought that his nephew was clout-chasing rather than genuinely in love with his daughter. And the other HoME volumes usually have some variation on “Maeglin wanted to marry her, and Turgon loved and trusted him, but she married Tuor instead”, if they mention him at all. All the stuff about how he loved without hope, and how she saw him as terrifyingly warped? I’m willing to say that there’s a very good chance he invented that. Maeglin’s characterization in JRRT’s writing is very different from how he is in the Silm.

Amrod surviving at Losgar. I feel like this is a pretty agreed-upon fandom thing? We all sort of just accept that he died. But it still annoys me that Chris decided not to follow that path.

Argon not existing at all. Argon’s death mirrors Amrod’s death - both Fëanor and Fingolfin have to lose a son before they can begin life in exile, and one dies in fire and the other dies in freezing cold. It also sets up an interesting relationship since Argon died defending his family and his people and Amrod died because of someone else’s selfish and misguided attempt to defend his family.

the removal of a lot of the more queercoded/queer-subtext moments. Túrin and Beleg kiss in front of the Gaurwaith in the Lay of the Children of Húrin, and in that version and the Book of Lost Tales version of the story, Túrin kisses Beleg after he dies. The green Elessar that Galadriel gives to Aragorn is mentioned to be a betrothal gift in Laws and Customs among the Eldar, and there’s one version of the story where that same green stone was given to Fingon by Maedhros.

downplaying the presence of Taliska in the narrative and stripping out a lot of Edainic cultural worldbuilding. Taliska, one of the Edainic languages (or an Edainic language with several distinct dialects) hasn’t had any publicly released information about grammar and construction. We never find out in the published Silm that the Atani - the mortal Men - call themselves the Seekers, the way the elves call themselves the Quendi. We don’t learn that nothlir is the Taliska word for “folk” or “people”, so nothlir Haletha means “folk of Haleth”. All the lengthy discussion of Edainic philosophy from the Athrabeth is gone, and Chris’s decimation of the Narn i Chin Húrin means we don’t know anything in the Silm chapter about life in Dor-lómin under Húrin and Morwen’s leadership.

I hope that answers your question? sorry, this turned out to be long.

#replies #anon replies #absynthe's meta #tolkien

[the-ghost-king]

About the cupid scene, Nico was forced to come out, but its also made very clear that Cupid is the bad guy. So is Aphrodite to an extent. They have a twisted and fundamental misunderstanding of love and how it works for mortals. I get that people could be mad about how Nico was forced to come out and putting him through more emotional trauma, but I also think its very realistic in showing how callous and cruel the gods understanding of love is.

I am reminded of the quote by Madeline Miller, "There is no law that gods must be fair..."

I also understand why the scene might be traumatic for other young LGBTQ+ readers, I've seen a lot of people talk about the fear of being outed in regards to them reading that scene as a kid. I completely respect their feelings on that, and I understand that as well. However, as someone who had been forcibly outed once before reading that scene, that scene really helped heal me. I don't think the Cupid scene is inherently homophobic, and I'm often bothered by the lack of nuance regarding around how it's handled.

I recognize it's a very emotional scene, and that people may have a hard time fully separating their emotions from that scene, but at the same time if there's a group of people saying "hey I understand why you disliked this scene but it was really helpful to me as a child because of the different experiences I had" maybe slow the breaks and hear what others also in the community have to say before determining if the scene is homophobic. You don't have to like the scene, and yeah maybe the scene did hurt you but that doesn't make it homophobic.

I want to specify on my word choice there a little closer, because of course outing someone is an act of homophobia, and the scene is homophobic in that sense. However often times the conversation about homophobia in this scene goes to "Rick was homophobic for writing this" where personally I would say this scene toes the line at being too far without ever crossing it. Some people may think this depiction crosses the line into "Rick was homophobic for writing this" which is fine, but just because something depicted homophobia and hurt you doesn't mean it was homophobic. Something doesn't have to out rightly be stated to be bad, in order to be read as bad*, and the Cupid scene does a wonderful job of depicting this.

I talk here about how Nico is shown what love is, and how love is treated by Nico, and how it affects his character. I think it's important to note that Nico's entire storyline can essentially be encompassed in an Orpheus-like or Odyssey-like tale. Nico's undergone this huge emotional and physical labor all in the name of having some form of unconditional love. I think that post is a really important read in the context of this one because I very carefully outline how love shapes Nico and how Nico shape and chooses his own definition of love, but I want to specifically dig into the Cupid scene on this post.

The big criticism often seen is "it's homophobic" which I covered above, and I want to clarify I'm not upset with or mad at or trying to tell anyone they can't dislike it or even say you can't say it's homophobic (my words on my one post are a bit off I'll admit) but the problem I have is when people believe they hold a moral high ground for thinking it's homophobic, or they remove all nuance from the discussion with "it's homophobic". Which is frustrating and annoying because it's a very complex scene, and it really changes Nico's arc and personality and it does help characterize him.

The big reason it shapes him so much is because of the other largest reason the scene is criticized, Cupid's behavior. What often fails to be recognized in those scenes is that Cupid is intentionally painted as the villain, this is very important to the scene.

In the context of this scene Nico makes an unspoken choice, a choice of "what is love to me?". I talk about how Nico claims his narrative in BoTL when he overcomes Minos, and he partially peaks that arc by convincing Gods to join the final battle of TLO. Following that arc however, Nico falls into his second arc, his crush on Percy was important in PJO, but not as important as it is in HoO.

By HoO Nico's entire character revolves around Percy, how to help Percy, how to aid Percy, etc. All of this has to do with Nico's crush on Percy, but also as an act of repayment because Nico hurt Percy- Nico lied to him about knowing him at New Rome in SoN, and he goes to Tartarus shortly after... This mirrors what Percy did after Hades tricked Nico... Percy choked Nico because he was upset with him, so Nico tried to win back Percy's affection by bathing him in the river.

The Cupid Scene is the resolution of Nico's arc, he is essentially given a choice- Cupid or Jason?

For this reason, we do see Nico recognize love for what it has been vs how it could be.

Cupid is there to represent what love is, to Nico love is brutal, and painful, and a lot of hard work... Nico has made himself utilitarian in love simply because it is the only way he can find any affection. Love to Nico is about flaying yourself for the benefit of others, to trample any and all parts of yourself simply to appease those you care for, because you want them to love you so much as you love them. The parallels I could draw between Nico and Orpheus, or Nico and Odysseus... I'd be here a long while...

In that scene Jason represents the alternative form of love which Nico chooses after his interaction with Cupid.

Jason says during the scene that he "preferred Piper's idea of love" which has to do with kindness and caring, etc, and then Jason becomes the embodiment of that idea during the scene- which showcases the alternative of what love can be, thus making Jason a personification of love in the context of that scene.

Jason looks to Nico, he doesn't ask for more, he simply looks to Nico with understanding and acknowledges him for who he is, and he does the exact opposite of what Nico expects:

Jason loves Nico where he is, without conditions, without forcing Nico to become something more. Jason didn’t force Nico to say more than what was necessary for him to understand, Jason looked at Nico and he called Nico brave.

Cupid is a more volatile form of love than Aphrodite, Cupid shoots arrows that makes people animals, that can make a god grow insane, but Aphrodite's form of love is about acceptance and humanity (think to how she picked Ares over Hephaestus even if it was perhaps "wrong")- both are about truth but one is about force and the other about acceptance.

When Nico walks out of there, he makes his choice- he is forced to come out yes, Cupid is wrong for doing this, but Jason again stays a figure of love in Nico's life. Jason basically says, "Good job, I know that was hard, thank you for sharing and let me know if you need anything, people will care about you and understand you," again and again and again to Nico, he doesn't tell Nico he has to come out, and he agrees to keep it between them for now. Jason is love as acceptance, Jason is the first person who unconditionally loves Nico, and that's the choice.

Will Nico accept unconditional love? If the answer is no, then Cupid wins and Nico is denying himself. If the answer is yes, then Jason and Nico win, and Nico no longer needs to make himself utilitarian in love in order to be loved.

The choice is made with Reyna and Hedge, most specifically Reyna.

When he accidentally comes out to them, and they accept him without making a big deal of it, without show, just that acknowledgement and "thank you for sharing" and Nico accepts their words and friendship still- Nico made his choice then to accept the love he was being freely given.

“He carried so much sadness and loneliness, so much heartache. Yet he put his mission first. He persevered. Reyna respected that. She understood that. She'd never been a touchy-feely person, but she had the strangest desire to drape her cloak over Nico's shoulders and tuck him in. She mentally chided herself. He was a comrade, not her little brother. He wouldn't appreciate the gesture.”

This is where we see the slow and steady, and healthy, end to Nico's arc in regards to love really grow into itself, and he begins to heal. He no longer sees such an intense need to make himself utilitarian for love, and he begins to heal from his internalized homophobia too.

(Internalized homophobia discussions with Nico also bother me too often times, people too often assume you can't date while struggling with internalized homophobia or at least very heavy handedly imply that which is just not true... You may have some issues in your relationship, but you can work through the internalized homophobia while building a new relationship and be just fine. Also to assume someone has an unhealthy relationship because of internalized homophobia is weird and lowkey reinforces the idea that "broken" people don't need love, but also does a huge disservice to so many LGBTQ+ people who are happily married/themselves but still struggle with these feelings, and to see a healthy relationship depiction despite someone in that relationship struggling with internalized homophobia is fine and good actually. As long as the individual can recognize what they're dealing with, and work through it in a healthy and constructive manner, then there's nothing wrong there...)

When I started this post to be honest I thought I would have a lot more to say, it's a scene that touched and changed me so deeply as a person, and beyond that in a more objective experience it completely changes Nico's character, by turning his arc around and beginning his healing process. To be honest, there probably is more to be said on it, I just haven't found the words yet... I know parts of this post are clunky and in a year I'm going to read this and see all the places it could be better but for now I'm content with it.

Whether or not someone considers the scene homophobic is a subjective experience, but I think this is a very well written scene purely for the characterization and symbolism, intentional or otherwise. I don't really care that much to debate if it's truly a homophobic scene or not, I can see both why people say it is and why people say it isn't and that can be culminated into "people have different needs" and "minorities aren't a monolith". Personally my much larger complaint is the complete lack of nuance and insight scenes like this are handled with, not the matter of personal opinion an individual reaches on the scene.

*the post uses the word "adult audience" and yes, fair point, children should not be able to decipher symbolism to the extent adults can. But older children and young teens, which the RRverse series are sold for, is when critical thinking skills and media analysis do begin to become parts of classroom curriculum. The scene does an excellent job of not outright stating Cupid is evil, but of depicting that in a very clear cut way.

#nevermind i lied here you go #nico di angelo #meta #long post #anon #ask #internalized homophobia #fandom homophobia

[wenamedthedogkylo]

The end of this ep, with the lil tension between Orym and Dorian and everyone being like 👀 at it, has me so fuckin intrigued. And it goes back a little bit to my earlier post about how EXU is exploring alignments in a very interesting way.

Now obviously, alignment is a meta thing. These characters do not define themselves as “Neutral Good” or “Chaotic Neutral” or whatever else. They just act as their morals dictate, and like any sapient being they are inherently inclined to change and grow as they go through life.

But Orym’s reaction to Dorian suddenly being able to touch and be near the circlet made me think back to this analysis/sort of a homebrew reconstruction of alignments that I read way back when. Like, we’re talking years. It was a post somewhere on tumblr I think and in it, the person was talking about how they approached alignment in their own games, as a DM and a player. And I loved it so much because the way they looked at the Good-Evil spectrum was more like Selflessness vs Selfishness. How much are you willing to go out of your way for others vs how much are you going to go out of your way for yourself?

And that worked so beautifully to me because I think that really gets to the core of what people very generally think about good and evil actions. Good is seen as doing what’s better for more people, not just oneself, while evil is seen as the opposite. But when you look at it as selfishness vs selflessness, you inherently add a new layer of nuance that can make for some REALLY interesting character growth. I think that post even used the example that a Lawful Good character might be able to justify doing something absolutely terrible because it is a) in line with the “law” they follow, be that a mortal legal law or a divine law, and b) because they firmly believe it is for the greater good of everyone, not just themself. Meanwhile, a Chaotic Evil character might suddenly decide to save the life of one of their party members in a) a chaotic choice that has nothing to do with law or order or social constructs of acceptability, and b) a choice that is purely selfish and has nothing to do with the greater good of anyone. And when you start looking at alignments like that, you open up (to me) a beautiful can of worms that breaks down into People Are Complicated And Nothing Is Ever Simple.

Orym’s reaction to Dorian’s sudden ability to touch this inherently chaotic item made perfect sense for him! And I don’t begrudge him that at all. Liam played it so well, it’s perfectly in character, it’s a wonderfully tense moment for everyone. But it instantly made me wonder: at what point will Orym accept this change? Yes, being able to touch a Vestige made by an evil god is cause for a lot of concern, but Dorian is still acting fundamentally the same. At least for now, it only seems that his priorities are a little different, but he’s still fundamentally a good guy the way the other CN’s are.

So what does this say about Orym and his ability to accept change and growth in general? Will he be able to accept it at all? Is he going to push back against any change he sees that doesn’t align with what he believes is good and right? Is he himself ever going to accept fundamental changes within himself or others that may not keep him in the Good part of the alignment chart, but which will not necessarily change who he is?

Or... is he going to double down? Is he going to shift more towards a very blunt and hard-headed interpretation of right and wrong that leaves no room for moral grey areas? Can he find a balance?

This is all just me speculating into the ether of course, but I really hope we get to see more fabulous and fascinating developments in this particular area. Not only from Orym but from all the others. Clearly, this is a story about self-identity, how our choices define us, where we place our faith and our loyalties, and what we’re willing to do for what we think is right. So I’m fully expecting many more juicy moments like this.

#Critical Role #Exandria Unlimited #cr spoilers #critical role spoilers #exandria unlimited spoilers #Bree's stuff #about me #about Bree

[paenling]

no ones saying you cant enjoy daniil? people like him as a character but mostly Because he’s an asshole and he’s interesting. the racism and themes of colonization in patho are so blatant

nobody said “by order of Law you are forbidden from enjoying daniil dankovsky in any capacity”, but they did say “if you like daniil dankovsky you are abnormal, problematic, and you should be ashamed of yourself”, so i’d call that an implicit discouragement at the least. not very kind.

regardless, he is a very interesting asshole and we love to make fun of him! but i do not plan to stop seeing his character in an empathetic light when appropriate to do so. we’re all terribly human.

regarding “the racism and themes of colonization in patho”, we’ve gotta have a sit-down for this one because it’s long and difficult. tl;dr here.

i’ve written myself all back and forth and in every direction trying to properly pin down the way i feel about this in a way that is both logically coherent and emotionally honest, but it’s not really working. i debated even responding at all, but i do feel like there are some things worth saying so i’m just going to write a bunch of words, pick a god, and pray it makes some modicum of sense.

the short version: pathologic 2 is a flawed masterwork which i love deeply, but its attempts to be esoteric and challenging have in some ways backfired when it comes to topical discussions such as those surrounding race, which the first game didn’t give its due diligence, and the second game attempted with incomplete success despite its best efforts.

the issue is that when you have a game that is so niche and has these “elevated themes” and draws from all this kind of academic highbrow source material -- the fandom is small, but the fandom consists of people who want to analyze, pathologize, and dissect things as much as possible. so let’s do that.

first: what exactly is racist or colonialist in pathologic? i’m legitimately asking. people at home: by what mechanism does pathologic-the-game inflict racist harm on real people? the fact that the Kin are aesthetically and linguistically inspired by the real-world Buryat people (& adjacent groups) is a potential red flag, but as far as i can tell there’s never any value judgement made about either the fictionalized Kin or the real-world Buryat. the fictional culture is esoteric to the player -- intended to be that way, in fact -- but that’s not an inherently bad thing. it’s a closed practice and they’re minding their business.

does it run the risk of being insensitive with sufficiently aggressive readings? absolutely, but i don’t think that’s racist by itself. they’re just portrayed as a society of human beings (and some magical ones, if you like) that has flaws and incongruences just as the Town does. it’s not idealizing or infantilizing these people, but by no means does it go out of its way to villainize them either. there is no malice in this depiction of the Kin. 

is it the fact that characters within both pathologic 1 & 2 are racist? that the player can choose to say racist things when inhabiting those characters? no, because pathologic-the-game doesn’t endorse those things. they’re throwaway characterization lines for assholes. acknowledging that racism exists does not make a media racist. see more here.

however, i find it’s very important to take a moment and divorce the racial discussions in a game like pathologic 2 from the very specific experiences of irl western (particularly american) racism. it’s understandable for such a large chunk of the english-speaking audience to read it that way; it makes sense, but that doesn’t mean it’s correct. although it acknowledges the relevant history to some extent, on account of being set in 1915, pathologic 2 is not intended to be a commentary about race, and especially not current events, and especially especially not current events in america. it’s therefore unfair, in my opinion, to attempt to diagnose it with any concrete ideology or apply its messages to an american racial paradigm.

it definitely still deals with race, but it always, to me, seemed to come back around the exploitation of race as an ultimately arbitrary division of human beings, and the story always strove to be about human beings far more than it was ever about race. does it approach this topic perfectly? no, but it’s clearly making an effort. should we be aware of where it fails to do right by the topic? yes, definitely, but we should also be charitable in our interpretations of what the writers were actually aiming for, rather than reactionarily deeming them unacceptable and leaving it at that. do we really think the writers for pathologic 2 sat down and said “we’re going to go out of our way to be horrible racists today”? i don’t.

IPL’s writing team is a talented lot, and dybowski as lead writer has the kinds of big ideas that elevate a game to a work of art, particularly because he’s not afraid to get personal. on that front, some discussion is inescapable as pathologic 2 deals in a lot of racial and cultural strife, because it’s clearly something near to the his heart, but as i understand it was never really meant to be a narrative “about” race, at least not exclusively so, and especially not in the same sense as the issue is understood by the average American gamer. society isn't a monolith and the contexts are gonna change massively between different cultures who have had, historically, much different relationships with these concepts.

these themes are “so blatant” in pathologic 2 because clearly, on some level, IPL wanted to start a discussion. I think it’s obvious that they wanted to make the audience uncomfortable with the choices they were faced with and the characters they had to inhabit -- invoke a little ostranenie, as it were, and force an emotional breaking point. in the end the game started a conversation and i think that’s something that was done in earnest, despite its moments of obvious clumsiness. 

regarding colonialism, this is another thing that the game is just Not About. we see the effects and consequences of colonialism demonstrated in the world of pathologic, and it’s something we’re certainly asked to think about from time to time, but the actual plot/narrative of the game is not about overcoming or confronting explicitly colonialist constructs, etc. i personally regard this as a bit of a missed opportunity, but it’s just not what IPL was going for.

instead they have a huge focus, as discussed somewhat in response to this ask, on the broader idea of powerful people trying to create a “utopia” at the mortal cost of those they disempower, which is almost always topical as far as i’m concerned, and also very Russian.

i think there was some interview where it was said that the second game was much more about “a mechanism that transforms human nature” than the costs of utopia, but it’s still a persistent enough theme to be worth talking about both as an abstraction of colonialism as well as in its more-likely intended context through the lens of wealth inequality, environmental destruction & government corruption as universal human issues faced by the marginalized classes. i think both are important and intelligent readings of the text, and both are worth discussion.

both endings of pathologic 2 involve sacrifice in the name of an “ideal world” where it’s impossible to ever be fully satisfied. in the Diurnal Ending, Artemy is tormented over the fate of the Kin and the euthanasia of his dying god and all her miracles, but he needs to have faith that the children he’s protected will grow up better than their parents and create a world where he and his culture will be immortalized in love. in the Nocturnal Ending, he’s horrified because in preserving the miracle-bound legacy of his people as a collective, he’s un-personed himself to the individuals he loves, but he needs to have faith that the uniqueness and magic of the resurrected Earth was precious enough to be worth that sacrifice. neither ending is fair. it’s not fair that he can’t have both, but that’s the idea. because that “utopia” everyone’s been chasing is an idol that distracts from the important work of being a human being and doing your best in a flawed world. 

because pathologic’s themes as a series are so very “Russian turn-of-the-century” and draw a ton of stylistic and topical inspiration from the theatre and literature of that era, i don’t doubt that it’s also inherited some of its inspirational literature’s missteps. however, because the game’s intertextuality is so incredibly dense it’s difficult to construct a super cohesive picture of its actual messaging. a lot of its references and themes will absolutely go over your head if you enter unprepared -- this was true for me, and it ended up taking several passes and a bunch of research to even begin appreciating the breadth of its influences.

(i’d argue this is ultimately a good thing; i would never have gone and picked up Camus or Strugatsky, or even known who Antonin Artaud was at all if i hadn’t gone in with pathologic! my understanding is still woefully incomplete and it’s probably going to take me a lot more effort to get properly fluent in the ideology of the story, but that’s the joy of it, i think. :) i’m very lucky to be able to pursue it in this way.)

anyway yes, pathologic 2 is definitely very flawed in a lot of places, particularly when it tries to tackle race, but i’m happy to see it for better and for worse. the game attempts to discuss several adjacent issues and stumbles as it does so, but insinuating it to be in some way “pro-racist” or “pro-colonialist” or whatever else feels kind of disingenuous to me. they’re clearly trying, however imperfectly, to do something intriguing and meaningful and empathetic with their story.

even all this will probably amount to a very disjointed and incomplete explanation of how pathologic & its messaging makes me feel, but what i want -- as a broader approach, not just for pathologic -- is for people to be willing to interpret things charitably. 

sometimes things are made just to be cruel, and those things should be condemned, but not everything is like that. it’s not only possible but necessary to be able to acknowledge flaws or mistakes and still be kind. persecuting something straight away removes any opportunity to examine it and learn from it, and pathologic happens to be ripe with learning experiences. 

it’s all about being okay with ugliness, working through difficult nuances with grace, and the strength of the human spirit, and it’s a story about love first and foremost, and i guess we sort of need that right now. it gave me some of its love, so i’m giving it some of my patience.

#meta #discourse #long post #ipl #writing #Anonymous #slight edit for colonialism #untitled plague game #pathologic

[mybg3notebook]

Lore: Details about the “Orb”

Disclaimer Game Version: All these analyses were written up to the game version v4.1.104.3536 (Early access). As long as new content is added, and as long as I have free time for that, I will try to keep updating this information. Written in June 2021.

Let's start with the context, because everything related to Gale is packed heavily with Forgotten Realms lore, and since the game is not fully released, whatever extra information that the game could provide to help us understand this is not there yet. Also, it's always important to keep in mind this post about "Context, persuasion, and manipulation" to be sure we are talking in the same terms. 

The lore

I'm going to enumerate some objects or elements related to Forgotten Realms lore that I personally see worth checking out in addition to other “orbs” that I've seen the fandom put attention on. All this information can be expanded using the references and sometimes wiki, even though I personally distrust forgotten realm wiki, unless I can check that info from the original sources.

Shadow Weave

The Shadow Weave is the space between the strands of the Weave. If the Weave is a spider's web, the gaps in between are the Shadow Weave. Shadow Weave reaches everywhere the Weave does, and more. It is not subject to Mystra’s laws or state of well being. If Mystra were to die and the Weave collapses, the Shadow Weave would persist. [Magic of Faerûn 3e. Personal Comment: Yes. It explicitly says in the book that it’s independent of Mystra’s well being. Clearly this has been modified in 4e since the Shadow Weave needs the structure of the Weave to be somehow stable. It collapsed when the Weave did so, so we can see this begins a series of inconsistencies]

Shadow Weave is a dark and distorted copy of the Weave created by Shar, more suited for spells that drag life or confuse the mind (necromancy, control, illusion schools), and gives more difficulty to cast spells that manipulate energy or matter (evocation or transmutation schools). It can't sustain spells that produce light. Both Weave and Shadow Weave are means to use Raw Magic (see at the end of the post). The more familiar a mortal becomes with the secrets of the Shadow Weave, the more detached they become from the Weave. Shadow Weave is NOT a part of Mystra, so Mystra can't block people from accessing magic via Shadow Weave. 

It’s a common mistake to make the analogy that the Shadow Weave is to Shar the same way the Weave is to Mystra. No. Shadow Weave is NOT Shar, while the Weave is Mystra. Shar never developed that level of commitment, making herself one with the Shadow Weave. This is one of the reasons why she could not sustain the Weave during the Spellplague when she tried to corrupt it completely into Shadow Weave. 

All this information belongs to Magic of Faerûn 3e and the Forgotten Realms Campaign Setting 3e and novels of 4e. There is nothing about Shadow Weave in 5e. If it weren't for Ed Greenwood's twitter, we should have guessed it disappeared from the lore. So far we know it's slowly recovering in the same way the Weave is. And the Shadow Weave doesn't feed on Weave. For some mysterious reason, fandom started to think so due to BG3.

Death moon orb

This artefact belongs to the 3rd edition, created by a Netheril wizard. From him, it passed to the hands of Szass Tam, who saw it destroyed when the Spellplague corrupted the magic in it. I won't give more details about this object because it looks so unrelated to what Gale has in his chest. Not only is its shape inconsistent with what we see in-game, its powers and properties are unrelated to what is explained in EA. The object is cursed, compelling its owner to cause greater acts of evil; it has a size that changes and looks like a violet-black sphere. In my opinion, the only detail in common with Gale's “orb” is the name "orb". Which is a fallacy, since Gale says explicitly that he uses the word "orb" for the lack of a better one, because clearly what Gale has in his chest is not an orb, but a mass of Black Weave. 

Netherese orbs

These objects are found in Neverwinter MMO in the quest Whisper in Darkness:

The Netherese are foul plague upon this world, corrupting everything they touch. They have cursed the Gray Wolf Tribe, turning them into bloodthirsty monsters. We must find what the Netherese intend to do with their werewolf slaves. The Shadovar Emissaries use the Netherese Orbs powered by Soul Shards to communicate orders from the Prince of Shadow.

This is all the information we have of this object. That's all. It comes from a Neverwinter MMO game which belongs to 4th edition. Once more, the concept that Gale's “orb” is not an orb but a black mass of untamed magic makes me believe that these objects don't apply either. The nature of their magic is compatible though: Netherese orbs are made from shadow magic by Shadovar, descendant of Netheril stuck in the Plane of Shadow (called Shadowfell later on, read more in the post of "The Netherese in 1492DR"). This plane is the source of Shadow Magic, they don't use Raw Magic. Ethel explicitly said in BG3 that Shadow Magic is Netherese Magic, so maybe we can consider this object filled with Netherese magic? In any case, these Netherese orbs are used for communication... which has nothing to do with Gale's “orb”'s properties. There is also no reference of consuming Weave to remain stable.

Devastation orb

The mention of a "devastation orb" happens only in Yartar in Princes of the Apocalypse (related to the god Tharizdun, the mad god): 

In page 5 we have some context: Four elemental cults grow in power in the Sumber Hills, claiming abandoned keeps that connect to an underground fortress once part of an ancient dwarven kingdom. The leaders use elemental magic to create devastation orbs capable of ravaging the countryside. They’ve been testing these magic weapons, bolstering the cults’ ranks, and infiltrating various communities, all directed by visions the prophets receive from the Elder Elemental Eye (Tharizdun). These orbs are plainly described as: essentially bombs of elemental energy to unleash natural disasters.

In page 222 we have a more detailed explanation of what these elements are: 

Devastation Orb: (Wondrous item, very rare) A devastation orb is an elemental bomb that can be created at the site of an elemental node by performing a ritual with an elemental weapon. The type of orb created depends on the node used. For example, an air node creates a devastation orb of air. A devastation orb measures 12 inches in diameter, weighs 10 pounds, and has a solid outer shell. The orb detonates 1d100 hours after its creation, releasing the elemental energy it contains. The orb gives no outward sign of how much time remains before it will detonate. Regardless of the type of orb, its effect is contained within a sphere with a 1 mile radius. The orb is the sphere’s point of origin. The orb is destroyed after one use.

Again, I don't see a real connection with Gale's “orb”. These devastation orbs are not netherese-based, they have elemental energy, and despite the explosion, they don't have any mechanics that resemble the consumption of Weave to remain stable. However, I do find a link between these devastation orbs, their process of construction, and the book that Gale found out. The remotest concept I can scratch here is that, whoever crafted the book with that piece of blackest Weave, could have used the knowledge of the construction of these devastation orbs. Instead of filling them with elemental magic, they filled it with a blackest weave of netherese magic. A procedure that could have been applied to the netherese tadpoles as well.

That's all the information I could gather that remotely is called “orb” or has some vague chance to be that blackest weave.

The Game BG3

In the game, all the info that Gale provides in EA about the “orb” is given before his revelation. The what it is, the how it works and the how it feels. In the revelation scene we only learn the details that are personal and intimate for Gale: the why he ended up with the orb, and potential solutions he can guess so far. To show proofs:

During the meeting:

Tav [Wisdom/tadpole] Try peering into his mind. If he won't open up, you'll sneak in.  [Success] Narrator: For a split second you see a swirl of untamed magic – then his defences drop like a portcullis. 

During the Protocol:

Tav: I simply want to know what it is you're keeping from me Gale: I'm dangerous. Not because I want to be, but because of... an error I made in the past.  [before Gale speaks of his loss] It makes me dangerous – even in death. [after Gale speaks of his loss/tadpole intrusion] I told you how I sought to win the favour of Mystra. I did this by trying to control a form of magic only one wizard ever could. I failed to control it. Instead it infested me. It makes me dangerous... even in death. […] Tav: The darkness inside you, what is it? Gale: It's magic from another time and another place. It is something that is beyond me, yet inside me. That makes me dangerous... even in death. 

During the stew scene or the ask for artefacts in neutral or lower approval

Tav: [Wisdom/tadpole] you sense secrecy and danger. Use your tadpole to probe Gale's thoughts. [Success] Narrator: you become one with Gale's mind and you can feel something sinister oppressing you. It's... inside of you, a mighty darkness radiating from your chest. You could try to push further, but your hold over Gale feels brittle. It won't be easy delving deeper without him noticing. Delve deeper: [Success] Narrator: “ you see through gale's eye, staring down the corridor of a dread memory. A book, bound, then suddenly opened. Inside there are no pages, only a swirling mass of blackest Weave that pounces. It's teeth, it's claws, it's unstoppable as it digs through you and becomes part of you. And gods, is it ever-hungry.

Gale: The only way to “appease” said condition is for me to take powerful magical artefact and absorb the Weave inside. [...]Tav: What happens if you don't consume any artefact? Gale: Catastrophe. [...] Think of it as... tribute. The kind a king might pay to a more powerful neighbour to avoid invasion. As long as I pay there will be peace. But should I ever stop, along comes a war. I can assure the battlefield would extend well beyond the borders of my body alone. [...] I will consume the magic inside. What was a powerful artefact will be rendered no more than a trinket. But it will save my life- even if only temporarily.

Tav: That condition of yours is a very expensive one. Gale: I obtained it in Waterdeep. Nothing there comes cheap.

Artefacts scenes:

Gale: I can feel the storm abating. [...] I will feel it stir again – like a distant thunder sending tremors through the soul. I will need to consume another artefact before the lightning strikes. There's no choice but to find more. [...] It's good to perceive this constant fear repressed into a quiet scare. Let's hope it will last a good long while.

During Revelation scene:

Gale: The gist of it is that he sought to usurp the goddess of magic so that he could become a god himself. He almost managed but not quite, and his entire empire – Netheril – came crashing down around him as he turned to stone. The magic unleashed that day was phenomenal, rolling like the prime chaos that outdates creation. A fragment of it was caught and sealed away in a book. No ordinary book, mind you; a tome of gateways that contained within it a bubble of Astral Plane. It was a fragment of primal Weave locked out of time – locked away from Mystra herself. ‘What if’, the silly wizard thought. ‘What if after all this time, I could return this lost part of herself to the Goddess?”

Narrator: You feel the tadpole quiver as you realise Gale is letting you in. Into the dark. You see through Gale’s eyes, staring down the corridors of a dread memory. A book, bound, then suddenly opened. Inside there are no pages, only a swirling mass of blackest Weave that pounces. It’s teeth, it’s claws, it’s unstoppable as it digs through you and becomes part of you. And gods, is it ever hungry… [...] This Netherese taint.. this orb, for lack of a better word, is balled up inside my chest. And it needs to be fed. As long as it absorbs Weave it remains stable – to an extent. The moment it becomes unstable, however.. [...] It will erupt. I don’t know the exact magnitude of the eruption, but given my studies of Netherese magic, I’d say even a fragment as small as the one I carry…. It’d level a city the size of Waterdeep

Tav : I should godsdamned kill you GALE: Perhaps that is what I deserve, but you deserve no such thing. To kill me is to unleash the orb. 

So far, if we don't use the tadpole, we learn from Gale that he is unwillingly dangerous, there is an ancient magic stuck in his chest—acquired in Waterdeep—that he never could control and it inspires a dreadful state of mind (constant fear). It requires Weave to stay stable, and if it is not fed, a catastrophe will happen that will extend past his body. 

With the Tadpole we learn, in addition, part of the details we can learn during the revelation scene: it's a swirl of untamed/chaotic magic which is an ever-hungry "blackest weave". 

During the Revelation Scene all the information acquired by the tadpole intrusion is given, in addition to describing this mass of magic as an "orb" despite its inaccuracy. We also learn that killing Gale will only unleash the orb instead of putting an end to the problem. 

Gale said everything that is important related to the orb before the party scene, excluding only the personal information since he is a private person. This was exactly the boundary he set when he promised during the stew scene that he was going to explain the what, not the why. With the use of the tadpole we only learn details, simple extra descriptions; all information that Gale will willingly share during the revelation scene anyway.

We can learn a bit more of the “orb”'s function if we explore the goblin party. There, Gale explains part of the mechanism of the “orb” in a "poetic" way, that may or may not be taken exactly as such:

Gale: Two shadows are darkening my soul.The shadow within and the shadow without: you. You led me down this path. [...] I don't know myself anymore. All this... It's not who I am. Around you, I'm not who I want to be. I should leave. 

Tav: [Insight] Stay. We make each other stronger. We make each other survive. /OR/ [Deception] You don't stand a chance alone. You're free to go. I dare you. 

[Success][DC15] Gale: [...]. Few things are more powerful than the will to live. But carnage such as this.... the shadow within is spreading like poison, corrupting kindness and compassion. [...]. Tonight I need to wash my hands of blood and my mind of shattering memories. 

This shows that when playing an Evil Tav who sides with the Goblins, we have an extra description for this “orb”. Again, I ponder every bit of information with its context: Gale is a poet, and he tends to speak with metaphors specially when it comes to emotional painful states of mind or when it comes to the “orb” (which puts him in a very emotional state that even the tadpole doesn't), so these lines can perfectly be understood as a poetic way to describe his deep regret for participating in massacring the Tieflings. However, there is this detail that I can't overlook: the shadow within, understood as the blackest Weave, is spreading across his body, corrupting his good essence. As we saw in the post of "Extensive list of Gale's approvals", compassion and kindness are key elements in Gale's personality. This scene shows a potential that is not explored in EA: the “orb” seems to set a path in which it will corrupt Gale. 

Now this could be considered as a potential beginning of a shift of alignment, but it goes against what Sven said several times in interviews and presentations: he stated that they were not considering to change alignments in the companions (if you can imagine all the extra branches that it opens up, it makes sense not to allow it given the already colossal proportions of the game), so it's hard to suspect how Gale would evolve from here, or if this situation will give him reasons to attempt to kill this Evil Tav eventually (which is my personal guess). Sven suggested many times that companions could potentially kill Tav or other companions during their sleep. We saw this happening in EA with Astarion. Using datamining content, we saw the same with Lae'Zel and Shadowheart. I don't see why not to give in-character reasons to make this mechanism work with Gale as well.

As an extra (datamining) detail, we have Ethel's vicious mockery line emphasising the concept of "the shadow within":

Ethel: I can smell what's under those bandages wizard, you're all rot and ruin.

Putting aside the unnerving detail that Gale's concept art has bandages on one of his hands while the game is oblivious to this, the idea of Gale's “orb” as a source of rot and ruin, in combination with that necrotic aura when he dies, gives us a sure idea that there is a “disease” spreading in Gale's body as a consequence of this blackest weave stuck in his chest.

All the in-game information was presented, so now let's drag conclusions: Comparing all the information extracted from the scenes, we can now consider how much potential has the lore object named before:

Shadow Weave: Could Gale's “orb” be a fragment of Shadow Weave?

Strengths of the argument: Gale's “orb” is described as "blackest weave". It could barely be a hint, even though the Shadow weave has no canon colour nor physical description in the corebooks. So this is a very weak strength.

Weaknesses of the argument: Shadow Weave doesn't feed on Weave (this is a fallacy so far I've checked. It would make no sense to feed on the same object that it needs to exist.) Shadow Weave doesn't explode nor is chaotic. 

Death moon orb:

Strengths: It's called an "orb". And it was made by a netherese arcanist, so it must contain “netherese magic”.

Weaknesses: This object was destroyed during the Spellplague. It's a physical orb which changes size, but it's not an "amorphous mass" of magic. It doesn't consume Weave.

Netherese Orb:

Strengths: It's called an "orb". It's made of shadow magic (which is not netherse magic in corebooks but in game Ethel used both denominations as synonymous). We know Shadovar are masters of Shadow Magic. Read more in the post "The Netherese in 1492DR".

Weaknesses: This object doesn't appear in the corebooks. It's used for communication. It doesn't seem to have any explosive properties nor consumes Weave.

Devastation orb:

Strengths: It's called an "orb". They explode with the intensity to destroy a city. 

Weaknesses: It's made of elemental magic (not netherese magic). It's a solid object, a bomb (not an amorphous mass). It doesn't consume weave.

Personal speculation

I don't think any of these canon objects are or inspired Gale's “orb”. If we take the descriptions in-game as they are, and considering the importance that Karsus and his folly have been given in the whole game (to the point that Larian added ingame books explaining part of it) I support two hypothesis that, by now, they must be obvious for lorists since I want to work with what the game (and datamining) gives me: 

1- The concept that this is a piece of corrupted Weave that Karsus' Avatar allowed to have access to when he disrupted the Weave. Gale calls it “primal weave” as well, which is a concept that doesn't exist so far in the corebooks, and one could relate, very barely, with raw magic. Maybe.

2- Heavy magic (key concept during 2e)

To understand this we need MORE lore (I know, this has no end; this is why I think a lot of misunderstandings with Gale’s character come from the big holes of lore that EA leaves, which is obvious, it's EA) So, allow me to clear out the concepts: 

Karsus' Avatar is the name of the spell that caused Karsus' folly and made him a god for just an ephemeral moment. The notes regarding the spell’s essence were nowhere to be found. It’s believed that Mystra, the reincarnated form of Mystryl, snatched the spell information from the ruins of Karsus’s enclave and sent it “on an eternal journey to the ends of the universe” (who knows what this means). Besides, as if this were not enough precaution, Mystra changed the rules of magic on the material plane making it impossible to cast spells over 10th level. Karsus' Avatar was a 12th level spell.

Raw Magic is “the stuff of creation, the mute and mindless will of existence, permeating every bit of matter and present in every manifestation of energy throughout the multiverse. Mortals can't directly shape this raw magic. Instead, they make use of a fabric of magic, a kind of interface between the will of a spellcaster and the stuff of raw magic. The spellcasters of the Forgotten Realms call it the Weave and recognize its essence as the goddess Mystra.” [Player's Handbook 5e]

The creation of the Weave allowed all mortals to have access to magic through study. The Weave works like a barrier and an interpreter to use the real source of magic: Raw Magic. For more information on this, check the wiki (otherwise each of these posts will be mini books of lore). Few mortals can tap magic from the raw magic. Spells like silver fire are part of the raw magic. Some wild mages can tap into it as well, but at the cost of making their spells very random. Only Weave-disruptive events can allow an uncontrolled influx of raw magic into the world (which can be considered what happened during Karsus' folly)

Mythalars are immense artefacts that work like intermediates of the Raw Magic. They don't use the Weave, they have direct access to Raw Magic and were used to power up magical artefacts around them (thanks to these objects the Netheril cities floated in the air). Touching a mythalar causes instant death since Raw magic is harmful for most mortals.

So the first hypothesis (corrupted Weave) means that when Karsus cast this spell and became the Weave itself for a brief moment, he may have access to Raw magic directly. His spell Karsus' avatar started using common Weave, but in the second he connected deeply with the Weave and with Mystryl's powers, he had access to Raw magic as a god. His spell may have changed the source of its power from the Weave to Raw Magic, adding the latter's randomness and chaos to the spell itself and therefore, corrupting the Weave. The transition, so violent like the whole event, may have corrupted part of the Weave that was being used while casting the spell. According to Gale's description, the “orb” stuck in his chest is a piece of Weave with the active effect of Karsus' Avatar (the spell), but the Narrator gives us the extra information that it's corrupted. Apparently Gale never realised this object was corrupted, or may have known it and he tried to cleanse it so he could return it to Mystra. Either way, the source of the corruption may have been the sudden transition to Raw Magic during the casting. My main problem with this hypothesis is how a spell can be stuck in a piece of Weave, since Gale's “orb” maintains Karsus's avatar's effect. 

On one hand, Karsus' Avatar main effect is “to absorb god-like powers”. In that moment of history, this spell was aimed at Mystryl, and therefore to the Weave. The disruption of the event “stuck” the effect of “absorbing weave” in a piece of Weave, while the chaotic nature of this “orb” could be attributed to the direct presence of Raw Magic, also stuck in it. Now, another weakness of this hypothesis is that nothing of this causes a "corruption disease" as Gale implies it (we only know that the failure of the spell turned Karsus into stone). So we don't have a good argument for this effect beyond the one “I believe that since the moment was disruptive, it must have corrupted something, and that corruption is quite unhealthy in a mortal body”. Which it's not of my liking, but this is what we get up to this point in EA.

The second hypothesis I talked about is another lore concept intimately related to Karsus in 2e: Heavy Magic (which I personally prefer over the first hypothesis). 

Heavy magic is physical, tangible magic, usually presented as a viscous mass of chaotic nature. It can crawl, entering into cracks of a wall or a body, for example. Karsus created a distilled version of this magic called super heavy magic, and experimented with people. The subject eating a bit of this magic will have heavy magic spread on all the inner walls of their body and will kill them (it's not a disease, but it spreads inside and kills). The usual effect of the stable super heavy magic was to magnify the powers of a spell or enchantment (it allowed spells to be stuck in it), however it could be used for everything. 

Karsus used this element to enhance enchantments on walls, for example projecting illusions endlessly. This means that this product has the ability of keeping a spell functioning in it (as we see that this black weave keeps the function of the Karsus' avatar). [Dangerous Games, 2e]

Naturally, heavy magic absorbs life energies (maybe another characteristic fitting the concept of disease and necrotic effects). There is an event (2e) related to this aspect in which the renegade arcanist Wulgreth became a lich after heavy magic overflew him [Power and Pantheons, 2e]

As it is easy to see, this concept shares a lot of similarities with the object stuck in Gale's chest. But there is still more:

In the novel Dangerous Games (2e), strongly focused on how Karsus experimented with Heavy Magic, it is explicitly said that Karsus infused himself with super heavy magic before casting Karsus' avatar (probably to magnify the spell power but we also know that heavy magic can get spells stuck in it). He grew taller, and glowed in a white-silver radiance. Babbling arcane chants, the super heavy magic raged within him until he came into a state of being between a man and deity. Then it followed his folly. Karsus “died”, turning his body into red-hued stone, bound in eternal torment to relieve repeatedly the moment he became aware of his folly. 

So there exists a chance that a pieces of super heavy magic (in which Karsus was infused when all this happened) may have kept Karsus' Avatar effect stuck in them. One of these pieces could have been recovered later around the red stone where Karsus is now. This could potentially be the object or, at least, in what it had inspired Gale's “orb”. It's also worth noticing that one of the main characters in this novel Dangerous Games was looking for ways to safely contain heavy magic and avoid its damaging effect, so there is extra lore information about vessels that could justify the sealed book that Gale found in Waterdeep. 

As an extra detail on this matter, we know that the runes of teleportation may have been made with heavy magic: "Gale: See that rune? Netherese, I think. Weave's so thick on it, it's almost viscous." 

Since Gale is calling "Weave" to the element attached to the teleport runes, it makes me wonder if this was a slight variation that Larian made of the canon concept of Heavy Magic to not add new concepts to the already complex world of Forgotten Realms. Maybe, in the end, both hypotheses are the same: the second one is strictly more canon-related than the first one, which is more or less the same but simplified in terms and concepts. 

As a last conclusion from my personal point of view, I see no much sense in calling this thing “orb”. In game it's clearly described as an amorphous black mass, not an orb. And it made me remember Gale's original description, when the EA was not released yet: it's the only way where I can see its nonsensical origin, which was done in a completely different context. 

Gale has one ambition: to become the greatest wizard Faerûn has ever known. Yet his thirst for magic led to disaster. A Netherese Destruction Orb beats in his chest, counting down to an explosion that can level a city. Gale is confident he'll overcome it, but time is not on his side.

After the game was released in EA, Gale's description changed radically, and therefore his current description has a different approach entirely, removing the concept of "orb" for what we know in the game: “ancient chaotic magic”. 

Wizard prodigy: Gale is a wizard prodigy whose love for a goddess made him attempt a dread feat no mortal should. Blighted by the forbidden magic of ancient Netheril, Gale strives to undo the corruption that is overtaking him and win back his goddess’ favour before he becomes a destroyer of worlds.

This is one of the many details that make me believe that Gale's original concept/character was changed significantly before the EA release. But this is a mere personal speculation. For more details on netherese magic, read the post of "The Netherese in 1492DR".

Source: 

2nd edition: Powers and Pantheons, Netheril: Empire of Magic, Dangerous Games by Emery Clayton. 3rd Edition: Faith and Pantheon, Magic of Faerûn 4th edition Player's Handbook 5th edition: Player's Handbook, Sword Coast Adventurer's Guide

This post was written in May 2021. → For more Gale: Analysis Series Index

#bg3 meta #bg3 lore #bg3 early access #gale #gale of waterdeep #bg3 gale

[dwellordream]

“…In modern English, we often use oath and vow interchangeably, but they are not (usually) the same thing. Divine beings figure in both kinds of promises, but in different ways. In a vow, the god or gods in question are the recipients of the promise: you vow something to God (or a god). By contrast, an oath is made typically to a person and the role of the divine being in the whole affair is a bit more complex.

…In a vow, the participant promises something – either in the present or the future – to a god, typically in exchange for something. This is why we talk of an oath of fealty or homage (promises made to a human), but a monk’s vows. When a monk promises obedience, chastity and poverty, he is offering these things to God in exchange for grace, rather than to any mortal person. Those vows are not to the community (though it may be present), but to God (e.g. Benedict in his Rule notes that the vow “is done in the presence of God and his saints to impress on the novice that if he ever acts otherwise, he will surely be condemned by the one he mocks.” (RB 58.18)). Note that a physical thing given in a vow is called a votive (from that Latin root).

(More digressions: Why do we say ‘marriage vows‘ in English? Isn’t this a promise to another human being? I suspect this usage – functionally a ‘frozen’ phrase – derives from the assumption that the vows are, in fact, not a promise to your better half, but to God to maintain. After all, the Latin Church held – and the Catholic Church still holds – that a marriage cannot be dissolved by the consent of both parties (unlike oaths, from which a person may be released with the consent of the recipient). The act of divine ratification makes God a party to the marriage, and thus the promise is to him. Thus a vow, and not an oath.)

…Which brings us to the question how does an oath work? In most of modern life, we have drained much of the meaning out of the few oaths that we still take, in part because we tend to be very secular and so don’t regularly consider the religious aspects of the oaths – even for people who are themselves religious. Consider it this way: when someone lies in court on a TV show, we think, “ooh, he’s going to get in trouble with the law for perjury.” We do not generally think, “Ah yes, this man’s soul will burn in hell for all eternity, for he has (literally!) damned himself.” But that is the theological implication of a broken oath!

So when thinking about oaths, we want to think about them the way people in the past did: as things that work – that is they do something. In particular, we should understand these oaths as effective – by which I mean that the oath itself actually does something more than just the words alone. They trigger some actual, functional supernatural mechanisms. In essence, we want to treat these oaths as real in order to understand them.

So what is an oath? To borrow Richard Janko’s (The Iliad: A Commentary (1992), in turn quoted by Sommerstein) formulation, “to take an oath is in effect to invoke powers greater than oneself to uphold the truth of a declaration, by putting a curse upon oneself if it is false.” Following Sommerstein, an oath has three key components:

First: A declaration, which may be either something about the present or past or a promise for the future.

Second: The specific powers greater than oneself who are invoked as witnesses and who will enforce the penalty if the oath is false. In Christian oaths, this is typically God, although it can also include saints. For the Greeks, Zeus Horkios (Zeus the Oath-Keeper) is the most common witness for oaths. This is almost never omitted, even when it is obvious.

Third: A curse, by the swearers, called down on themselves, should they be false. This third part is often omitted or left implied, where the cultural context makes it clear what the curse ought to be. Particularly, in Christian contexts, the curse is theologically obvious (damnation, delivered at judgment) and so is often omitted.

While some of these components (especially the last) may be implied in the form of an oath, all three are necessary for the oath to be effective – that is, for the oath to work.

A fantastic example of the basic formula comes from Anglo-Saxon Chronicles (656 – that’s a section, not a date), where the promise in question is the construction of a new monastery, which runs thusly (Anne Savage’s translation):

These are the witnesses that were there, who signed on Christ’s cross with their fingers and agreed with their tongues…”I, king Wulfhere, with these king’s eorls, war-leaders and thanes, witness of my gift, before archbishop Deusdedit, confirm with Christ’s cross”…they laid God’s curse, and the curse of all the saints and all God’s people on anyone who undid anything of what was done, so be it, say we all. Amen.”

So we have the promise (building a monastery and respecting the donation of land to it), the specific power invoked as witness, both by name and through the connection to a specific object (the cross – I’ve omitted the oaths of all of Wulfhere’s subordinates, but each and every one of them assented ‘with Christ’s cross,’ which they are touching) and then the curse to be laid on anyone who should break the oath.

…With those components laid out, it may be fairly easy to see how the oath works, but let’s spell it out nonetheless. You swear an oath because your own word isn’t good enough, either because no one trusts you, or because the matter is so serious that the extra assurance is required.

That assurance comes from the presumption that the oath will be enforced by the divine third party. The god is called – literally – to witness the oath and to lay down the appropriate curses if the oath is violated. Knowing that horrible divine punishment awaits forswearing, the oath-taker, it is assumed, is less likely to make the oath. Interestingly, in the literature of classical antiquity, it was also fairly common for the gods to prevent the swearing of false oaths – characters would find themselves incapable of pronouncing the words or swearing the oath properly.

And that brings us to a second, crucial point – these are legalistic proceedings, in the sense that getting the details right matters a great detail. The god is going to enforce the oath based on its exact wording (what you said, not what you meant to say!), so the exact wording must be correct. It was very, very common to add that oaths were sworn ‘without guile or deceit’ or some such formulation, precisely to head off this potential trick (this is also, interestingly, true of ancient votives – a Roman or a Greek really could try to bargain with a god, “I’ll give X if you give Y, but only if I get by Z date, in ABC form.” – but that’s vows, and we’re talking oaths).

…Not all oaths are made in full, with the entire formal structure, of course. Short forms are made. In Greek, it was common to transform a statement into an oath by adding something like τὸν Δία (by Zeus!). Those sorts of phrases could serve to make a compact oath – e.g. μὰ τὸν Δία! (yes, [I swear] by Zeus!) as an answer to the question is essentially swearing to the answer – grammatically speaking, the verb of swearing is necessary, but left implied. We do the same thing, (“I’ll get up this hill, by God!”). And, I should note, exactly like in English, these forms became standard exclamations, as in Latin comedy, this is often hercule! (by Hercules!), edepol! (by Pollux!) or ecastor! (By Castor! – oddly only used by women). One wonders in these cases if Plautus chooses semi-divine heroes rather than full on gods to lessen the intensity of the exclamation (‘shoot!’ rather than ‘shit!’ as it were). Aristophanes, writing in Greek, has no such compunction, and uses ‘by Zeus!’ quite a bit, often quite frivolously.

Nevertheless, serious oaths are generally made in full, often in quite specific and formal language. Remember that an oath is essentially a contract, cosigned by a god – when you are dealing with that kind of power, you absolutely want to be sure you have dotted all of the ‘i’s and crossed all of the ‘t’s. Most pre-modern religions are very concerned with what we sometimes call ‘orthopraxy’ (‘right practice’ – compare orthodoxy, ‘right doctrine’). Intent doesn’t matter nearly as much as getting the exact form or the ritual precisely correct (for comparison, ancient paganisms tend to care almost exclusively about orthopraxy, whereas medieval Christianity balances concern between orthodoxy and orthopraxy (but with orthodoxy being the more important)).”

- Bret Devereaux, “Oaths! How do they Work?”

#oaths #bret devereaux #writing #history #ancient #medieval #greek

[togglesbloggle]

We Needed a Place to Bury Our Dead

When I came out of the closet for the first time, around the age of twenty or so, one of the first things I did was to start going to church.  Not out of a rediscovered faith or anything.  It’s just that I lived in a rural town, and churches were the cultural centers- student churches, retiree churches, black churches, you name it.  That was as true for the gay community as it was for anyone else; there was a United Church of Christ outpost on the south end of town that acted as the center of gravity for all the queer folks in the area.  There was also a proper gay bar, the only one within a hundred miles (I measured).  But it wasn’t actually a good place to find people, and was sort of drowning under the weight of tourists.  So if I wanted to actually meet guys in person, it was church or nothing.

I felt a little bad about it, so I talked to the pastor first to put my cards on the table and make sure that he didn’t mind a heathen showing up just for the dating scene.  He was a pretty good sport about it, told me that he didn’t have a problem with my attendance as long as I made a sincere attempt to pray every now and then, and kept an open mind about waiting for an answer.  I held up my end of the bargain, for what it’s worth.  I never did hear back from God in unambiguous terms, but the plan worked- I found my way in to a nice circle of early-twenties gay guys.  Dated some of them, although it didn’t really work out long term, and the principal benefit was just having a nice queer group of peers who kept quoting Mean Girls no matter how much I begged them to stop.

One of the more memorable days in that chapter of my life was an overnight trip to Dallas, to visit the Cathedral of Hope, possibly the largest specifically LGBT church in the world.  The architecture is interesting enough; they call it a cathedral, but of course the construction is quite modern, and I was surprised by how well it worked as a synthesis of very different sensibilities.  One stand-out feature of the service was that they took communion in groups of three- two parishioners and the pastor together.  It’s a tradition that dates back well before the advent of legal gay marriage.  Where gay or otherwise nontraditional couples lacked the full protection of law, the Cathedral of Hope made a point of incorporating a community-wide recognition of those relationships by other means.  It was a beautiful thing to see.

That evening, I was wandering on my own around the grounds outside the cathedral proper, and happened to run across a graveyard of sorts.  Semi-outdoors, several large walls with many slots for cremated remains.  I spent some time alone with it, though I didn’t have any particular reason.  Just killing time, so to speak, but in retrospect it was probably the disproportionately high volume that caught my attention, given the size of the congregation and the relative youth of the church itself.

The AIDS crisis, obviously- all those deaths in the 80s.  But sometimes I’m a little slow on the uptake, and I didn’t really understand what I was looking at until the local pastor sat down beside me.  This was Jo Hudson, who I think has since retired.  We talked at length, but the fragment of the conversation that really etched its way into my brain was when she asked- 

“So, do you know why we built the cathedral?”

I, baby gay that I was, just sort of shrugged.  “Why?”

“We needed a place to bury our dead.”

Like I said, I’m slow on the uptake sometimes, but by this point I’d gotten caught up to the conversation.  For Jo, this place was as much the center of the Cathedral of Hope as any of the more impressive bits of architecture.  An altar, of sorts-  I was standing in the heart of the thing.  Fully understanding that, fully digesting what that sentence meant to her, was an important part of my coming of age, and Jo wanted to make sure I understood.

The primary function of the Cathedral of Hope, and the reason it grew so large when it did, was that it provided a venue for the mourning and burial of those who were killed by HIV.  Nobody else would do the job, because the plague and the politics and the moral judgment created a perfect storm of social exile that afflicted the dead as well as the living.  I was too young to really see the AIDS epidemic firsthand, but only barely, and Jo absolutely wanted me to come into adulthood with that awareness, knowing what the gay community was really, actually for.

“We needed a place to bury our dead.”  Meaning: They’re going to hate you so much that when you die, they will go on hating your corpse.

Like I said, I didn’t actually experience the AIDS epidemic directly, and I’m sure it was complicated and multivalent even in its horrors.  Stories simplify the world, and simplicity is dangerous if you use it unwisely.  But Jo was a preacher.  Stories were her business, and the story of that memorial was one about how bottomless the hatred of crowds can be, and of the necessity of community in the face of that hatred.  For her, that story was part of my heritage, insofar as being born different can entitle one to a heritage.

There’s a deep trauma that comes with this history as an inheritance, an awareness of how bad things can get and how tenuous the victories really are.  One fact that gets under your skin is: it’s hard to mourn the dead, sometimes.  It’s much too easy for us to end up the villains of this kind of story, cheering on the deaths of our enemies, convincing ourselves to feel like those deaths are a kind of justice.  There’s always going to be this seductive allure in taking satisfaction in the mortality of our opponents, in bending those deaths into a kind of self-serving fable.  And when we give in to that impulse, the last and most important barrier has been removed between us and true atrocity.

Political violence in the US has claimed at least three lives this week, in Oregon and Wisconsin.  It’s been a clusterfuck, and it seems like things might get worse before they get better.  Lots of people are bringing their own stories to those deaths, trying to make sense of them with different simplifying frameworks; it’s the only way we know how to understand things like this.  But here’s what I’ll beg you for: try to mourn the dead.  Try hard, as hard as you possibly can, to remember that death is an outrage and a tragedy, that the extinction of a human soul may have causes but it can never have reasons.  If you fail in this, and your actions are informed by the kind of hatred or contempt that outlasts even death, then you’re going to cause wounds deeper than you can possibly imagine.

[tenderlyrenjun]

[1010 A.D.]

“Do you believe in soul mates?” you ask, lackadaisically, dreamily, while readjusting the ceramic pillow beneath a new fabric cover that your loved one retrieved from his latest bureaucratic outing. It is nice to have him back (and the new gifts, too, adorn your villa delightfully, even the ones hidden here in your bedroom, from wandering eyes). Outside your personal chambers, the scholars gather with you, compelled against their will, to indulge your curiosities, and particular student, who you seized from a recently constructed university, revived The Red String of Fate folklore under a new alias: soul mates. You want to hear Renjun’s thoughts on the term, if has has even heard it in passing.

“What are ‘soul mates’?” 

Renjun rolls over in the bed, just as you lift the sheet to join him. Honestly, thank Heaven that your immortal self only requires one night of sleep a month. Leaving your estate unguarded for 8-12 hours of the day is dangerous. Although, months ago, the battlefields healed from the successive, rapid kingdoms popping up every couple of decades. Welcomed peace spreads alongside the rise of education, which is why you and Renjun returned to his home country. Physically seeing a Golden Era circulate the continent gave you two more confidence to re-establish your roots. With your entire coven massacred from rebellions caused by overly ambition vampires and their newborn parasites, the Huang lineage has to counterbalance for the lost political ties and social standing. Fortunately, Renjun’s good looks and charm (and compulsion ability) persuade even the most corrupt aristocrats - which is why he, rather than you, leaves the land every few weeks to reinforce those alliances.

Plus, he does it better: the dirty work. 

You prefer to look at the pretty daggers he brings home and to drink red, warm elixirs poured into pretty bronze jia. Still, you admire his insignia ring on your finger during his extended business hours, counting down the seconds until you have him again. The staff are not as nearly interesting as your lover, especially considering how they gossip with you around the corner. Some call you too bold to manage the house; others say you simply lack manners, faulting Renjun for choosing a mate who was not born of noble status (a mere rumor that you take care of, anytime it emerges). Perhaps, that is why you take solace amongst the scholars, practicing calligraphy and expanding your vocabulary, instead of Confucian traditions. At least it gives you something to talk about with your equal, before you two begin recruiting members again - a lone vampire, in possession of a shielding ability, seems promising (and beneficial, in case of another war). So you slide into bed too, pulling his arm under your neck and extendings your similarly, to support his head while you curl into his side, answering his question:

“The sages call them destined.”

Renjun laughs, throwing his head back onto the comforter. He strokes your shoulder with his thumb, bringing the silk material off your skin, and turns to you with a smile that makes his presence natural and bright. Vampire nature is ectothermic and the beds are uncomfortable (how fleshlings survive them daily, you will never understand, not entirely able to recall your own mortality from centuries ago), but Renjun lives up to his name, enveloping you in a sense of reassurance, especially with how his voice melodizes. His opposite arm comes around, caging in you toward his chest so he can remove the strand of hair covering your eyes.

“I thought they were called ‘Soul Mates’,” Renjun counters. After giving you his signature tender smile, he nuzzles his face in your neck, pressing down a soft kiss. The way he lingers makes you roll your face to the window on the ceiling, North Star glowing a little weaker through the glass, now that he is home, holding you. 

You sigh, contently, hearing it returned, ghosting over your collarbone. “They are, but Soul Mates are supposed to be people who are ideally matched together.” You glance at Renjun, hoping to scan his face for another reaction, but his eyes are closed, lips relaxed, cheek losing control to stay upright: he is falling asleep. And you almost let him, knowing how exhausted he probably is, from all the politics, the new studies, the art and literature. He is participating in so much that he will likely sleep for more than 12-hours this month. Unfortunately, you want him to answer this one question, and over the centuries, since his biggest promise, he always swears to give you whatever your heart desires. So, you prod his beautiful face, physically asking for an response. 

“Mmm,” he whines, the hypnosis faltering enough for him to give you one, though his tired state answers your question with a question - you barely hear him, as he mumbles without opening his mouth too widely. He licks his lips, adding another brief love bite to your collar’s collection, before repeating himself louder, enunciating. “Are you asking if I believe that we are soul mates?” You think that he will indulge your new philosophies, using his statement as a thesis question, but he rolls his cheek further on your chest, tiger hugging your upper body. “Maybe,” he says. It should send worry through your body, were you a new couple, like Doyoung, the now-rather ruthless law enforcer of the Kim family. But you and Renjun have been together for half a millennia at this point, none of the passion ever slowing down. “I don’t believe in soul mates,” he confesses, slugging his words, “but we are naturally perfect together.”

The answer is good enough for you, so you brush back his bangs and kiss the crown of his head. He sighs again, squeezing you into the bed frame. This is how you allow yourself to fall asleep with him: no threats to your country, no threats to your safety, no threats to your relationship.

But ten hours later, you wake up to an empty bed, your lover making quiet noises in the next room over.

So, you go meet him, thinking that he has started brewing an early morning pot of tea, meticulously straining blood in a way that you do not understand. It is nice to just watch him cut lemons, slice ginger, arrange bits of flesh with almonds for garnish. And on the rare occasions, when birds are still writing songs on the rays of sunlight, you try to meet him in the tea room, almost falling asleep on his back all over again because the ambience is so soothing. 

Except, you find Renjun hovering over jewellery in your shared walk-in closet, muttering decisions here and there about packing. An odd decision, truly, considering that you have staff rotating hourly. He only does this during surprises. And you sometimes enjoy his spontaneity. So you quietly relax against the door frame, arms crossed and an amused smile on your lips. In the mornings, each time, after he gets back, even without doing anything that might shame the Moon and Stars (before you disappoint Her counterpart, the Sun and Skies), you feel drunk in love, despite having an empty stomach.

“Where are you going?” you whisper, voice yawning the verbs.

Unexpectedly, Renjun jolts, visibly surprised and shifty, then he turns around. And your expression changes with him. Your eyes dart across his face, scanning through his forehead lines to eyes. You hesitate, always glancing back to his eyes, as a precaution in case he might say something reassuring, but he remains frozen, guarded in front of a backpack that you cannot miss.

To reiterate, you sometimes love his spontaneity.

“I’ll be gone for a few years,” he says, slowly returning to the bag, tossing in extra pieces. He contemplates adding a beautiful necklace on display - the one he had handmade for you during the Jade Era, but he shakes his head. No, he has to leave that for you. This break, his packing, does not equate to all the times when he leaves his insignia for you to wear. Renjun looks at his ring, having taken it back the moment he arrived, when you slipped it onto his hand, like a proposal of your own, even kissing his knuckles tenderly. He sighs; the necklace was a promise, and he will come back to you, after he does what he needs to do. And he really needs to do this. Renjun shakes his head, to correct himself, “A couple decades.”

You frown and your eye twitches. “What?” Realization hits you like a moving carriage, horses trampling over your regenerative rib cage. Renjun walks up to you, one hand balled into a fist and the other carrying his bag. You glance at his hands, unable to truly believe his face, and he passes off his insignia. “Tell me where you’re going.” Your voice cracks. “Please.” You can join him - now or in a few days, if he needs space. Although he was gone for a couple months, you can give him more, give him anything, as long as it doesn’t mean what you think it means. “Because we just talked about Soul Mates last night.”

Renjun slouches, opening his arms to give you a goodbye. “Love -”

“Don’t,” you hiss, sustaining red revived eyes at him - a particularly onyx color surges the veins, something Renjun has never seen in a vampire. “Don’t call me that while you are abandoning me.” His timeframe leaps out at you, the expectancy of a human, and you bite again, anxiety manifesting defensively into frustration. “For a mortal, abandoning our promises.” You point an accusatory finger at him, causing him to step back. “We stood before the Heavens and Skies and gave ourselves to each other by side of the Moon and Stars.” Every enunciated syllable pushes him further into your house, until he drops the bag, a shattering sound aiding the action.  “You belong to me. I belong to you.”

You find the valor to look at him, eyes shining a vibrant red, and you think, just for a second, that he might give in, but when you try to deescalate the situation, thinking that this is just a lapse in his judgement, that you have a chance to make him stay, he speeds out of your arms. That is so unlike last night. And as you relive the memory, you realize that it might have been a goodbye. He had the opportunity to leave and not return, then chose to come back. 

Renjun gingerly steps forward, tucking a hair behind your ear sympathetically, pityingly. “No one belongs to someone else.” It is why you pay your servants, generously. “People are free agents.” He glances at your eyes for the last time, picking up his backpack. “I’m sorry.”

And thirty years later, a decade extra than he intended, Renjun reiterates that plea, in a different context, after his medicinal elixir expired. 

“I’m sorry,” he pleas, imploring you with tears pricking his ducts. He can barely see you seated, alone, on a throne, now that the last remaining valet has been dismissed. Renjun drops his bag, walking toward you with intention, pulling your quiescent face into a series of kisses. When you start moving your arms, he thinks that you concede and slows his lips to give you more dominance. You curl your fingers around his palm, a familiar gesture he has missed - mortals no longer give these types of sweet touches. Renjun comes back down to his heels, having edged to the tip toes in excitement, waiting for your embrace.

But you throw his hand off your cheek.

“Get out.”

“What?”

You know that he picked up your request easily, with his super hearing. Yet he asks you to repeat it anyways. Being amongst humans for so long mush have diminished his powers. You so desperately want to ask how he has been. How he has been excusing his eternal youth? Why has no one heard from him, not even Sicheng? Has he been drinking? You lost sleep over all the questions, for years. Vampires may only need half a day per month, debunking the coffin myth, but you have not fully rested in years. So, you repeat yourself, not bothering to glance at him as you walk away to the throne, back turned to him. “Get out of my manor.” You pick up a dagger, soaking it deeply in a jar full of your special poison. “I will not repeat myself again. If you are not gone by my next meeting -”  An execution. “- you will be my next meeting.”

“Please,” Renjun begs. He has lost too much today. 

The antechamber opens, your newest guard, Xiaojun, signalling your attention. So many vampires live in Renjun’s home, his former home. He knows that power naturally follows the ruthless, in this era, with covens and loners trying to gain ties after seeing displays of authority - either to have your killing machine skills used in their favors or to stay in your favor, avoid being slaughtered. And as you leave with Xiaojun, another two vampire guards drag a muzzled traitor to the throne room. Muffled prayers escalate his headache and he nearly exterminates the vermin himself, but you reenter the room and your prisoner shuts up, the end near. 

You throw a dagger beside Renjun’s thigh. The poison you laced it with seeping into the floor, like a tea. While you have yet to singularly perfect the warm beverage, your venom has been shown incurable - a result you feel most proud in. And you burn the bodies before other covens get the chance to examine your work. No one but your shield needs to know that the poison is brewed from the blood of mortals with incurable illnesses: carcinogenesis, dystrophy, haemophilia, etc. Renjun has heard about your cruelty in the last few years, accumulating your dossier before returned home. Rumors circulate the taverns he worked in, spilling story after story about the monster on Oma Mountain between two warring kingdoms where people kept going missing. The immortal community says that you expect loyalty but want none of it, letting vampires reside in your villa lawlessly. Renjun starts to see the origin, especiallly after you rip out your prisoner’s vocal chords, burning it on steel wool and a high molar acid, before it can reattach and function again. He never truly saw you torture anyone, always ending their executions quickly and quietly. This is his fault. Now, you sadistically entertain their pleas for mercy, waiting for them to beg with everything you leave. 

Renjun lets the choking garble for a few seconds more, then severs the head - all while staring at you. You glare at him, daring him to leave one more time.

“Do you want me to rip out your vocal chords too?”

#renjun #nct dream #nct renjun #renjun x reader #renjun imagines #renjun fluff #renjun angst #nct angst #nct fluff #nct drabbles #nct dream angst #nct dream fluff #vampire au #nct dream drabbles #nct timestamps #renjun timestamps #huang renjun #nct fanfic #nct blurbs #renjun blurbs #nct dream blurbs

[vivdunye]

present day, present time

and you don't seem to understand

fabled adages of science

so i was watching the snyder cut of justice league the other morning, i couldn't really begin to tell you why other than i needed 4 hours of background noise . but i tuned in at one point when the fictional super Israeli, wonder woman, narrated a scene explaining an alien technology "that was so advanced that it almost seemed like sorcery", and wouldn't yknow, that's a real concept actually, i recognized it immediately as clark's third law:

Any sufficiently advanced technology is indistinguishable from magic.

it's perhaps the most well known and oft quoted of the three, but i always felt like arthur c. clark's first 2 laws don't ever get quite enough love . i've been thinking heavily about the first law lately:

When a distinguished but elderly scientist states that something is possible, he is almost certainly right. When he states that something is impossible, he is very probably wrong.

i've been thinking about it in relation to this one quote from wernher von braun that i always liked:

Nature does not know extinction; all it knows is transformation. Everything science has taught me, and continues to teach me, strengthens my belief in the continuity of our spiritual existence after death.

many people are afraid of death; of ceasing the awareness of life, because they don't know what will happen to themselves after, where do they go if anywhere? it's much more nebulous in the secular sense if you haven't a construct for the afterlife already . i've been thinking about death more and more often lately to a worrying degree . however, scientific thought for all its clinical detachment from all things spiritual has strangely enough always felt like the perfect module for contemplating the metaphysical . so i decided to do some research .

i want to recall right now thomas edison's first intended use for the phonograph . edison had originally envisioned the phonograph primarily as a means of preserving the voices of loved ones after death . he later went on to try and develop a "ghost box" or "spiritphone" . this device would allow humans to communicate directly with the dead . he was unsuccessful .

if hauntology has taught us anything, we technically do have ghost boxes now, but maybe not in the way edison intended or even predicted . we carry them everywhere and can check them anytime, channeling messages through them constantly . we actively become digital ghosts, online we are both present and absent . the present implodes with the past, we've over-documented everything so now we can experience an instant nostalgia . today's future becomes archaic, we live in the archive to try and remember what the future once was .

'haunted' and 'futuristic' become one and the same .

by this token i'm reminded also by transhumanism . as the technological singularity fast approaches, as progress charges forward at a constantly increasing speed, current estimates posit the 2040s as the point in which technological improvements will occur at a constantly self-replicating rate . in the time between now and then, transhumanism and the eventual merging of human consciousness with machinery are theorized outcomes of technological progress . one day we might be able to leave the shackles of our human bodies and transcend our physical forms as a joined digital consciousness .

and in relation to this i also think now of clark's second law

The only way of discovering the limits of the possible is to venture a little way past them into the impossible.

through the wired

this is the stage on which the anime Serial Experiments Lain is set . a story, that while constructed on the patchwork of fiction, is nevertheless symbolic of certain phenomena based in reality .

also i apologize if it wasn't apparent that this post was going to be about Lain . im lainposting boys

the first few episodes exist to misdirect the viewer right from the beginning . and only by returning to these episodes having thought through the rest of the show, does their purpose become clear . the first episode, aptly titled "Layer 01: Weird" , is meant to show us exactly one thing, that lain is fucking weird . we can't tell what she's thinking, we can't tell what she's doing, and that's exactly how everyone around her feels . lain is totally and completely disconnected, she doesn't keep up with current events at school, she doesn't communicate with her family, near as we can tell she has no actual interests besides her stuffed animals and totally phasing out of reality. the inciting incident of the series happens when someone tries to make a connection with lain, and that person happens to be dead...

or at least there body is dead, their consciousness seems to have escaped into the wired . lain's decision to pursue this connection is what lead's her to ask her father for a new navi (the series' name for a personal computer) and that's all that really happens in this episode . coming back to it from later episodes we know that lain is probably thinking a lot throughout this episode . the decision to not entreat us to any of her thoughts is intentional, it is to make us feel distant from her as viewers, the same way that the world around her is distant . as lain forms connections throughout the series, so too, will we form a connection with her .

we do not know how much time has passed since then and the second episode, but whatever has happened lain has already developed a significant presence in the wired . this episode is tricky in its presentation as it doesn't make us privy to which things lain is lying about and which things she's honest about . in it we have lain talking to someone on her navi, she types sporadically in an encrypted language, and someone who looks just like her appears late one night in a night club downtown . while lain won't admit it to her classmates it's apparent at the end of the episode that it was her at the club all along . the key to understanding her actions throughout the episode is to realize she is trying to keep her existence in the wired and her existence in reality as separate entities . the realization she has by the end of the episode, which she uses to terrify a gunmen into suicide is that there is no escape from the wired, no matter where you are you are always connected .

made in the late-90s, Lain was quite ahead of its time . it predicted not only how in the early 2000s the internet would be regarded as a separate world where anonymity and personas reigned—it also predicted how the internet would eventually and inevitably overlap with the real world, once people in the real world realized that the internet is the real world . people have a tendency to see one part of themselves as their "true selves", whereas the parts they show to others are personas, they think of these things as separate when in reality a person is an amalgamation of all of their personas . lain tries to change her personas by dressing and acting differently from when she's in the wired-mode and in normal-mode, but she doesn't realize how people have been doing this way before the wired existed . her classmates are all 15 but they all pass for adults when they've dolled up and hit the club . if the characters in the show seem a bit young for their attitudes then you may not have met enough tech-savvy teenagers before . the purpose of this episode is to ultimately to prove to lain that the so-called real world and the wired are merely two layers of one reality, which couldn't be more true of the world today .

let there be light300pMTK. .

in mythology, psyche was the mortal princess who fell in love with and, eventually, married the god cupid; in religion and classical philosophy, psyche came to mean the human soul, and in the modern, literate world, it retains that meaning as the human spirit; in freudian analysis, psyche refers to the totality of the human mind: the id, ego and superego .

every meaning of psyche is distinctly human: a human princess who achieves godhood, the soul or mind of an individual . if previous episodes introduced the blurring of the real world with the wired, then episode three; "Layer 03: Psyche" is the episode that starts to blur human identity online and offline . one doesn’t even have to venture into the wired to ask what is human .

by this point we know that lain is definitely up to something . at this stage it's hard to tell what, but all we get are little glimpses into her actions . she still seems to be hiding a lot from the world around her and from the viewer in turn . ironically, lain's blank-faced silence and response to the questions of those around her it's own incrimination . when a police officer tells her to speak up (regarding the gunman's suicide) even if she had nothing to do with it, he doesn't realize she's being silent precisely because she does have something to do with it . but her deer-in-the-headlights persona gets her out of it .

the lain of the wired and the lain of reality are slowly starting to mesh into one whole . it remains difficult to interpret the physical existence of "other lain" so to speak, and the show refuses to outright show her playing that character . at the least, we do get to see lain access the wired in all its chaotic glory and she does begin to take an active interest in expanding her knowledge as she learns about and installs the "Psyche drive", a computer circuit that lain procures in hopes of it enhancing her computer's processing power . on the smaller scale, when lain applies the psyche processor to her navi, she is installing a spirit or soul, an animating element, to her machine . notably, the psyche does not replace the main processor; psyche augments the main processor, interpreting the data that flows through it . the soul is not simply the brain, it is an elevated consciousness or meta-self. by this point in the series lines become blurred and the lains begin to merge (hehe) . all of this is set against the backdrop of lain trying to decide if she should remain in the physical world or fully integrate in the wired . she hears one voice telling her that death feels amazing, and god exists in the wired, that there is nothing left for lain in this world . however, lain begins to establish a connection with her classmate alice, saying her name out loud and commiting it to memory for the first time, alice asks why her friends are not more shaken up after watching someone shoot himself in the head the previous day . it's almost as though lain is clinging to alice as an excuse to stay in the physical world out of fear for changing over . this all sets the seeds for what eventually grows throughout the series .

i want to recall the final meaning of the word “psyche". that the word also meant “butterfly,” which is how the greeks imagined the soul to appear . no doubt the symbolism of a creature that begins as one thing and transforms into another is not lost on us here .

every event serves to emphasize the existence of one's own personal reality, and as individuals from all others, we desire a place to belong . however that too is an egotistical concept . in order for there to be a mutual understanding, it is necessary to recognize here and now, like the brain synapses, we are all—in a logical yet chaotic manner—connected .

each is seperate—yet they are one . by connecting, humanity gains first awareness of its function as a seed . and by connecting a human no longer remains a mere endpoint, a "terminus", but becomes a junction to another point, having won the right to continue itself . in a sense, the ability to connect is the ability to continue . this not only applies to the connection of axial coordinates but temporal coordinates as well . therefore, at the time when a conscious, intentional connection is made, surely the dead will rise from there intended place, appearing at the time coordinate of the connection's origin .

in that moment, the realization will dawn that the time in which we inhabit our physical bodies is but the starting point of the connection, and the very meaning of possessing a physical body might be questioned .

we recognize we are connected .

serialize thyself .

#tecnobabel #text