A castle mysteriously appears in Gotham one night.
Nobody who noticed it knows where it came from, nor how it got there as it seemingly appeared overnight. It wasn't anything big, as far as castle's were concerned, it seemed to be on the smaller side of things.
However, no one could truly estimate it's actual size. For there seemed to be an ever-present fog that never seemed to stray past the castle's gates.
Just like the fog, you always seemed to hear the cawing of crows and the flapping of bats whenever you step close enough. Yet their visibility was kept hidden in the fog.
Appearances aside, there did seem to be something... off, about the castle and not just because it appeared from thin air, no. It seemed to have a distinct aura of something... other.
No one knew how to explain it, but they could tell there was nothing natural about it. There was something fundamentally wrong with the castle, it wasn't the way it appeared out of nowhere, nor it's appearance.
===
When Sam finally became an adult, she didn't have to think twice about moving out. It was a bit difficult, with her parents not wanting to let her go just yet, but her grandmother managed to persuade them, thankfully.
When she was younger, Sam had always dreamed of owning a castle. Though its appearance did change in her mind when she grew older, from pretty and pink to one of darker colors and crows, which is why she never got one when she was younger, she realized.
But now that she was an adult, what was stopping her?
Nothing, that's what.
So, Sam buys one that matches her tastes and moves in. There was a lot of space, far more than she really ever thought about and now had to find a use for.
Magic.
Was something that enthralled Sam ever since she was young, that and the occult as a whole. So, for a few months after moving did she try and get her hands on things like magical tomes, items, scripts and learn it.
Surprisingly, she was strongly successful in her attempts of learning magic. It was surprising to be sure, but now that she compares it to the portal to the afterlife, having a half dead friend and having hunted down ghosts, she realizes that magic wouldn't be that much farfetched in the equation.
A fair bit of her time now was spent covering her castle in wards, sigils, and runes, ones that would strengthen themselves over time, various protection wards and multiple others that she found useful. Most of them were ones that she found through text, though others were ones she personally made.
After she finished the entirety of the castle, she studied thoroughly to gain more knowledge and power for herself, she even made a few spells of her own along with various potions. Unfortunately, she was interrupted in her studies by various other witches, because apparently having such a powerful fledgling witch on her lonesome was too tempting of an offer to pass up for the nearby covens.
So she had to... move, before they tried to force her to join them. As for how, well, she moved her entire castle! What better way to refuse, really?
Unfortunately, it was her first time using such large-scale teleportation magic and she messed it up. Not that her calculations on where the castle was supposed to be were wrong, but while in the midst of moving through space she was... thrown off kilter.
She didn't even know how or what caused her to mess up. But her castle both was and wasn't where she wanted it to be. Her original destination was coordinates near Amity Park, and while they were on said coordinates.
This wasn't Amity Park.
To say she worried was an understatement. She scrambled to find something about where she ended up, and realized not only was she thrown off kilter, but she was also thrown off so badly that she ended up in an entirely different dimension. Luckily, she managed to make the philosopher's stone.
To say making it was easy would be wrong, for even she didn't know how she created it. It was by accident and for a while she didn't even know she had made it, when she had and tried to do something with it the stone had, uh, well.
It fused into her skin.
It had placed itself right over her face, on her chest, and it granted her immortality it seemed. Though that wasn't the effect she was currently thankful for no, the effect of making gold would be valuable to her, she wouldn't have the Manson wealth, but she could at the very least sustain herself.
For now, though, she did have her studies to get back to.
967 notes
·
View notes
Tetrarch's Lily
Scientifically known as Aichontiscus, Tetrarch's Lily is a deep-sea, flowering plant that can only be found in one place—directly off the coast of Meriburn. It is a plant that can only grow in a high moisture, high pressure environment and unless placed in one after picked, it will shrivel up and wilt. It will grow wherever water flows and, much like how plant roots behave, it likes to force its way through open cracks and find more sources of water that it can use to grow more blooms. The flower is extremely toxic and its petals are coated in a thin waxy substance that can, and will, irritate the skin. It is an enzyme that, in defense of the flower, will slowly eat through organic matter and seems to stop and start as is its want. The irritant can be washed off but it is advised that whoever touches it wears gloves or some sort of hand covering for the next 96 hours, after which they may resume the regular use of their hands if it was treated immediately. Its bioluminescence, although breathtaking, is meant to serve as a warning. It is the only lifeform found in this cavern and what few fish and aquatic life that have mistakenly swum into the aquifer have suffered a slow and agonizing death. This either due to the enzymes in the water or by consuming parts of said flower.
The legend that surrounds this plant is allegedly as old as the kingdom itself, but many sections of it have since been lost to time. What circulates now is a biased summary of the tale, which has segments of the original story but was tailored to suit the needs of the royal family. The modern version reads:
Land and Sea have long been at odd, fighting each other for the realm's dwindling space. Twas like the Sun and Moon itself were at odds and waged war on the other using the realm and its waters as proxies. Oh, how the tides rose and fell under the weight of the moon's phases--swells growing larger everyday. In response, the land waits until the tides receede to build itself up with natural barriers so that the waters may not pass. The lack of warmth from the moon chills these ranges so none may come near them and the intense heat from the sun dried out the water and waves that beat against it.
The ones that suffered here were not the Sun and Moon, but the life they sustained. This violent war they waged only harmed those that lived on the border between the two. This meeting of earth and sea was rendered uninhabitable and that which was contested only seemed to grow. And as it grew, the turmoil slowly began to infect other parts of the land and the deepest parts of the sea.
Thus, that is what brought two leaders from the Land and the Sea together. The area in which those from below and our ancestors from above was in the middle of the two domains--surrounded by the sea but encased in porous earth. In this cavern, a covenant was formed. To them our ancestors promised to make it so that land would never be inaccessible to them--that their waters would flow uninhibited deep into reaches of their domain. They swore that the rivers that stopped just shy of the sea would be allowed to join it once more.
To our ancestors, they promised access to the deepest parts of the sea. This is where they gifted Tetrarch's Lily to the man that would go on to become Meriburn's first king. With it, a chosen few would be granted the boon of diving into the deep--farther than any land-dwelling being would be able to venture. Tetrarch's line is who it was granted to... so only Tetrarch's Line shall receive its blessing.
That is why the bloom of Aichontiscus is sacred. That is why it stands alone on our crests, our flags, and our ships. It is a symbol of our vow and union to the sea.
5 notes
·
View notes
Cyborg (2016) isn't, overall, a very good comic, but it does something I think is quite interesting. It establishes (and if this has been established in previous comics, let me know!) that Cyborg can separate parts of his consciousness and they will act in his stead - he does this by uploading part of his "artificial intelligence" to a little device and then the device can speak for him or spy for him or project a hologram of him. He can then reintegrate the memories from these devices. This, in a way, raises a lot of the same questions that Jamie Madrox's dupes do. Unfortunately, those issues are not the ones the comic wants to investigate.
The comic is so invested in the question of Victor's humanity, but it examines this almost entirely through the question of Victor's body: Is he still human if half of his body is a robot? This is a sort of ridiculous question because the answer is yes, obviously. People with prostheses or people who depend on technology to survive are still human. The far more interesting question is the question of Vic's mind and consciousness. What does it mean that he can splinter himself into multiple consciousnesses? What does it mean that he can detach his selfhood from his body? Is he still human if he can process data at speeds no human can possibly understand? The comic revels in the possibilities of Victor's computer mind but never seems to implicate them in the question of humanity and sentience and selfhood - it uses them as cool accessories without seeming to understand how critical they are to the thematic questions that the book claims to want to investigate.
The place where I feel the comic gets the question of humanity most right is a scene in a jazz club, where Victor's friend takes him to experience live and improvised music. The comic itself takes a page entirely without words, because the point is the experience of it. Obviously, this has no bearing on Victor's body, but it does realign his mind more towards humanity - the recognition of the pleasure of being in the moment (rather than analyzing and re-analyzing everything) and the pleasure of genuinely connecting with other people, both the jazz performer and the friend who took him to the club. This scene happens in the first issue and gestures at the importance of human connection and taking responsibility for the city, two themes that get lost in the ensuing issues, as Cyborg tangles with one robotic or digital bad guy every issue and repeatedly wonders if he's even human, without clarifying what it is that makes him question that so strongly.
7 notes
·
View notes