#nowadays they include their own culture but | Explore Tumblr Posts and Blogs

fushic0re · 1 year

Text

─ 𝐓𝐀𝐊𝐄 𝐌𝐄 𝐈𝐍𝐓𝐎 𝐘𝐎𝐔𝐑

𝐀𝐑𝐌𝐒, 𝐒𝐈𝐑𝐄𝐍'𝐒 𝐂𝐀𝐋𝐋

𝗡𝗔𝗠𝗢𝗥 𝘅 𝗙𝗜𝗟𝗜𝗣𝗜𝗡𝗔!𝗦𝗜𝗥𝗘𝗡!𝗥𝗘𝗔𝗗𝗘𝗥

𝐒𝐘𝐍𝐎𝐏𝐒𝐈𝐒 — a prophecy has tied you to the feathered serpent god before you had even existed. now, it’s time to come home.

𝐖𝐀𝐑𝐍𝐈𝐍𝐆𝐒 — 18+ ONLY; MINORS DNI. possessive behavior. near death experience. smut; penetrative sex, oral (f receiving), multiple orgasms, creampie (lots of cum bc i'm disgusting), breeding kink.

𝐀𝐔𝐓𝐇𝐎𝐑❜𝐒 𝐍𝐎𝐓𝐄 — this has to be the most excited i've been for a fic in a long time 🥹 i had a blast including a little bit of my culture's superstitions and lore. my sincerest apologies for any inaccurate yucatec maya translations, i used a translator website. the song the reader sings is "daughter of the sea" by sharm. i hope you all enjoy! ♡

𝐓𝐑𝐀𝐍𝐒𝐋𝐀𝐓𝐈𝐎𝐍𝐒 —

⁀➷ “anak” - child.

⁀➷ “po” - a respectful term with no direct translation used when talking to someone of higher rank than you such as elders or your boss.

⁀➷ “mag ingat ka” - “be careful.”

⁀➷ “ka’a suku’un u?” - “cousin?”

⁀➷ “ko’oten tin wéetel in kaxtik ti’ le ajawo.” - "come with me to find the king."

⁀➷ "in yakunaj" - "my love"

⁀➷ "in k'áaté" - my one and only.

⁀➷ "le ba'alo' leti'e" - that is her.

⁀➷ "bienvenido tin wotoch ti', in reina." - "welcome my queen."

꒰ ͜͡➸ 𝐈𝐅 𝐘𝐎𝐔 𝐄𝐍𝐉𝐎𝐘𝐄𝐃 𝐓𝐇𝐈𝐒 𝐒𝐓𝐎𝐑𝐘, 𝐏𝐋𝐄𝐀𝐒𝐄 𝐆𝐈𝐕𝐄 𝐈𝐓 𝐀 𝐑𝐄𝐁𝐋𝐎𝐆! 𝐑𝐄𝐁𝐋𝐎𝐆𝐒 𝐀𝐑𝐄 𝐖𝐑𝐈𝐓𝐄𝐑𝐒❜ 𝐁𝐑𝐄𝐀𝐃 & 𝐁𝐔𝐓𝐓𝐄𝐑! ♡

FOR AS LONG AS YOU COULD REMEMBER, the ocean was your safe haven.

While others strayed from its depths for fear of the unknown, of the creatures that could be lurking down there, you had always been curious to know. There had always been an itch that couldn’t quite be scratched when it came to your love for the water. You frequented your local beach nearly every day, wandering aimlessly until you grew tired. Unlike others your age, your life was one of solitude. To an extent, you were content with it, for the ocean was your companion. It never judged you and always welcomed you. It listened when you spoke, carrying your worries far from you never to be seen again.

Nowadays, to your heart’s discontent, the ocean was not enough.

You were lonely. Truly lonely and feeling what it was like to be so for the very first time in your life. There were nights you stared into the abyss; eyes watery as you wished to drown in it. To be embraced by the one thing that was consistent in your life. Would you feel less alone then?

─

From the deepest point of the very sea you gazed into, the heart of a God grew heavy. K’uk’ulkan loved his people, adored them with every fiber of his body. Each and every one of the faces of those he ruled, dead and alive, were imprinted in his soul permanently. Every step he took was taken with them in mind. He prided himself for being a good leader, for doing everything and anything possible to keep his nation safe. After the events leading up to the alliance with the Wakandans, however, he did not know if that pride was deserved. He had made mistakes; misplaced his trust and allowed two of his own to die right in their very home. Namora, as loyal as she was, began to question his decisions. He was alone in bearing this burden with no one to rest his head on at night from the heaviness of the day.

What pained him the most? He knew he shouldn’t be alone.

He recalled the day he and his mother had been read the prophecy when he was a child clearly. The emotions he felt upon hearing those words spoken into existence were still fresh. There was someone for him. Just for him, and him alone.

“For His fealty, the First Son of Talokan shall be given a gift from the Gods; a descendant from the Heavens, a child of Bulan with the voice of an enchantress. For as long as He shall live, She shall rule the seas by His side.”

Years passed. Those years slowly faded into decades. After the passing of his beloved mother, it became difficult differentiating when those decades turned into centuries. Still, there were no signs of his soulmate. His people knew of the prophecy. K’uk’ulkan was all too aware of the anticipation his children felt as they eagerly awaited the arrival of their queen. Yet, she never came.

He grew angry at the so called Gods for turning on their promise – at her. Where was she? he’d hiss. My people, our people, have come dangerously close to being discovered. I have nearly died defending them all alone. My wings have been ripped from my flesh. Why isn’t she here? The prophecy meant nothing to him anymore. Just as he was naïve when he entrusted Princess Shuri with seeing his home, he was blindly foolish for believing in a fairytale.

Namor was without love in more ways than one.

─

You didn’t remember falling asleep. There was no explanation as to how you ended up perilously close to the edge of the water, the violent thrash of waves serving as a warning to you. Still, you remained completely still as fear immobilized you. You racked your brain for any recollections of your previous actions. Nothing came up. You couldn’t remember anything after you came home from the market.

Nothing, that is, aside from a single voice.

It cooed to you, whispered your name like it had waited a thousand millennia to taste it upon its tongue. Sang to you like you were its favorite person in the entire universe.

Come to me.

Come home.

In yakunaj.

In k’áate’.

Come home.

Taking a moment to steady your breathing, you slowly stepped away from the ledge before rushing back home. As you tucked yourself into bed that night, you tried your best to bury what had just transpired. You sought out every possibility – rational and irrational – that could have resulted in your odd behavior. You always went to the beach, maybe you just wandered there after dinner out of habit. Perhaps something went wrong with the batch of your usual tea and an ingredient that causes cognitive dysfunction was accidentally added to it. Maybe tomorrow morning you will wake up to a news report about your batch being recalled from all stores.

The explanation you vied for never came.

As time persisted, so did the bouts of blacking out, regaining consciousness, and finding yourself near the ocean. Each time, you got closer and closer to its waters. Every day after the next, you would feel the fatigue in your muscles from all of the walking. And yet, it did not stop you. You always found your way back to the ocean. It didn’t matter if you walked into ongoing traffic or if a concerned neighbor physically restrained you, the pull was stronger. Shamefully, you began to avoid leaving your home altogether. You couldn’t bear to face the condemnatory looks you were bound to receive. Whatever those in your area thought of you, you didn’t want to know. You were afraid enough of what you were becoming.

When you wake up from the next spell, you were waist deep in the ocean. Shivering as your thin nightgown stuck to your skin. Wrapping your arms around your torso, you salvaged any and all body heat. The gravity of your circumstances hit you all at once. Biting your lip, you held back your tears as your turned around and began making your way out of the water hastily. Just as your bare feet touched the white sand, you caught the eyes of the elderly woman who lived closed by. The two of you had never spoken, but her presence as a resident was always acknowledged.

“Sorry, po,” You spoke sheepishly, a polite and apologetic smile on your face.

Her expression was grave as she stared at you wordlessly. Silence stretched between the both of you and just as you were about to walk away, she harshly spat one single word.

“Magindara.”

Before you could seek clarification, she was back inside her small hut, the door slamming behind her acrimoniously. The only proof that the interaction with her was even real was the residual sting of her hostility and rage. Her persecution was the straw to break the camel’s back. Unable to maintain your resolve any longer, you fell to your knees and began to you’re your hands clutching at your chest in hopes to alleviate the pain. Humiliation, terror, anxiousness, and frustration were just a few of the emotions you were feeling. Even then, they were just the tip of the iceberg. As you cried to yourself, sand sticking to your wet limbs uncomfortably, you longed for nothing but someone to wrap you up in their arms – for someone to tell you that for once, everything would be okay. Just this once, you craved a life outside of isolation.

Once your breathing evened out, you stood up and leisurely began to talk along the shore. Soothing yourself in the only way you knew how, you began to softly sing.

“Beware, beware the Daughter of the Sea. ‘Beware’ I heard him cry. His words carried upon the ocean breeze, as he sank beneath the tide.”

Namora watched acutely as the quill in her king’s hands abruptly dropped to the floor. The warrior waited for the moment he would pick it up off of the ground and continue with his painting, but it never came.

“K’uk’ulkan?”

She received no response. His eyes held an indecipherable expression, one far away from the present.

“Ka’a suku’un u?” Namora repeated, her tone now carrying concern.

The King of Talokan turned to her for a split second before he stormed out of the room with speed she had never witnessed from him before. Namora was hot on his feathered heels, but the second she dived into the water, her cousin was nowhere to be seen.

“Attuma!” She bellowed. “Ko’oten tin wéetel in kaxtik ti’ le ajawo.”

K’uk’ulkan was stunned when he first heard it – the most beautiful sound to grace his ears. He was livid with himself for being unable to find a better word to describe the voice, for “beautiful” was such an understatement that it was borderline insulting. Without hesitation, he followed it. It didn’t matter that he didn’t know where it was coming from or who it even belonged to, he needed to find it. It called to him, turned him into a man possessed as he soared through the waters restlessly to get to it.

His head broke the surface, and that’s when he saw its owner – her. His soulmate.

She was the most exquisite living being he had ever laid his eyes upon. A gift from the heavens she was. Her beauty made him dizzy, his knees growing weak as he took in his beloved’s features. He admired her as she outstretched her arms, cupping the moon in her delicate palms. It paled in comparison to her. Everything did. Nothing could possibly compare. He remained paralyzed as she continued to sing, a foreign feeling settling in his stomach.

“Why this? Why this, oh Daughter of the Sea? Why this? Why did you forget your seaside days? Always the pride of our nation’s eyes, how could she go astray?”

The words of her melody pierced his heart. They reflected their journey far too accurately to be a coincidence. Did she know that she had always been destined for him? To be loved by the entire nation of Talokan? His lids fell shut slowly as he basked in her harmonies, feeling tranquil at last.

“I heard, I heard, across the moonlit seas, the old voice warning me. Beware, beware, the Daughter of the Sea. Beware, beware…of me.”

Namor studied her face as her song ended. He noted her red rimmed eyes and wet cheeks. Her damp nightgown stuck to her body tantalizingly. The despair in her hypnotizing voice was palpable. All of the wrath and resentment he had once harbored dissipated. Oh, my love. I have longed for you too. He could do nothing as he watched you turn your back to him from above, only pray for another encounter. He rose entirely from the sea, the wings on his ankles fluttering in the air as he watched her in the sky until she was safe in her abode. A quiet splash could be heard from under him. Attuma and Namora stared up at him expectedly.

“Le ba’alo’ leti’e’.”

He nodded slowly, eyes burning holes in the spot where she once stood.

“A human?” Attuma questioned, his voice rigid.

Namor shook his head.

“’A child of Bulan with the voice of an enchantress’.” Namor quoted the prophecy directly. “Bulan was a deity the heavens sent to the ocean to protect the moon from sea monsters. She is a siren; they are descendants of Bulan.”

“What is she doing on the surface?” Namora chimed in.

The king frowned, his fists clenching at his sides as he longed to feel her touch.

“She is lost.”

─

Returning to the beach after the unpleasant encounter with the elderly woman who lived on its grounds probably wasn’t the most sensible decision. In your defense, however, nothing in your life was sensible nowadays.

Magindara was what she called you. A whole day’s worth of research, hundreds of Google searches, and several life crises later, you found out what it meant – siren. A subspecies of mermaids that were known for being especially vicious. You wanted to badly to laugh it off, to chuck it up to her being a senile old woman, but that was not an option. To do so would be like ignoring statistics. The facts of your life were laid out clearly; there was a connection between you and the ocean. A connection so strong that it bewitched you – mind, body, and soul. There were no traceable origins you could use to refute the woman’s claims. Afterall, you had no family. There was nothing more to do than return to the very place that could give you answers.

Your eyes darted everywhere in search of the familiar head of silvery locks. Once identified, you ran to her.

“Excuse me, po?” You called desperately, your eyes begging her for something. Anything. “What…what am I?”

She stared at you with a severe expression on her aged features.

“The man from the sea with wings on his ankles. Mag ingat ka, anak. He’s coming for you.”

You furrowed your brows in confusion.

“Could you expla—”

“Do not come back here.” She warned. “He will drag you down with him.”

With that being said, she entered her home and slammed the door in your face for the second time. Vexation filled you as you were met with another dead end. A man from the sea with wings on his ankles. What the hell was that alluding to? Did the elderly have to always speak in riddles? Were you in danger? Why was he after you?

You dragged your feet as you trudged home dejectedly. You were already exhausted, not sleeping a wink once you returned home after your stint last night. Sleep was unfathomable considering you were haunted by unanswered questions. Once you crossed the threshold of your bedroom, however, you could no longer ignore your body’s need for rest. Flopping down on your bed, you shut your eyes and instantaneously succumbed to a peaceful slumber.

That night was the last time you slept in your own bed.

The beach was eerily quiet, void of the usual sound of waves crashing against the shore. Seemingly, the ocean yielded to you, it’s queen, the second you stepped foot in its territory, entranced and guided by a single voice.

Come home. Come to me.

Your feet carried you to a cliff high above the sparkling midnight waters.

My love. My soulmate.

Home. You needed to come home. It was time.

Come home.

Just a couple of more steps.

Come home.

This is your destiny. Fulfill it. Fulfill the prophecy.

Come home.

With that, you took one final step off the cliff and prepared yourself to plunder into the deep waters. Your feet were only in the air for a brief moment before a pair of strong arms caught you midair. Upon physical contact, you snapped from your trance with a sharp gasp, your heart pounding in your chest as you began to panic.

A deep, gentle voice lulled you. It was then that you finally registered who it belonged to. The being who had saved you was the epitome is beauty. Everything about him exuded regality from the air of confidence and ease he carried himself with, to the adornments on his muscular body. A large gold and jade neck plate took up the most space on his expansive chest. Ropes of auriferous shells and opalescent-like pearls hung around his neck. Gilded cuffs were locked around his biceps, wrists, and ankles. You quickly noted the alabaster wings fluttering away attached to them, the very wings responsible for suspending the both of you in the air. Your eyes trailed to his delicately pointed ears, embellished with jewels just like the rest of him. The only clothing he sported was a pair of emerald shorts that left nothing to the imagination. The walls of muscle that were his thighs were on full display, the muscles of a man built to withstand the brutality of the ocean.

This was the man the elderly woman was speaking about. The man from the sea with feathers on his ankles.

That revelation should have scared you. Every alarm in your body should have gone off.

Escaping him should have been the only thing occupying your mind. You should have kicked and screamed until your throat was raw and bloody.

But you did no such thing.

Instead, it was the way he looked at you, gazing at you with the most intense smolder in his eyes that occupied your attention. He gazed at you with pure wonder, and held you delicately yet fiercely in his arms like you were the most precious thing in the entire world. Instinctively, you placed your hands on his bare chest, mindlessly tracing the dew drops sticking to his golden skin. The beautiful man shivered beneath your touch.

“500 years I have waited for you.” He whispered reverently.

Your mouth opened, prepared for a response that never came. Instead, your vision went dark.

─

You woke up to hushed voices and heedful, diligent hands. One set of hands languidly brushed your hair away from your face. Another daintily shimmied clothing onto your body once they were finished drying you off with the velvetiest cloth to ever touch your skin. The last set secured what you assumed was jewelry onto your wrists, neck, and ears. Upon opening your eyes, your assumption was correct. The dress on your body was stunning, embroidered with hundreds of crystalline beads. The jewels on your wrists alone were probably worth more than what you had made in your entire life.

The women who stood above you were unlike you had ever seen before. Their skin was a brilliant shade of cerulean. Vibrant, yet pleasantly understated. Masks covered their mouths and noses, but you could still see the bright smiles behind them.

“Hello,” You greeted shyly. “Thank you for taking care of me.”

Each of them let out a small cry, their eyes welling up with tears as they bowed earnestly.

“Bienvenido tin wotoch ti’, in reina.” They spoke warmly in unison, forming a gesture with their hands at you respectfully. Their mother tongue was foreign to you, but not for long. As if you had spoken it your entire life, your mind made quick work of interpreting it.

Welcome home, my queen.

Once again, you were puzzled. You had no idea where you were or who exactly that man was and why he had taken you here. You obviously hadn’t a single inkling as to what he meant by “500 years I have waited for you”. Now, these women were calling you their queen in a language you had never heard your entire life but somehow had the ability to understand perfectly.

The sound of feet pattering lightly gradually got closer and closer until the man of the hour stood before you at the foot of the bed. The women attending to you immediately turned their attention to him, bowing and forming the same hand gesture you had seen moments ago. He looked just as regal still, now adorned in a cape tucked into golden plates of armor on his shoulders. He regarded them gratefully.

“Leave us, my children. Thank you.”

They bowed to you both once more before swiftly making themselves haste. You now had his undivided attention.

“I hope you slept well. The healers said showed signs of exhaustion.”

“I—” You cleared your throat nervously. “I did, thank you.”

The barest hint of a smile graced his features. With graceful and controlled movements, he poured water into a glass and handed it to you.

“Do not be nervous.” He spoke lowly. “Speak freely.”

“Thank you.” You squeaked out again, taking a generous gulp of water before speaking again. “Where am I? Who are you?”

“My people call me K’uk’ulkan. To my enemies, I am Namor. You are in our kingdom – Talokan.”

The water got caught in your throat mid swallow, causing you to cough obnoxiously. The man who you now knew as K’uk’ulkan, discreetly smiled to himself as if this was a reaction he had anticipated. Before you could blurt out another string of questions, he held his hand out to you.

“Come. I will remedy all of your concerns.”

As if you had done so a million times, you placed your hand in his and stood by his side. Namor lead the both of you through a series of corridors. Your eyes took in your surroundings with pure astonishment. Cavern seemed to be a secluded corner for the king, crystal waters surrounding its premises. Bits of glittery minerals were embedded into the sediment walls. An air of serenity blanketed the entire area.

From the corner of his eye, Namor gaged your reactions, his heart so full of unfiltered adoration that it felt like it would explode in his chest. His hand was still tightly clutched in yours like it was second nature. Subconsciously, you had drawn your body closer to his. He was a meticulous man of control and strategy, but at that very moment, K’uk’ulkan wanted nothing more than to take you into his arms and kiss you breathlessly. The moment was cut short when you reached his study. He offered you a seat at his desk, drawing the door shut behind him for privacy. It didn’t take long for you to deduce that the murals painted on the walls were ones depicting the history of Talokan.

“Centuries ago, my people took an herb that allowed them to survive underwater. The herb was infused with vibranium. We are the only nation aside from Wakanda to possess it.” He began, his hands tracing over a painting of a beautiful woman cradling an infant. “My mother was pregnant with me when she ingested it. That is why I am the way I am – why I am the only one out of my people that can survive on both land and underwater, fly, and age slower than the rest. For this, they made me their king. Their god.”

You listened intently, fascinated by the discovery that they had remained a secret for this long.

“There was a prophecy made shortly after my birth. The gods promised me a soulmate.”

Turning around to face you, he bore his soul to yours through his eyes as he read the prophecy to you. With each word that fell from his lips, the world around you spun quicker and quicker. It made sense. It all made sense.

“I gave up on the idea of the prophecy coming true as time passed. In yakunaj, when you have lived as long as I have, seen as much as I have, happy endings are nothing but meaningless fallacies. But then, that night came…the night I heard you sing for the first time.”

He approached you slowly, cautiously like a wild animal that would take flight if startled by any sudden movements. What happened next made your eyes fill with tears; he knelt before you. This man – a king, a god – surrendered to you with no hesitation.

“I have finally found you…” He breathed, his orbs shining with devotion. “You are home. Why do you think you have no family? No one to trace your roots back to? You were made for me. Mine.”

Your face fell in between the palms of your hands as you wept. Quickly, your hands were replaced by his. He held your face in his hands like he was holding the entire world, the pads of his thumbs gently brushing away your tears.

“Why the tears, my love?”

You shook your head, placing your hands on top of his. The spark you felt every time the two of you touched could no longer be ignored.

“Why did they just now bring us together?” You cried. “We’ve both been alone for all this time, how could they not do something about it!”

“Shhh,” Namor cooed. “You think I have not been angry with them, my sweet? I have held myself back from tearing their skies and oceans apart just to find you. But what I feel for you right now in this very moment? That feeling will always win.”

The both of you said nothing more, for there was nothing that needed to be said. Your long lost love held you in his arms as you liberated yourself from what felt like decades of anguish. His grip never faltered even as you gripped his flesh hard enough to draw blood. Instead, he soothingly rocked you as he recounted the stories of his people’s origins. Talokan was a clandestine national treasure, one of the only things on the earth that had not been bastardized. That was all the doing of this wonderful being who had been promised to you.

“They were wrong about you. Your name.” You whispered. “You’re not without love, quite the opposite actually. The actions you have taken, the lengths you have gone to protect your people and your home, are ones of a man consumed with nothing but love. You can see it in how happy they are.”

With cautious hands, you caressed his cheeks. He preened against your touch, melting right into your palms. The world would never see the stoic warrior king falter, but already, you had him firmly wound around your finger. He could sit there for hours soaking in your ardor.

“Our home. Our people.” Namor corrected. “They can’t wait to meet you.”

Lovingly, he pressed his forehead to yours, nudging the tip of your nose with his.

“Are you ready to meet them?”

He observed endearingly as your eyes widened as large as flying saucers as you nodded overzealously, a giggle tumbling from your lips. K’uk’ulkan noted once more how full of love he felt. He wondered if this was what your lives together would consist of, overcome with all of the possibilities. Was adoring you more than he did in this moment even conceivable? When your smile faltered slightly, worry filled him.

“I’ve never seen…myself.”

“I am honored to be the first to see your true form.”

The two of you stood, walking hand in hand out of his personal study and to the outermost cove surrounded with the most water. Inhaling shakily, you eyed what awaited below you with apprehension. You were not human, far from it, and yet it felt as if you and your true form were worlds apart. Namor was silent. He knew this was something you needed to do alone. The only form of assurance offered to you was a look of encouragement.

Slowly, you dipped one foot into the water and allowed the other to follow. Keeping your eyes closed, you focused on your heart rate as your body adroitly descended into the abyss of the sea. You could have easily fallen asleep if it weren’t for a tingly sensation disrupting your peace. It started small, gradually winding around you until all at once, currents of electricity bolted through your limbs. Instinctively, your lungs expanded, and you took your first gulp of air underwater. You ripped your eyes open in bewilderment when you didn’t choke on water. The clear-cut view you had of your surroundings despite no sources of light being near further consolidated your shock. A noise akin to a squeak and gasp escaped your lips and before you knew it, you were cutting through the waters with newfound ease until your head broke the surface.

Namor would have given everything to his name to capture the sight before him. There you were, beaming at him with unrivaled radiance. He stopped breathing when you lifted your tail out of the water. Just when he thought you could not be any more magnificent than you already were, you defied his expectations. The scales covering the muscle were a range of shades of lapis lazuli, emerald, and gold. Towards the tips of your forked fin, they all blended into a rich shade of dark indigo. Your torso was bare but hidden behind your locks as they cascaded over your breasts. Namor could have gawked at you for hours if it weren’t for you playfully flicking water at his face. He felt light and dream-like as your melodious laughter echoed through the cavern. He decided then and there that your laughter was his favorite song. The scowl permanently etched onto his face fell. In its place, a smile so wide it hurt spawned. For the first time in centuries, he laughed so hard his abdomen hurt.

Powerless to his desires, he dove into the water after you, finding shelter in your embrace once more. Intuitively, your tail curled around one of his legs. He submerged the two of you back into the water and before you knew it, his lips were pressed against yours. Skin to skin, naked chests were tightly pressed against each other, your arms locked around his neck as your mouths feverishly meshed against one another. A barely audible moan slipped from your mouth right into his as his tongue pushed passed your lips. Namor voiced his pleasure with a low rumble from his chest. Pathetically, you could cry again right then and there. How could you have gone without this your whole life?

A loud clearing of the throat caused you both to cease your ministrations. Namor was anything but sorry as he pulled away with the softest expression you had seen on his face thus far. He regarded the two individuals standing in front of you – a hulking man with long inky tresses and an ornate headpiece resembling the skull of a hammerhead shark and a fierce looking woman with a feathered lionfish-esque headdress. Though both clearly high up in the royal ranks with a cutthroat reputation to uphold, they studied you and Namor with mischief.

“K’uk’alkan, they are waiting for her.” The man spoke.

“You might want to put this on before you go.” Spoke the woman, pulling an opulent bra top from behind her back and extending it towards you.

The state of undress you were in hit you like a bus. Your face felt like it was on fire from embarrassment, your lover pressing a tender kiss to your heated cheek. Tactfully, he maneuvered you away from the eyes of the warrior you now knew was Attuma. The woman, his cousin and second in command named Namora, expertly laced you into the garment.

“That was so embarrassing,” You mumbled to yourself once your modesty was secured.

Namor cracked a hint of a smirk.

“Attuma and my cousin expected nothing less from us. Now, shall we?”

─

Talokan was a magnificent sight. The agriculture was impressive, the vibranium rich soil working wonders for the crops. Sea creatures from colossal sized sea turtles, lengthy luminescent jellyfish of different colors, lively fish, and enormous whales to start were one with the Talokanil, peacefully existing with one another. The treatment you received from everyone was something you would never get used to. Despite not knowing you, they acknowledged you as if they had known you their entire lives. K reina perdida they called you with earnest smiles and misty eyes. Our lost queen.

But you were no longer lost.

It was evident in the way the orcas sang with you as you glided through the waters, seemingly understanding you in a way no one else could. Namor’s soul was finally content after seeing you swim freely, laughing so hard your stomach hurt as a couple of toddlers crawled around on your tail. His people loved you. Just as he thought they would. And you fit right in just as you were meant to. With further exploration of your physiology, the two of you discovered that like Namor, you could survive both underwater and on the surface, donning a set of legs seamlessly upon contact with land. Your strength, speed, and agility matched up perfectly with his. For hours, he chased you through the ocean, the both of you weaving in and out between walls of coral and tall beds of seaweed with dexterity. You truly were made for him.

A week later, you were officially crowned their queen. You and Namor ended the celebration with an intimate wedding ceremony in the cavern. After years of going without each other, neither of you had the patience to wait for a union on a grander scale. You both were enough – you would always be enough. And as he laid your bare body across the bed he occupied by himself for half a millennium, he was confident in that conviction.

You felt dizzy as he pressed his hard bulge against your core. The most heavenly noise to grace your ears came out of your now husband when you raised your hips to grind against it. Your hands liberally roamed his chest, now stripped of his jewels, before slithering to his robust back. Your nails drew tiny half moons as they dug into his flesh when his lips made their way to the column of your neck. The decorum of countenance he upheld was nowhere to be found as he ravaged your breasts with his mouth, lightly tugging your erect nipple between his teeth before he began to suckle. You cried out pathetically. His lips twitched, umber orbs now staring up at you with lust.

“You are so noisy for me,” He purred. “I have not even touched the most sensitive parts of your body yet.”

“Please,” You breathed. “Please, I need you,”

Namor made his way down your body, leaving no part of you untouched by his lips. Deftly, he gripped your thighs and place both of your legs over his shoulders. Gently, he kissed your dripping core.

“You have me, my love. Always.”

His mouth took you straight to heaven. He devoured you like a man starved, tongue flicking your nub of nerves tirelessly with precision. Your thighs were already trembling, but he had just gotten started. Your orgasm crept up on you, the strongest one you had ever experienced. It left you heaving with your back arched off of the bed, unable to do anything besides chant his name like a mantra. But your beloved’s ministrations did not cease. He continued working at your core, now swollen and glistening from your juices and his spit. The second orgasm built up slowly, the knot in your stomach getting tighter and tighter with each time he sucked your clit. The final straw was when you noticed his hips gyrating. He was pleasuring himself while pleasuring you. This time when you came on your lover’s tongue, no words or sounds were able to slip passed your mouth. You were quite literally speechless.

With a satisfied moan, he lapped up the rest of your arousal, cooing to you as you quivered and whimpered from hypersensitivity. His scorching body covered yours once more, his lips familiarizing themselves with yours. Namor held you tightly against him, whispering sweet nothings against your lips as you steadied your breathing. It wasn’t long before you felt the head of his cock prodding your entrance. Gripping your face firmly, he forced your eyes open. The frenzied look in his eyes as he languidly sunk into you alone could have made you come for the third time that night. But alas, the universe was on your side. Instead, you savored that moment – the feeling of him. Every inch, every vein, ingrained into your memories for as long as you shall live.

“You feel incredible.” Namor panted, now beginning to steadily thrust. “You truly were made for me.”

You could only respond with wanton cries, too consumed with desire. The king began to piston in and out of you until he was fully pounding you into your marital bed.

“Namor!”

He grunted into your ear, pulling out of you for a brief moment to flip you onto your stomach. He plunged back into you and picked up right where he left off. This time, however, he was brutal with the punctuality of his thrusts.

“Am I your enemy, wife?” He taunted. “Are you even worthy of any mercy I have to spare?”

At this point, you could not even recognize the sounds you were making. They were debauched. Depraved. Combined with rhythmic percussion of skin against skin and the squelch of your wet cunt each time Namor entered you, the song you two orchestrated was one only for the lecherous.

“K’uk’ulkan,” You barely managed to murmur. “I’m s-so close, you make me feel so good,”

He hummed satisfactorily, driving into you even faster.

“You are, aren’t you, my sweet? That’s it, sing for me. Take my seed. Carry my children.”

“Please!” You screamed as your walls convulsed around his cock. Please come in me,”

With a shout and one final thrust, he released in you. Rope after rope, he filled you with his cum with proclamations of everlasting love on the tip of his tongue. His cock remained nestled deep within you as you both descended from your highs, keeping his spent from spilling. He shuddered at the image of you round and radiant carrying his child and just like that, he was hardening inside you once more. As you lay there, thoroughly cock drunk, he began to pull out of you and slowly push back in. This time, he was tender and gentle, unhurriedly focused on taking you apart for one final time that night. The two of you had centuries left together. There was no need to rush. Then again, Namor could live another 500 years with you by his side and still feel like it was not enough. He needed you forever, and then some.

“I love you,” He whispered against the blade of your shoulder. “You are everything.”

The next morning you would wake to the sight of your husband painting a new mural. One of a beautiful woman with the upper body of a human, and the lower body of a fish. By her side, a man with ears that pointed to the skies and wings on his ankles, their eyes locked and hands intertwined.

The beginning of your story.

#namor x reader #namor x you #namor x y/n #namor x poc!reader #namor x filipina!reader #namor the sub mariner #namor fanfiction #k'uk'ulkan #k'uk'ulkan x reader #tenoch huerta #tenoch huerta x reader #tenoch huerta smut #tenoch huerta mejia

4K notes · View notes

odinsblog · 2 years

Text

Studying at Tehran University in 1977: While many women were already in higher education at the time of the revolution, the subsequent years saw a marked increase in the number attending university. This was in part because the authorities managed to convince conservative families living in rural areas to allow their daughters to study away from home.

"They tried to stop women from attending university, but there was such a backlash they had to allow them to return," says Baroness Haleh Afshar, a professor of women's studies at the University of York who grew up in Iran in the 1960s.

"Some educated people left Iran, and the authorities realised in order to run the country they needed to educate both men and women."

Window shopping in Tehran in 1976: Before the revolution, the hijab was already widely worn but many women also chose to don Western-style clothes, including tight-fitting jeans, miniskirts and short-sleeved tops. "The shoes haven't changed - and the passion for shoes is in all of us! Women in Iran are no different from women the world over, and going shopping is just a means for women to get away from every day stress," says Prof Afshar.

Friday picnic in Tehran in 1976: Families and friends tend to get together on Fridays, which are weekend days in Iran. "Picnics are an important part of Iranian culture and are very popular amongst the middle classes. This has not changed since the revolution. The difference is, nowadays, men and women sitting together are much more self-aware and show more restraint in their interactions," says Prof Afshar.

Hair salon in Tehran in 1977: "This is a scene you would no longer expect to see in Iran - but even after the Islamic Revolution, hairdressers continued to exist," says Prof Afshar. "Nowadays you wouldn't see a man inside the hairdressers - and women would know to cover up their hair as soon as they walked out the door. Some people may also operate secret salons in their own homes where men and women can mix."

Bodyguards surround the shah in 1971: A young woman approaches Shah Mohammad Reza Pahlavi (far right) at a huge party marking the 2,500th anniversary of the Persian monarchy - the extravagance of the event was widely condemned by his left-wing and clerical opponents. "By this time, the shah was already very much disliked and some believe this image of excess and indulgence may have contributed to events leading up to the revolution eight years later," Prof Afshar explains.

Walking down a snowy street in Tehran in 1976: "You cannot stop women walking in the streets of Iran, but you wouldn't see this today - her earrings and make up so clearly on show," Prof Afshar says. "There is this concept of 'decency' in Iran - so nowadays women walking in the streets are likely to wear a coat down to her knees and a scarf."

Women rally against the hijab in 1979: Soon after taking power, Iran's new Supreme Leader Ayatollah Ruhollah Khomeini decreed that all women had to wear the veil - regardless of religion or nationality. On 8 March - International Women's Day - thousands of women from all walks of life turned out to protest against the law.

Walking in Tehran in 2005: Not all women in Iran opt to wear the black chador, a cloak that covers the body from head to toe and only leaves the face exposed. Many prefer to wear loosely fitted headscarves and coats. "The real question is how far back do you push your scarf? Women have their own small acts of resistance and often try as far as possible to push their scarves back," says Prof Afshar.

Watching football from a Tehran shopping centre in 2008: Though women were never officially banned from watching men's football matches in Iran, they are often refused entry to stadiums and some of those who have tried have been detained. Before the revolution, women were allowed to attend sporting events.

SEPTEMBER 2022: Protests, after the Morality Police beat, arrested and then murdered Mahsa Amini — for the “crime” of improperly wearing her hijab (source) (source)

#mahsa amini #jini emini #jini amini #iran #hijab #morality police #politics #islamic revolution #tehran #protests #bodily autonomy #womens rights #feminism #womanism #war on women #patriarchy #jhina emini

4K notes · View notes

skaldish · 1 year

Text

What is Norse Heathenry?

Norse Heathenry is a contemporary pagan spirituality derived from the beliefs, customs, superstitions, and folklore of the pre-Christian Norse people. It is one of a few different kinds of Heathenries, which include Slavic Heathenry and Teutonic (Germanic) Heathenry.

The word "heathen" means "of the heaths." However, it's not a word the Old norse people themselves used. They didn't have a word for their spiritual belief system, as they didn't distinguish this from all other aspects of their lives. Rather, "Heathen" was coined by Christian writers to refer to Scandinavian pagans (this is also why it's sometimes used interchangeably with the word "heretic").

Nowadays, Norse Heathenry is referred to by many names, which reflects different developing iterations of it. Amongst these names are Norse Paganism, Asatru, and Forn Sidr / Forn Sed.

Where does Norse Heathenry come from?

Norse Heathenry comes from the Nordic countries of Europe: Norway, Sweden, Denmark, Iceland, and the Faroe Islands. These places are also known as the homelands of the vikings. But despite their shared origins, Norse Heathenry is not the religion of the vikings. This very large misconception has a very long, complex history behind it, owed to a combination of commercialization and fascist tampering. The Heathenry we see in America is extremely muddied from these influences. Fortunately, we now have the means to disambiguate it, thanks to increasingly accessible cultural exchange.

The following explanation is a product of ongoing anthropological, theological, and cultural research, in combination with what we know about the historical.

Norse Heathen Beliefs

Unlike organized religions, Norse Heathenry is (and has always been) a decentralized belief system. This means it has no universal doctrines, no orthopraxy or orthodoxy, no holy texts, and no religious figurehead governing it. When you hear people say "There's no 'right' way to practice Heathenry," this is generally what they're referring to.

However, Norse Heathenry does have a distinct way of thinking about and viewing the world, and it's very different from what we usually see here in the US. If you're feeling stuck trying to figure out how to "do Heathenry," this would be why.

Animism

A staple of Norse Heathen epistemology is Animism.

Usually, Animism is defined as the belief that all things have a spirit or vital essence to them. But this is only one definition of many, and not the definition that applies here.

The Norse concept of Animism is "the awareness that all things are part of an interdependent ecosystem." This changes how we engage with everything around us. We understand that when we interact with the forces of this world, they will interact back on their own merit. Our relationship with all things is a social one, and we're not spectators in our environment, but active participants at all times.

This stands is stark contrast to the way the USAmericans typically view the world: As a landscape to either test or be tested by, with the forces of the world acting as the means through which this is done.

Additionally, there's no separation between the sacred and the profane.

Immanence

Faiths that focus on spiritual ascension, enlightenment, or attaining a good afterlife are known as transcendent faiths.

While Norse Heathenry has some transcendent elements, it's ultimately an immanent belief system, which means its focus is on living life for the sake of living, as opposed to living life to receive a good afterlife. A good afterlife is already guaranteed.

(Some Heathens may strive for a specific kind of afterlife, however, which do have certain conditions for accessing. But these are elective rather than required, and different as opposed to superior. It's all a matter of preference, at the end of the day.)

The Norse Gods

Many people are already familiar with the Norse gods, such as Thor, Odin, Loki, and Freyja, but not many people are familiar with how they operate as gods.

In Hellenism and Religio Romano, the gods are divine lords who preside over different domains of society. It's a reflection of what the ancient Greeks and Romans highly valued in their civilizations: Law and political/civic involvement.

In Norse Heathenry, however, gods don't operate in a lordship capacity. Instead, they're more like celebrities in that they're celebrated figures everyone knows about.

While they don't rule over one thing or another, the Norse gods often act as allegorical representations of worldly phenomena. Thor is to thunderstorms as Loki is to "random-chance odds." SIf is to wheat-fields as Odin is to the old wandering beggar. Frey and Freyja represent masculine and feminine principles, Skadi the driven snow and foggy winter, and so on. The gods exist as worldly experiences inasmuch as they exist as ideas.

Lastly, but importantly, the Norse gods don't distribute rewards or punishments in accordance with on one's actions or deeds, nor do they tell us how we ought to live our lives. The way they interact with us depends on our individual relationships with them, which can be just as diverse as the ones we have with each other.

Myths & Folklore

What people often refer to as the "Norse Myths" are stories found in two old Icelandic texts called the Prose Edda and the Poetic Edda. These texts are special because they're the oldest and largest collection of tales featuring the Norse deities.

However, these texts represent just one region's period-specific interpretation of Norse folklore. They also only represent a fraction of the tales that still circulate within Nordic oral traditions, so not only are they not "canon" in the usual sense of the word, they're also just a sample.

This is all to say that Norse Heathenry doesn't have a hard body of mythology. It certainly has a defined one, but its definition is built from local legends, fairy tale humor, songs, customs, superstitions, and family folklore in addition to what survives on runestones and parchment. The corpus of Heathenry is very much a living, breathing thing.

Spirits

Norse Heathenry recognizes a wide variety of different beings, the likes of which can be found all around us. Some of these beings are like how we typically imagine spirits, in that they're incorporeal or otherwordly, while others are physical but may play tricks on you so you can't see them.

Like many things pertaining to Heathenry, there isn't a universally-shared classification system for Norse beings. But generally-speaking, beings are defined by their natures and the manner in which they relate to the rest of the world, rather than their morphology. For example, Trolls can take the appearance of rocks, trees, and also living people, but they can also be incorporeal spirits. This is all, however, the same kind of Troll, rather than being different types of trolls.

This is also why the lines between "spirit", "god," and "ancestor" can become very blurry at times. In English use, these are all typically labeled under the category "vaetter." Sometimes "wight" is used to refer to spirits of various types, but isn't often used to refer to gods.

Typically, the way people interact with spirits entirely depends on what kind of spirit they're dealing with, as well as their disposition towards human beings. Some spirits may enjoy a personal relationship, while others are best when left unbothered.

Values & Morality

Because Norse Heathenry has no doctrine and is immanent in nature, it has no fixed value system. Just like the stories were decentralized, so were the Norse people's values.

This is a feature as opposed to a flaw, and a fact as opposed to a theory. But it also has a habit of making Americans very uncomfortable.

For this reason, Heathens sometimes choose to construct their own value system to observe as part of their practice. But what those values are is up to each individual, and individual community, if applicable.

Anyone claiming Norse Heathenry has a universal value system is either new to Heathenry, or selling something.

Veneration

Heathen veneration is not just limited to gods, but also includes ancestors and even certain kinds of spirits, such as nisse/tomte.

Like most things in Norse Heathenry, what, who, and how a Heathen chooses to venerate is their choice to make. One popular observance across the globe is to craft altars, shrines, or similar sacred spaces for the entities one venerates. If a Heathen lives in a house that has a nisse (similar to a gnome), they might leave porridge (with butter) by the hearth for him, and he'll in turn bless the house with good luck and fortune.

Oftentimes, relationships with entities are very interpersonal. Heathenry's animistic and immanent nature means entities are rarely cold and distant, including the gods.

Misconceptions!

A list of misconceptions off the top of my head:

The practice known as 'Odinism' is an invention of the Germanic Volkish movement, which was the social precursor to Nazi Germany. This is also, unfortunately, the first kind of "heathenry" to be brought to the US, back in the 1970's. It was spread through the country via one of the fastest-moving networks at the time: The US prison system.

The Black Sun is a Nazi symbol, not a Heathen one.

No, Norse Heathenry is not a closed practice.

No, you don't have to have Scandinavian heritage to practice Norse Heathenry. Blood quantum is not a thing.

The rune alphabets are old, but the method of runecasting is new.

So is the use of magical bindrunes.

Bindrunes are also different from Galdrastafir. The latter is actually a form of Jewish-Christian-Norse syncretism and needs to be taught orally since it's a mystery tradition. You can still slap the Helm of Awe on things and look cool about it though.

Norse Heathenry is not the same as being a viking, and Norse Heathens are not vikings. However, some Heathens partake in viking reenactment as an extension of their practice.

There's no good or bad gods in Norse Heathenry. All the gods are capable of great good and great bad, just like people. They're fallible, and that's what makes them relatable.

Odin and Loki aren't at odds with one another.

You don't need to wait for a god to pick you to start venerating them.

If you're interested in learning more about any of these in-depth, check out the website I've built on Norse Heathenry, located in my pinned post!

#norse heathenry #norse paganism #asatru #heathenism #norse polytheism #heathenry

1K notes · View notes

hetalianhistorian · 3 months

Text

Do you have a Funimation subscription? If so, I need YOUR help!

For the past two weeks or so, there has been news going around that Funimation will be merging with Crunchyroll on April 2nd.

What does this have to do with Hetalia? The entirety of Hetalia is already available through Crunchyroll (albeit, with the episodes are out of order) EXCEPT for the Paint It White! movie and the extras for Hetalia. The Paint It White movie is at least still available for physical purchase, however it is the extras I have the most concern about.

The Funimation dub can be considered important to Hetalian history and culture due to how much influence it had over the western fanbase. These extras serves as a time capsule for when Hetalia was at its peak within the west and provides behind-the-scenes insight to the dub voice actors.

I am not sure if it will be 100% guaranteed that these extras will be transferred to Crunchyroll. Especially since I have sent Funimation an email (left) and this is what they've responded with (right):

So, that information is not too helpful. Aren't the extras provided within the DVDs? As someone who owns the physical copies of seasons 1-6: Yes! But do they have all of the extras? No.

The DVDs do include the commentaries, outtakes, and interviews, but it seems that the Funimation page has exclusive stuff like World Buffet, panel footage, fan appreciation cards, and more.

I cannot do this on my own because while I do have a Funimation account, unfortunately nowadays, when you attempt to purchase a subscription, it will only redirect to the Crunchyroll website. Hence, I am asking the fanbase to please contact me if you are someone or know somebody with an ongoing Funimation subscription. The goal is that we can work together to guarantee the preservation of ALL of these extras! You can reach out to me through the following methods: Email: [email protected] Discord: hetalianhistorian Twitter: @HetaHistorian Reddit: u/HetalianHistorian And of course through here, on Tumblr. If you can, please reblog and share to spread the word! I'll be open for any questions or clarifications! Thanks so much! Hetalian Historian

#hetalia #aph hetalia #hws hetalia #aph #hws #ヘタリア #hetalia news #miscellaneous news #my art #hws america #aph america

186 notes · View notes

project-sekai-facts · 6 months

Note

idk if this has its own comprehensive post on here or not but can you explain in depth how rui is gay coded

yeah okay

i think what you'll see people bring up most often is the fact that he has his right ear pierced (see above). incredibly brief queer history lesson for anyone who is unaware: back in the 70s & 80s when it was still illegal or otherwise heavily looked down on to be gay, wearing a single earring in your right ear became a non-verbal identifier amongst gay men in America. As far as I'm aware, identifiers did actually vary between areas, but it became far more publicly known that the right ear was the gay ear and the left ear was the straight ear. Even today when the stigma has worn away a decent amount, you still hear people bring up the term "gay ear" and the fact that the right ear is the gay ear is fairly common knowledge. This is also a known thing outside america, i'm not sure how far the spread is outside america and other english-speaking countries but it is definitely known in a fair amount of places, including Japan (also it should be noted that a right ear piercing can have different meanings in different cultures that predate this meaning, and nowadays people are more likely to get whatever ear pierced they want regardless of sexuality).

obviously anyone can have any ear pierced that they want but things work a bit differently with character design. the only other MCs who regularly wear earrings are An (left ear) and Akito (both). For both of them, this is definitely done to make them seem more cool, which makes sense given they're in the street music scene and following the fashions. As for NPCs there's Nagi (left), Arata, Ken, Tatsuya, Iori, Saku, and Yuuka (all both), which again is probably just to fit the fashion of those characters. Okay, Yuuka just has regular old earrings but as for the others you've got street and punk rock styles which both incorporate piercings as a big part of the style (especially with Saku's punk look).

so all that considered, Rui's earring just sticks out, I guess? it's not really a fashion thing, it's pretty plain and just kinda there, and very conveniently happens to exactly match up with an old way of signaling in the gay community instead of being in his left ear which is the far more common ear for guys to get pierced if they only have one earring. also he almost always only has the one piercing in his right ear in trained cards, the only exceptions being his cheer squad (earrings in both ears) and his canary card (three piercings but still in his right ear).

like i said though, it doesn't have to mean anything but talking from the perspective of character design, sometimes if you want to communicate something about a character then you put it in there.

building off of that, very stereotype-y but his choreo is notably quite.. flamboyant, should I say, compared to the other characters, even shizuku and haruka's more elegant styles. honestly just watch the clip this is so hard to explain. anyway in the process of writing this i found out that his mocap artist lists in his professional profile that one of his specialities is dancing for both masculine and feminine roles, so I get the feeling that there was a reason they cast this person specifically instead of one of the other male artists at the company, and then there was the decision to even have him dance like that in the first place. this doesn't have to mean anything at all and as i said leans very far on stereotypes which is something that i'm not a huge fan of but you do still have to consider things like this even when talking about modern media since it’s still a common way to imply characters as queer.

this one again is more of a matter of perspective. Rui has a few interactions with Tsukasa that could very definitely be read as flirting. it's kinda ambiguous though, which does make sense given the type of game this is; idol-adjacent games like this very rarely make anything concrete so that people who are fans of a pairing can enjoy the teasing and people who don't like it can simply move on. first thing that comes to mind would be the part where he invites Tsukasa to his house in wonder halloween (above), mainly because his L2D uses his smile expression that has a blush with it and that was a choice that someone on the L2D team had to make but didn't have to - they could've easily just kept his usual teasing expression he had at the start of the interaction there was no need to change it.

There's a couple other interactions but this is probably the most obvious outside of the incredibly shameless shiptease of Rui volunteering himself to play Juliet so Tsukasa could rehearse the proposal scene of his R&J adaptation despite the fact that Nene was in the room in Kamikou Festival!. Also, these scenes I mentioned would have been written long before the pairing between the two characters gained popularity in the fandom, so they were written just because the writers wanted to rather than because they were intentionally targeting a certain group.

(TL by pjsekai eng)

there's also that 1koma that I posted about a while ago. you know, the one where he asks for people to call him the "modern day Hiraga Gennai"? Hiraga Gennai as in the 18th century Japanese inventor who was also gay and wrote multiple works about it. The whole joke of the 1koma is that Rui wants to be known as the modern equivalent of a gay scientist and Tsukasa questions if he really wants to be called that.

The 1komas are played for jokes though, and especially the original ones are quite hard to call canon due to some of the scenarios and character interactions not making sense. But then again, someone on the writing team decided to write a gay joke around Rui for whatever reason that may be and it got passed by higher ups and put in the game (or, 3 versions of the game. the joke didn't make it to EN due to Gennai not being very known amongst the audience).

the only other thing i can think of (and arguably like, the biggest bit of evidence for this theory (? Idk if I should call it that)) is that he doesn't really show any interest in women.

First off, the Valentine's Day 2021 vlive. Quick note that in Japan, Valentine's is traditionally a holiday for girls to give chocolates to boys (while white day is the reverse). You can give platonic valentines too, which is what happens in-game... for the most part.

Those chocolates Rui got could easily just be platonic chocolates from other students, but then you have a few factors to filter in. 1) this is very early into the game, back when his only friends were WxS and Mizuki and 2) Those chocolates aren't from WxS, since Emu and Nene give the boys sweets offscreen after the vlive, and Tsukasa is on the receiving end for this holiday. Of course, one box could be friend chocolates from Mizuki, but that leaves more chocolate boxes than friends to give him chocolates.

Immediately after this, Tsukasa gets jealous that Rui got chocolates and tries to brag that he got some too, before saying too much and revealing he got friendzoned by multiple girls, basically confirming that Rui's chocolates were given with romantic intent. I guess you could say that these were chocolates given out to everyone in 2-B, but then why would they leave it anonymously in his locker? Tsukasa's classmates just gave them out to everyone in-person. The only reason I could think of is that people don't want to associate with him, which is canon, but if that's the case then why even bother. I dunno. This is almost word-for-word from that post I made about the in-universe attractiveness of every character so sorry I made you sit through that again.

Getting back on track, Rui seems very neutral about the fact he got given multiple boxes of what was likely confession chocolate. He just briefly mentions that he forgot the holiday was even happening until he found chocolates and then never brings this up again. I think it's worth comparing his reactions to Tsukasa, who seems to care very much about his abilities (or, lack thereof) to attract women. Obviously Tsukasa is the big reactions/brag about a lot of things guy, but Rui does not really seem to care about the fact that multiple women find him attractive, or just the holiday where he’s supposed to get chocolate from girls in general. But this whole interaction is just for jokes anyway so you don’t have to think too much of it if you don’t want to.

Second sub-point: Shizuku. Shizuku can be considered as the most attractive character in-universe given the sheer amount of characters that have been shown to be attracted to her or at least comment on her looks (currently at least 8 MCs if not more and a few named side characters). Admittedly none of those MCs are male, but it isn't like it's impossible for people to be attracted to the opposite gender in this game, like we just established that Tsukasa says he's interested in women, so the point still stands.

(TL from Tsukasa's #3 fan on YT)

Specifically I would like to point out a scene in A Once-In-A-Lifetime Pandemonium, when the 2-B trio first meet the Miyajo 2nd years. The three of them immediately recognise Shizuku and Airi and then Ibuki describes Mafuyu as "a beauty". Shizuku gives them her idol smile which in their POV has the same sparkles that often (not always, but definitely in this context) show up when characters are attracted to another character (like how Haruka has this effect on Minori and Kohane, and An has this effect on Kohane). Like it's very, very obvious that Rui's friends are attracted to Shizuku and the other girls and they're pretty surprised that he's hanging around with them.

But Rui never acts like this around Shizuku at all, nor does he ever even address the fact that she's good looking. He doesn't even bring it up in their earlier interactions back in the Picnic event or any events after, when a lot of other characters (e.g: Emu, Ena, and Mizuki) commented on her looks almost immediately after meeting her (they did first meet in a pretty stressful situation if you want to argue that, but it still stands that he's never been attracted to her). Similarly in The Tomorrow we Hope for, he does not have any reaction to meeting Haruka for the first time, unlike how we see other characters who are attracted to women (Kohane/Minori/debatably Nene it’s up to interpretation) act around her at first.

at the end of the day i think you could definitely make a case for it. like it's harder to make a solid argument in comparison to say, Kohane, An, or Minori who are outright attracted to other girls and say as such on-screen, but there's definitely some more subtle hints and stuff to work with still and it was actually quite fun to compile them (i took the in-depth part to heart as always sorry anon).

#this isn't meant to invalidate anyone's ships or HCs or whatnot like do whatever you want #do whatever you want with this post it's just for fun.#asks #theory #? i guess??#rui kamishiro

241 notes · View notes

fishyfishyfishtimes · 7 months

Text

What Is and Isn't a Fish: an Essay and Guide by Fishyfishyfishtimes

A simplified list of the animals I discuss can be found here!

Hello folks! I created this post to have a kind of definitive essay/explanation of what is and isn't a "fish", starting with defining the term and going over animals that fit and don't fit the bill. As other fishblr artists, writers and educators must know too well, some people are confused about where this term begins and ends, mistaking other aquatic animals for fish. I have my fair share of arthropods and cnidarians as fish fact requests in my own askbox, heck, some years back a friend of mine asked me if clams were fish. The event that finally made me decide to write this was someone requesting that a fish-only account draw a crustacean, pondering to themselves if they count as fish.

I don't want to hold it against these people. It's impossible to know something when you've never been taught! So that's what I'm here to do, hopefully achieving a pretty correct and universal view ^^' If I make any mistakes please correct me. I'm learning all the same as everyone else is.

Definition of fish

Immediately, we run into a bit of a problem with the definition of fish. See, what the term "fish" means has fluctuated for centuries! For a long time, pretty much any animal that lived in water was a "fish" — I say "pretty much any" instead of "every" animal because for a long time sessile animals like sponges or corals were thought to be plants. This is why we have such remnants in our language like shellFISH, starFISH and jellyFISH, they lived in water so they were called such!

Occasionally these definitions would be changed for cultural convenience too. Many Christian churches take part in Lent, and in the Catholic church red and white meat is forbidden on Fridays and Ash Wednesday. In the Middle Ages, in my own country, Finland, this abstinence of red and white meat could last up to 140 days! To make fasting easier, many animals were labelled fish for convenience so they could be eaten as well. These newfound "fish" included seals, beavers and swans, pretty much just anything that was aquatic or semiaquatic in nature.

Nowadays just going off of looks or behaviour won't do, though. There has been much more of an effort to define fishes coherently based on their anatomy and phylogeny, which is great! Problem is, that's easier said than done: fishes are an extremely diverse group, and uh.. not really a single group, either. I'll show you:

As you can see from this heavily simplified phylogenic tree, fishes are not a singular group like, say, mammals are! The animals that we group under "fish" are actually a part of several distinct lineages of animals, some more closely related to us than each other. Heck, tetrapods, which include amphibians, reptiles*, and mammals, are fish themselves! Phylogenetically speaking. Our ancestors were lobe-finned fish, and, well, you never stop being the previous taxon even when you evolve into something else. If you try to exclude tetrapods, no such unified group as "fish" exists. Still, when discussing fish, we tend to want to avoid talking about every vertebrate ever and instead focus on the very specific aquatic ones we mean when we say "fish". This is why many definitions of the term "fish" still exclude tetrapods, even if we share a common fishy ancestor. "Fish" describes more of a lifeform than it does a clade, much like the term "worm"!

(*birds are reptiles! This could be a whole post in and of itself, but I'm not here to write about that. Someone else has most likely taken up the task!)

Hooray, it's definition time! As stated previously, fishes are an extremely diverse group of thousands of species, and what terms might apply to the Atlantic cod may not apply to the yellowfin tuna or giant mudskipper, let alone a Pacific lamprey! Encyclopedia.com defines a fish as "an ectothermic chordate that lives primarily in water and possesses a cranium*, gills that are useful virtually throughout life, and appendages (if present) in the form of fins". Encyclopedia Britannica notes that "the term fish is applied to a variety of vertebrates of several evolutionary lines", instead highlighting five classes. These five classes are left partly unspecified, but ones that are mentioned are jawless fish, cartilaginous fish and bony fish (which still includes tetrapods, however), and the two classes left can be assumed to be two classes of extinct fish. Wikipedia defines a fish as "an aquatic, craniate**, gill-bearing animal that lacks limbs with digits". Tim M. Berra, an academy professor and ichtyologist, defines fish as "poikilothermic***, aquatic chordate with appendages (when present) developed as fins, whose chief respiratory organs are gills and whose body is usually covered with scales".

(*cranium=upper part of the skull **craniate=an animal with a skull ***poikilothermic=an animal whose internal temperature varies considerably)

From these more or less detailed definitions we can gather many defining features for fish: a cranium-having chordate, primarily aquatic, gill-bearing and uses gills as their main respiratory organ, lacking any limbs with digits, instead having their limbs be in paired and unpaired fins when present. Most fish are also ectothermic, meaning their body temperature is determined by their environment, but some can heat up parts of their body or their entire body in the case of the opah. Most fish also have scales, but not all, just like how most fish are fully aquatic, but some like lungfish or mudskippers can spend considerable time out of the water. Such is the way of these magnificent and diverse animals!

Finally, with all this out of the way, we can get into...

What is a fish!

Here, I will be detailing animals that are fish! Well, at least the broadest strokes; there are more than 30 000 fish species and if I listed them all we'd be here all life. I shall instead go over the major classes and list, in short, some groups that belong in them.

Jawless fish (Superclass Cyclostomi)

Jawless fish are often a topic of debate, especially in matters of their relation to each other and to jawed vertebrates. Evidence seems to point to hagfish and lampreys being closest related to one another and to lampreys being more closely related to jawed vertebrates than to hagfish (which would make hagfish craniates but not vertebrates). In the phylogeny tree above I decided to portray hagfish and lampreys as a monophyletic group, as molecular studies and microRNA analysis seems to point to a monophylegic superclass. Please note that this could go either way, though.

Jawless fish is a group containing two extant fishes, hagfish (class Myxini) and lampreys (order Petromyzontiformes)! Jawless fish are more "primitive" than other groups, for example both lack true vertebrae and scales. Still, they both have craniums and gills and they are aquatic, and so they have earned their place among fish!

Cartilaginous fish (class Chondrichthyes)

Surprisingly, I've found that this group has a lot of confusion surrounding it. I have received many a request confirming if sharks are fish, or asking if I'd cover a shark "even if it's not a fish". So I'll say it now: good news, sharks are indeed fish! So are their cousins, rays, skates and chimaeras, also known as ghost sharks! All of these fish have a primarily cartilaginous skeleton, tooth-like dermal denticles and lack gill covers and a swim bladder. Out of all the sharks, I also want to highlight that the whale shark, despite its confusing name, is a shark and not a whale. So, it is a fish!

Ray-finned fish (class Actinopterygii)

Name any fish, and there's a 96% chance the species name you said belongs to a ray-finned fish. Unless, like, you really like sharks. But this isn't about them.

Ray-finned fish are the biggest group of fish and incredibly diverse! It has your seahorse, your pufferfish, your bass, your tuna, your anglerfish, your clownfish, your salmon, your sturgeon, your lanternfish, your perch, your oarfish, your gar, your sardine, your moray eel... and this is only a tiny, tiny fraction of the groups that belong to this class! Defining features of ray-finned fish are that they tend to have a swim bladder and a bony skeleton (some exceptions though. Sturgeons, for one, have evolved a cartilaginous skeleton but they're still ray-finned fish). The largest group of ray-fins, the teleosts, also have leptoid scales, which are thinner and more flexible and grow with growth rings.

I want to bring special attention to some members of the ray-finned fish which tend to have a lot of confusion surrounding them and their heritage: eels and seahorses. Many people think these two are not fish due to their strange anatomy, like lack of scales or (many) fins and their elongated bodies, and I wouldn't blame them! Seahorses belong to family Syngnathidae, which also includes seadragons and pipefish. Eels, meanwhile, make up the order Anguilliformes. All of these long friends of ours are fish!

Lobe-finned fish (clade Sarcopterygii)

I shall merely focus on the fishy fishy fish individuals of this class, which excludes tetrapods. Lobe-finned fish house the two extant species of coelacanths, and six extant species of lungfish! These fish are bony and their fins are placed at the tips of fleshy, lobelike stalks, resembling the limbs of tetrapods. It is thought that the common ancestor of coelacanths and lungfish and tetrapods had similar structures that then became the four limbs the members of our clade typically have. Coelacanths and lungfish are wonderful fishes and deserve a lot of love and respect, not only because they're our closest cousins but because they're unique and we have so much to learn about them!

So, these are the fishes! There are also extinct groups of fish, namely class Placodermi (armoured fish) and class Acanthodii (spiny "sharks"). I'm moreso an extant fish account however, and so I shall move onto...

What isn't a fish?

Now we get into the real meat of this post. Without further ado, here are some aquatic friends of ours that can be mixed up with fish very often!

Crustaceans (subphylum Crustacea)

Many of our hard-shelled many-legged friends belong here! Crabs, lobsters, crayfish, shrimp, krill, isopods, triops, barnacles, copepods, you name it! Even though many crustaceans are aquatic or semiaquatic and have gills, you'll find that they're invertebrates that lack an internal skeleton (so no cranium, not even vertebrae)! We still love them though!

Mollusks (phylum Mollusca)

Creatures both soft and hard-shelled! Cephalopods like octopuses, squid, nautilus and cuttlefish, bivalves like clams, mussels, oysters or scallops, gastropods like sea slugs and snails and chitons go here! These friends of ours are also aquatic and have gills, some even have the suffix -fish (cephalopods used to be called inkfish, even!), but their lack of an endoskeleton is even more obvious than the crustaceans'. They're invertebrates, and therefore not fish!

Chelicerates (subphylum Chelicerata)

This group has many animals that are very hard to mistake for fish, namely spiders and scorpions, but horseshoe crabs and sea spiders are two groups of extant marine chelicerates! Both groups are aquatic, and horseshoe crabs have gills. However, they're both invertebrates, lacking a cranium or vertebrae. Other aquatic chelicerates exist, but they're usually very small, like water mites.

Cnidarians (phylum Cnidaria)

This phylum has the sessile corals and sea anemones and the usually more mobile jellyfish and siphonophores (includes the infamous Portugese man o' war!). I imagine corals and sea anemones are mistaken for fish less due to their sessile nature, but they're good to bring up nevertheless. None of these animals have a backbone, or, any bones really. They lack gills, they lack fins, they even lack the bilateral shape of fish. Jellyfish, despite the name, are indeed not fish! Some people suggest the name sea jellies be used for them instead, and I think it's much cuter.

Echinoderms (phylum Echinodermata)

Animals like starfish, sea urchins, brittle stars, sand dollars, sea cucumbers and feather stars go here. It seems that this pesky "-fish" -suffix is hard to shake off, as now we have the starfish. Once again, all of these slow-moving bottom-dwelling friends of ours are invertebrates, as they lack vertebrae or a cranium. Interestingly though, they are among our closest invertebrate relatives! So we ought to give them some props for that. I also want to mention that starfish can also be called sea stars, which ought to lessen confusion about their being too.

Comb jellies (phylum Ctenophora)

Comb jellies look a lot like jellyfish, but they belong in their own unique phylum! They have the same deal going on; they are invertebrates, they lack gills, they lack a cranium, they are simply aquatic.

Lancelets (subphylum Cephalocordata) and tunicates (subphylum Tunicata)

A double feature, because I wanted to save space didn't want these guys to be all alone! Lancelets and Tunicates, like sea squirts and salps, are chordates, which you can find in the phylogenic tree I drew all the way in the definitions section. They share many a feature with vertebrates, like a bilateral bodyplan, a notochord at some stage of life and a post-anal tail, but I'm afraid they're still not fish. They lack a cranium and their notochord does not develop into a vertebral column! Sorry friends, you tried. We can still hang out at the chordate convention.

Annelids (phylum Annelida)

The infamous bobbit worm, bone-eating worms, sea mice, giant tube worms, feather duster worms, spoon worms, bristleworms in general, leeches... many, many worms go here! Pretty self-explanatory: they are invertebrates, even when they live in water. They're extremely cool invertebrates too! I suggest taking a look at some of them, there's many interesting species.

Flatworms (phylum Platyhelminthes)

Flatworms are another very diverse group of worms, having many species both terrestrial and aquatic, however mostly I want to put attention into the free-swimming marine flatworms. They may swim beautifully (and fence with grace), but they are nevertheless invertebrates! Flatworms can live a variety of different lifestyles, from predators to parasites.

Amphibians (class Amphibia)

We've made it into vertebrates now! Amphibians include frogs, salamanders, and caecilians. While they have limbs with digits in their adulthood*, they can be easily confused for fish in their larval stages! This is no surprise, as they use gills to breathe underwater and tadpoles lack any limbs at all for a while. Many amphibians later transition into a terrestrial or semiaquatic way of life and lose their gills, not to mention gain their digit-having limbs.

(*excluding caecilians)

...Well, many amphibians do this, but not all. It's important to mention there are also species of aquatic salamanders which can bear great resemblance to fish with their elongated bodies! Amphiumas, which are sometimes mistakenly called "conger eels" (which is an actual species of fish), are aquatic salamanders with small residual limbs and both working gills and lungs. Giant salamanders and mudpuppies/waterdogs have lungs and gills as well, and lead an aquatic lifestyle — olms are close relatives of mudpuppies. Sirens, meanwhile, lack hind limbs and only have small front limbs, along with retaining their gills in adulthood. Among aquatic salamanders I also want to bring up one most often talked about species: the axolotl! They remain in their larval form, have external gills and lead an aquatic lifestyle. It can be hard to tell with aquatic salamanders sometimes, but these friends of ours are amphibians and not fish, even if they've rejected the land life.

Caecilians are a bit less known overall, but they can also cause a lot of confusion due to their long, limbless body. While most caecilians live underground, some are aquatic in nature, and can therefore be mistaken for fish! However, caecilians breathe via the use of their lungs and through the skin and don't have any gills at all.

Reptiles (class Reptilia)

Most commonly mistaken for fish in this group are sea snakes, sea kraits and water snakes, sea turtles, turtles, penguins, and other (semi)aquatic birds. Sea snakes and water snakes bear a very strong resemblance to eels, but they are indeed just snakes adapted to an aquatic or a semiaquatic lifestyle! The same goes for sea turtles, turtles overall, and penguins. They all need to breathe air and they lack fins, even if their flippers, webbed feet and built-in paddles may look like fins! They also have wholly different types of scales (or feathers!!) than what fish have, even if they share the feature. I assume that other aquatic reptiles, like the marine iguana and crocodilians are better read as reptiles thanks to their limbs with digits, but I want to give them a reptile shoutout anyway. They’re aquatic or semiaquatic, but they are air-breathers and fin-lackers all the same!

I also want to mention one specific extinct group of reptiles, ichtyosaurs! These marine reptiles were rather shark- or dolphin-like in appearance, which is actually a really good example of convergent evolution! Like all other reptiles, they also needed to breathe air and they had... erm... well, I'm not sure if I can call the bones in their flippers digits, but, that's what they used to be, so...? They were cool reptiles and among my favourites! There were many other aquatic reptiles too, but I will only mention just the ones now. A paleontology account would be better-suited to list you allll the marine reptiles.

Mammals (class Mammalia)

Our home class! Some of the aquatic friends we have in this class include whales like baleen and beaked whales, dolphins (orcas go here), porpoises, belugas, narwhals and sperm whales, pinnipeds like seals, sea lions, walruses, and sirenians like manatees, (occasionally known as sea cows) and dugongs! We also have some semiaquatic buddies like hippopotamids, otters, beavers and platypuses! Whales and pinnipeds especially often cause a lot of confusion due to their very streamlined, fishy appearance. They are, however, air breathers that feed their young with milk (some dolphin calves are even born with some hair), and their ancestors were land mammals! The same goes for pinnipeds and sirenians too. True seals, fur seals and sea lions still have fur even! Hippos, otters, beavers and platypuses are a bit more obvious as mammals with their fur and.. distinct air-breathing.. but I wanted to mention them anyway. Their adaptations to aquatic life are just one example of how fascinating evolution can be!

And here we are! A hopefully comprehensive list of fishes and non-fishes, beginning with the ever-shifting story of the term "fish", phylogeny, and why some animals are called fish when they really aren't. I hope you have found useful and interesting information in this post, and perhaps learned something new! I bid you a farewell! :D

#fish guide #fish essay #fish #fish facts #fishfact #marine biology #biology #zoology #long post #jawless fish #cartilaginous fish #ray-finned fish #lobe-finned fish

257 notes · View notes

ratroomgames · 3 months

Text

ELECTROBASIS is a 3d dialogue-driven game, sprinkled with platforming and puzzle quests. Meet a cast of heavenly hosts that come with a MYRIAD of issues, and help to fix (most of) them!

The casino yearns for a savior - she awaits a restoration.

Hundreds, if not THOUSANDS of years ago, a Biblical rapture fell upon the Earth, leading for angels to walk beside man, in effort to make humankind more holy living by example. Which, nowadays, isn’t all that sacred of a concept - angels are everywhere! THEY’ve integrated human characteristics into their own culture, rather than vice versa.

Made up of pure electricity, cherubs take up object heads to anthropomorphize their form. They own businesses, live in casinos, and are free to gamble their heart away. YOU, as a fallen angel, crashland SMACKdab in the center of a casino in Vegas - LITERALLY crashland. By playing this game you agree to clean-up duty*, fixing up the spark inside! Start with fixing up the casino herself by turning back on the power, and then expand into the happiness of the residents in the rooms upstairs.

INCLUDES:

A casino and hotel to explore!

Five different residents that have something wrong with them!

Exposition dump in text form for YOUR, yes your, eyeballs to scan over!

2010s dance party ending!

At least one rat

Music from famous musician REN! You know Ren, don’t you?

[ katabasis (n.)

a mytheme or trope in which the hero embarks on a journey to the underworld

any journey downwards or fall ]

*RatRoomGames cannot legally force players to improve the spark of the casino.

#indiedev #gamedev #ratroomgames #blender 3d #lowpoly #object head #objectum

113 notes · View notes

useless-catalanfacts · 30 days

Text

The Catalan authors who were kept out of the Nobel Literature Prize for being Catalan

Did you know that there have been a handful of Catalan writers who were candidates to win the Nobel Literature Prize, but because of Spanish interference they never did?

The Nobel Prize discloses its debate and reasoning process 50 years after each edition. This means that we already know the details of what happened in the earliest editions of this Prize, which was started in 1901.

The name of the Catalan play-writer Àngel Guimerà (author of Marta of the Lowlands, Mar i cel, La filla del mar...), whose works have been translated to many languages and played all around Europe and the Americas, with many film and opera adaptations, sounded often in the Nobel committee. He was presented as a candidate to win the Nobel Prize 17 times in a row, since 1907 until his death in 1924. In the editions of 1917 and 1919, many were convinced he would win. However, the declassified documents show why he didn't: as written by the man who was then president of the Nobel Committee, Haralg Härne, Guimerà wasn't given the prize "to avoid hurting the national pride of the Spanish". In 1919, Härne writes that the objective of the Nobel Prize is to promote peace and thus to award Guimerà and show support for a minority culture would be to encourage internal conflict (🤦). The Academy decided that they couldn't give a prize to Guimerà "before awarding another writer who expresses himself in the most ancient noble language of the country" (weird way to mean "the official language", aka Spanish, because they surely didn't mean Basque). In summary, if a Catalan is to be considered, he must always be second to a Spanish man. Even when the Catalan is, in the words of the Nobel Academy, "the most eminent writer of our times", he can never be considered an equal, always must be behind.

Àngel Guimerà wrote in the Catalan language, which was discriminated against by Spanish and considered an enemy by the Spanish government and much of Spanish society. Guimerà was a firm defender of the right to use the Catalan language and that nobody should be forced to speak the imperial languages instead of their own, and was involved with the political movement for the rights of Catalan people. For this reason, every time the famous Swedish academy was considering Guimerà, the Spanish Royal Academy of Language (RAE) fought it with all its might. Nowadays, Guimerà's theatre plays continue to move thousands of spectators every year.

The same happened again with the poet Josep Carner. In the 1960s, Josep Carner was on exile, because he was a Catalan poet writing in Catalan and who stood against the fascist dictatorship of Spain, which persecuted the Catalan language and identity. Famous writers from around the world, including T. S. Eliot, François Mauriac, Giuseppe Ungaretti and Roger Caillois, supported Josep Carner's candidacy to win the Nobel, but the Spanish Government did everything possible to obstruct it. We don't know if Carner would have won or not, but he was deprived of even trying because of the Spanish government's hatred of Catalan.

Something similar seems to have happened between the 1970s and 1990s to three other Catalan poets: Salvador Espriu, J. V. Foix, and Miquel Martí i Pol, where they did not get any support from the Spanish authorities, so we don't know how it would have ended up.

Another example of what it means to have a state actively working against you because of bigotry against your cultural group.

Sources: book Det litterära Nobelpriset by the president of the Nobel Committee Kjell Espmarck, Pep Antoni Roig (El Nacional), Joan Lluís-Lluís (El Punt Avui), and Jordi Marrugat (Institut Ramon Llull).

#literatura #arts #història #àngel guimerà #josep carner #literature #books #reading #nobel prize #nobel literature prize #catalanophobia #catalanofòbia #catalan #cultures #writing #human rights #minority languages #1900s #history

61 notes · View notes

enbyzutara · 2 months

Text

Aang x Luke Skywalker Parallels: How Aang’s Hero’s Journey Wasn't Properly Finished

I read this post by @lovegrowsart and I couldn't get it out of my mind how Aang and Luke Skywalker's journeys have so much in common, yet only one of these arcs feels like it has come to a properly finished conclusion. Meanwhile, the other one feels like the character didn't learn what he was supposed to in order to fulfill his Hero's Journey arc. So, in this post, I want to expand more on why “Aang was supposed to be the Luke Skywalker of Avatar: The Last Airbender”, but the creators of A:TLA failed to properly finish his story.

Firstly, it’s important to point out that the Star Wars saga and universe are widely famous in pop and nerd culture, including Luke Skywalker, the Jedi protagonist, who himself is one of the most famous and beloved characters from the saga. So, it’s not really a reach to assume that the creators and writers of Avatar: The Last Airbender were - at some level - inspired by this famous universe and character. By doing a quick research, we can confirm this assumption, because Bryan Konietzko, one of the co-creators of A:TLA, said in a podcast that Dave Filoni helped to shape A:TLA and its story. Also, both creators said that Joseph Campbell’s writing about mythology helped them to create the Hero’s Journey and the other storylines for their show, and George Lucas was also heavily inspired by Campbell when he was writing Star Wars.

(I will refer to the Star Wars episodes of the original trilogy as one, two and three - even though, nowadays, they are the numbers four, five and six).

Bryke (Bryan Konietzko and Michael Dante DiMartino, the co-creators of Avatar: The Last Airbender) and George Lucas share a lot of tropes and narratives in the stories that each one of them created. Both protagonists of the sagas are the '"chosen one" of their universe: both are the last of their kind (even though in the Star Wars universe, initially there were two more older Jedi) who have the weight of the world’s future on their shoulders. Aang needs to fight against the Fire Lord and Luke, initially, against Darth Vader. By doing this, they would bring balance to the world/galaxy.

It’s also important to emphasize how Luke Skywalker and Aang are not only the saviors of the story, they are also the last of their kind. In A:TLA and in Star Wars, we have populations that suffered genocide: the Airbenders were brutally exterminated by the Fire Nation during Sozin’s Comet, and initially, it was revealed in the original Star Wars trilogy that the Jedi were wiped out of the galaxy when Order 66 happened. So, Luke and Aang not only have the destiny of the world/galaxy on their shoulders, they also are the only ones who can continue the legacy, the culture, and the survival of their own kind.

Another parallel between Luke Skywalker and Aang is that both have a Mentor From Beyond. Luke Skywalker was able to seek knowledge from the Jedis who had passed away in the original trilogy. Firstly, it was Obi-Wan Kenobi, who was his first mentor; Luke was able to communicate with him, and Obi-Wan would give him advice and directions to follow. Later, Yoda also appeared to him. For Aang, due to the fact that he’s the Avatar (and to be the Avatar means that you are the reincarnation of someone who already died), he was able to contact the Avatars from his past incarnations. In the show, Roku is the past Avatar with whom Aang most often connects, but he also seeks knowledge from Kyoshi, Kuruk, and Yangchen.

In Book One: Water and A New Hope, both characters are presented as more naive, and the narrative is not as tense as in the later seasons/episodes. However, the sequel presents a "darker" version of its universe as both characters grow and face emotional dilemmas and more hardships. The Empire Strikes Back and Book Two: Earth explore, even more, the ongoing war in their respective universes, and by the end of these sequels, things go wrong for the heroes. And what I really want to discuss is the similarity between the second episode of Star Wars and the second season of Avatar: The Last Airbender.

At some point in the second episode/season, Luke and Aang had to separate from their group of friends in order to learn more and to train. They had to seek knowledge of what they are and what they represent, because by doing this, they would be a step closer to fulfilling their duties and saving the galaxy/world. At this moment in the narrative, Luke and Aang have an older and wiser mentor who will try to help them achieve this: Yoda and Guru Pathik.

But neither Luke nor Aang finish these training sessions that they started, because during their training, they have a vision of people who are special to them currently in danger. So, even though Yoda and Guru Pathik advise them not to leave and to finish what they started, they leave. Luke goes to Cloud City to save his friends (Leia, Han Solo, Chewbacca, and C3PO) and Aang goes to Ba Sing Se to save Katara. And as stated before, in this episode/season finale, things go wrong for the heroes, including to the protagonists who are supposed to be the saviors of both universes. Luke and Aang left their training even though they were advised otherwise, they went to fight without properly learning what they needed to learn. So when they faced the enemy, they lost. Both at the end were defeated: Aang quite literally dies and Luke has a metaphorical death when he learns about his parentage and loses one of his arms. He also "commits suicide" when he decides to jump instead of aligning himself with the Dark Side.

Now, something really important here is to talk about how Luke and Aang's attachments to people who are dear to them made them run away from what they should have been doing, instead of bringing them closer to their duties and destiny. It was understandable the reasons why they left their training, but it still was wrong in the sense that things went wrong and it ended tragically for both characters. And, it’s never portrayed in both sagas that loving someone is wrong, but being attached to someone is. Both of their Hero’s Journeys required them to learn the difference between what is love and what is attachment, because both concepts are different and one of them (attachment) is portrayed in both sagas as wrong, especially for the protagonists.

Although I’m not Buddhist, nor was I raised as one, it’s clear that Star Wars (1) (2) and Avatar: The Last Airbender (1) (2) both were inspired, to some extent, by this religion and its philosophy. (I tried searching for articles and videos made by Buddhist people, but, unfortunately, I couldn't really find many, so if anyone wants to link more content, please, feel free). And one thing that appears to be inspired by this religion and philosophy in both sagas was the concept of attachment in contrast to love (1) (2). Before delving into the topic of attachment in the show and movie, it’s ideal to understand what attachment means from a Buddhist perspective:

In Buddhism, attachment is called upādāna, which means grasping or clinging. It refers to the human tendency to cling to people, things, or ideas in the mistaken belief that they will bring us lasting happiness and fulfillment. Attachment arises from our desire to feel secure, comfortable, and control of our lives. (...) Attachment to people: Attachment to people can become a source of suffering, as we can become overly dependent on them for our happiness, identity, and sense of security. This attachment can take many forms, from romantic relationships to friendships and family bonds.

While searching for what would be the difference between love vs attachment in Buddhism, this quote also brought my attention (I'll definitely come back to this later):

Any kind of relationship which imagines that we can fulfill ourselves through another is bound to be very tricky. Ideally people would come together already feeling fulfilled within themselves and just therefore appreciating that in the other, rather than expecting the other to supply that sense of well-being.

George Lucas seemed to understand this concept better than Bryke. In Return of the Jedi, Luke Skywalker a) trusts his group of friends way more than he did in The Empire Strikes Back, b) he was also able to let go of his anger for Darth Vader because he genuinely loved Anakin, his father. George Lucas was very vocal about how he wanted to portray attachment as a bad thing, and when it comes to this topic, he never intended to make the Jedi philosophy something wrong. Strict? Maybe, but not wrong. And in the end, as the episode’s title suggests, Luke "returns", as he also returns to Dagobah to contact his master, Yoda, one last time. (The title of this episode can also refer to Anakin returning to the Light Side, but art can be interpreted in different and many ways).

In contrast, Avatar: The Last Airbender presented Aang’s attachment to Katara in a bad light. The Guru episode shows that Aang's attachment to Katara, not his feelings, is what is making him fail to open his chakra and not being able to enter into the Avatar State.

Pathik: The Thought Chakra is located at the crown of the head. It deals with pure cosmic energy, and is blocked by earthly attachment. Meditate on what attaches you to this world. [Images of Katara appear before Aang.] Now, let all of those attachments go. Let them flow down the river, forgotten.

It’s even more important to understand that what Aang feels for Katara is not genuine love, at least in this episode, it’s pretty much stated that he is attached to her in a way that he needs to learn to let go. To expand a little bit on this, it’s necessary to analyze two Avatar: The Last Airbender episodes and how they portray what Aang feels for Katara:

Firstly, 'The Fortuneteller' episode portrays Aang’s feelings for Katara as just a childish crush. There's nothing wrong with a childish crush in general, especially because Aang is, in fact, a child, so he's bound to be childish. But in this episode, what he feels for Katara is paralleled with what Meng feels for him: something that was one-sided and lacked "emotional maturity and self-awareness". Both Aang and Meng viewed their crushes in an overestimated and hyper-idealized way, which again was portrayed as silly and in a bad light.

Secondly, in 'The Guru' episode, it shows that yes, Aang does love Katara, but is it in the right way? The Air Nomads' genocide deeply affects Aang, and he still loves the people that he lost, obviously. But in the show, Guru Pathik states that the love that Aang felt for the Air Nomads was 'reborn' in a new love - his love for Katara. So, Aang is projecting his feelings of love for the people who were brutally exterminated onto the girl who, at this moment in the narrative, was only his dear friend who shows him support and fights alongside him. Aang needed to get closure and heal from this traumatic event; it’s a huge trauma that he should work through. But instead, he was coping by projecting his feelings onto something, or better, someone.

I personally think that Aang loves Katara to some extent, but he needed to work through his trauma first. This goes along with something already shown before, quoting: "people would come together [in a relationship] already feeling fulfilled within themselves and just therefore appreciating that in the other".

The chakra/Guru plotline in Avatar: The Last Airbender is not about Aang needing to stop loving Katara; that's a huge misunderstanding. It was about how Aang was attached to something (or someone, in his case) that he needed to learn to let go of, so he could progress, grow, and heal. After he fulfilled this arc about what's love vs attachment, two things could happen: a) maybe Aang would realize that his love for Katara was more platonic and that he was projecting a lot onto her because he sees her in an idealized way, or b) that he indeed loves her but he needs to realize that he's too much attached to the comfort that she gives and brings to him, so his feelings for her need to have more emotional maturity.

And in the end of season two, Aang actually let go of his attachment to Katara, and he was able to achieve the Avatar State. But unfortunately, after this, he was brutally attacked by Azula and had his chakra blocked.

But in Book Three: Fire, not only does he not return to see or contact Guru again, as Luke did (returned to see his older and wiser mentor, Yoda, in the third and final episode), but Aang also appears to still be attached to Katara in the same way that he already was, if not worse. In the Ember Island Players episode, he: 1) gets so mad and frustrated with the Players portraying his relationship with Katara in a non-romantic light that he says that he could go into the Avatar State over this, and 2) rushes things with Katara and kisses her without her consent, disrespecting her boundaries, after she just avoided his romantic questions and advances.

Point 1:

Aang: [Angered.] No, I'm not! I hate this play! [Yanks his hat off and throws it on the ground.] Katara: I know it's upsetting, but it sounds like you're overreacting. Aang: Overreacting? If I hadn't blocked my chakra, I'd probably be in the Avatar State right now!

Point 2:

Aang: But it's true, isn't it? We kissed at the Invasion, and I thought we were gonna be together. But we're not.

Katara: Aang, I don't know.

Aang: Why don't you know? Katara: Because, we're in the middle of a war, and, we have other things to worry about. This isn't the right time.

Aang: Well, when is the right time?

Katara: Aang, I'm sorry, but right now I'm just a little confused. [Aang tries to kiss Katara.]

Katara: I just said I was confused! I'm going inside. [Exits the balcony.]

All of this shows how he still lacked emotional maturity, and how he still was attached to Katara, in a way not much different from what was shown in Book Two: Earth. Overall, this shows how his feelings for her weren't properly developed and didn't grow from where they previously were – because it was still bound by an attachment that he needed to let go of in order to grow, heal, and learn.

Unfortunately, the Guru/Chakra plotline was completely brushed aside in Book Three: Fire; Aang doesn't even seek to see Guru again or continue his unfinished training. And in the end, when he was fighting the Fire Lord, what he was always meant to do, he managed to go into the Avatar State. Not because he trained or learned how to achieve this goal; actually, it was because a rock saved him by triggering the Avatar State. So, in the end, an entire plotline was ignored and forgotten. Aang didn't learn what he needed to learn with Guru, nor did he finish the training that he was meant to do, and he still was rewarded by the narrative with achieving the Avatar State and saving the world (and also, "getting the girl").

[(...) and Aang protects himself with an airbending shield but is pushed back by the force of the attack, crashing into a rock pillar. The scar on his back is hit with a point of the rock, causing him to flashback to when he was shot by lightning. (...) Aang jumps out, now in the Avatar State, and grabs Ozai by his goatee.]

And that's why Aang is the Luke Skywalker that we could’ve had. Luke finished his Hero's Journey; he learned what he needed to learn and because of it, he saved the galaxy and his father. Meanwhile, Aang didn't learn about love vs attachment, yet he still achieved what he needed to achieve from the beginning: the Avatar State and winning against the Fire Lord. And he only achieved that because the narrative chose to give him a final new solution to resolve all his problems instead of him directly dealing with and facing the problems, difficulties, and dilemmas that the narrative initially proposed to him.

(I don’t actually mean quite literally that Aang needs or should have been the Luke Skywalker from Avatar: The Last Airbender, because Aang is his own character who has his own story. What I mean is that: Luke Skywalker is a character who is similar in some ways to Aang, and he had his Hero’s Journey properly fulfilled. I believe that Aang also deserved the same treatment by the creators of ATLA).

#atla critical #aang critical #anti bryke #atla meta #anti aang #anti kataang #kataang critical #(not really anti aang/KA but.. just in case)#george lucas #star wars #luke skywalker

69 notes · View notes

spacebarbarianweird · 4 months

Note

Ok so… Astarion x Dark Druid!Tav who’s an elf from a culture that bonds with and rides fire breathing wyverns. Maybe Tav’s wyvern (a dark almost black female) is scary looking and distant from everyone but Tav and surprisingly Astarion. Like, she keeps pushing Tav and Astarion together, bringing him fresh prey, and burns any hunters who try to kidnap Astarion to bring him back to Cazador 👀 Do you think he’d be touched? Maybe she senses the goodness in him still?

Hi! It's a very cool idea and dragonriders are must-have for any fantasy.

I looked throught the manuals and found that it's possible to be a dragonrider if you choose Ranger with Drakewarden subclass. Your dragon starts as tiny pocket-drake, a size of cat, but slowly grows up to be a winged dragon you can conquer cities with.

MORE INFO

Calimshan - a nation that covers the southern corner of west Faerûn, including the Calim Desert and the Spider Swamp. The Lands of Intrigue - a collective term used to describe the nations of Amn, Calimshan, Muranndin, Erlkazar, Velen and Tethyr Alzhedo - a regional tongue of Southwest Faerûn, and the main language of Calimshan. Dahyarif - misplaced stranger in Alzhedo.

Astarion x Drakewarden!Tav

Masterlist

Headcanons

You are a foreigner, born in the Lands of Intrigue, somewhere in the Calimshan Kingdom.

Your people used to be known for taming drakes and wyverns and bonding with them the way some people bond with their dogs or horses.

But it was a long time ago. There aren't too many wyverns and drakes nowadays.

Maybe it is for the best, because your ancestors were ruthless, using their dragons to conquer and destroy.

By the time you were born, drakewardens and dragonriders were a long-forgotten myth.

But you found your own small drake in the desert.

The size of a cat, it was breathing fire and was particularly bitey.

Was it your inherited ability to bond with dragon creatures? Or was it just luck?

You don't know.

You called your little drake Dahyarif - "misplaced stranger" in Alzhedo, your mother tongue.

Somehow, the drake managed to survive the Mindflayers' attack and returned to you at the shipwreck.

You meet Astarion - you see the predatory side of him the moment he attacks you.

Drakes and vampires have a lot in common. For example, they both tend to bite.

Astarion is a bit anxious around the drake that tends to breathe fire and has sharp fangs.

When Astarion finally dares to bite you, the drake immediately pounces and stops only when ordered to.

After that, you notice that Astarion says, "I asked for consent, so stop baring your fangs!" every time he comes to your tent to feed.

And you actually don't worry about losing too much blood because Dahyarif is very sensitive about your health.

But with time the drake starts seeing Astarion as his owner as well.

First of all, he starts bringing Astarion food. Not burnt to a crisp, but still alive, mostly small forest animals, fluttering and bleeding in the drake's mouth.

Second, Dahyarif starts curling on his chest. The cold vampire skin is comfortable for the drake, and Astarion loves this weighted heating pad.

One day, you notice Astarion learning Draconic. "I don't like our communication to be one-sided," he says, scratching Dahyarif's ear.

When the tadpole is gone, Astarion disappears in the streets of Baldur's Gate, and you worry sick about him.

The drake finds his track in no time - Astarion has hidden in the basement of a tavern, suffering in pain.

You're afraid to touch him, but Dahiarif immediately crawls into his lap and lets out a trickle of smoke.

You decide to leave the city and go to the south to the Lands of Intrigue.

The drake is slowly growing up. It starts bringing bigger animals, and you notice small rudiments of the wings on its back.

Arriving in Kalimshan, you are ambushed and captured by the enemies of your people.

Astarion and Dahyarif manage to escape, but you are put in chains.

You are beaten, and tortured - your captors want you to train drakes for them, but you can't even say where you found your own one.

You lose track of time. You have been moved several times, but you are always alone with the darkness.

Until one day your captors' fortress is attacked by a winged, fire-breathing wyvern that melts the walls and incinerates a warrior in armor.

You are finally free, and you breathe the scent of the desert night.

The wyvern lands in front of you - and you recognize the familiar red scales.

The drake has grown into a wondrous beast.

The hooded figure of a rider jumps to the stone floor and rushes toward you.

You are in familiar cold arms.

Astarion is wearing thick black leather armor with his face hidden under a mask made of some intricate metal that allows him to see.

You have too many questions, but you collapse in Astarion's arms and he carries you to the wyvern's back.

Together you fly away from the destroyed fortress.

"I just fed him well" he explains. "We found a particularly nice place for hunting. And as for the armor… You can get a lot of things if you have a wyvern."

The torture and captivity leave permanent marks on you, and you often have nightmares when you think you are still in the dungeons, chained and beaten only to wake up in the cold arms of your lover.

It takes you time to learn how to ride a dragon.

But with time, you become a dragon rider of your own.

Now you fly together on Dahyarif's back.

Looking for adventures, fun, and trouble.

Tag list

@tugoslovenka @marcynomercy @wintersire @vixstarria @not-so-lost-after-all @ashiro20 @theearthsfinalconfession @herstxrgirl @starlight-ipomoea @micropoe10 @astarion-imagine-archive @veillsar @elora-the-slutty-songstress @fayeriess @lumienyx @tallymonster @caitlincat-95 @tragedybunny @valeprati @lynnlovesthestars @marina-and-the-memes @waking-electric @ayselluna @connorsui @asterordinary @darkarchangel96

143 notes · View notes

mask131 · 4 months

Text

About the "Tolkienesque renaissance"

The term "Tolkienesque renaissance" is of my own invention and creation, but it is a name I use to designate a very specific wave of fantasy fiction, or rather a specific phenomenon in the evolution of fantasy in the English-speaking literature.

As we all know, Tolkien's shadow cannot be escaped when doing fantasy. Tolkien's works being published began the modern fantasy genre as we know it today. D&D, the other big "influencer" of fantasy, would not have existed without Tolkien. The Peter Jackson trilogy began the fantasy renewal of the 21st century. Epic fantasy is a sub-genre explicitely designed after Tolkien's work.

And the massive influence of Tolkien over fantasy is the most felt in the second half of the 20th century, in English-speaking literature, through something I would call the "Tolkien cold-war". When you take a look at the fantasy books of the second half of the 20th century, you notice a fundamental clash and divide splitting it all in some sort of silent feud or discreet conflict. On one side, you have the "Tolkien followers" - as in, the authors who walk in Tolkien's footsteps ; on the other side, you have the "counter-Tolkien" offering what is essentially a counter-culture in a Tolkien-dominated fantasy.

We all know that Tolkien's success was huge in the early second half of the 20th century. The success of "The Lord of the Rings" and the "Hobbit" and the "Silmarillion" was especially important during the 60s and 70s - Gandalf for president and all that... People loved Tolkien's fantasy, people WANTED Tolkien's fantasy, and so publishers and others were happy to oblige. This began the "Tolkien followers" movement - but this beginning was a very unfortunate one, because it was one that relied on not just homage, imitation or pastiche... But in pure copy-cat and sometimes complete rip-off. Since people wanted some Tolkien, people were given LITERAL Tolkienesque fantasy. The most famous (or unfamous example of this would be the 1977 's "The Sword of Shannara" novel. This novel was designed to literaly be a simplified "The Lord of the Rings" with only a few details changed here and there. In fact, this is most of what people recall about this book - how blatant of a Tolkien rip-off it is. And yet, this book was a BEST-SELLER of the 70s fantasy, and it was a huge success, and everybody loved it, precisely because it did the same thing Tolkien did, and so you got to enjoy your favorite series all other again. Afterward, Terry Brooks, the author of the novel, expanded it into a complete series moving into much more original and personal directions, as he admitted himself that doing a Tolkien copy-paste was more of a publishing and editorial decision to make sure he would sell and settle himself in the literary landscape rather than an actual artistic project or personal desire. "The Sword of Shannara" got its own sequels, and became its own thing (though VERY reflective of what the 80s American fantasy was in terms of style, tone and content), but nowadays everybody remembers it for being the "Tolkien rip-off" in its first novel.

And yet being a Tolkien rip-off can sell well, and if the "Shannara" series hadn't proved it, "Dungeons and Dragons" did, since its first edition in the late 70s went as far as to just take Tolkien's inventions such as orcs, Balrogs and hobbits, and include it in its game. The same way the Shannara series then found its own tone and content, through the successive editions Dungeons and Dragons then began to build a world of its own... But it confirms what I said: it was the era of the Tolkien rip-offs.

In front of these "Tolkien followers", which were back then "Tolkien imitators", there was another movement that drove fantasy forward - and it was the "counter-Tolkien movement" so to speak. Works of fantasy that willingly chose to depart from Tolkien's formulas and archetypes and tropes, to do their own thing. Sometimes they did it out of an actual dislike of Tolkien's books: for example the "Elric Saga" was created because Moorcock hated the paternalist, moralist tone of The Lord of the Rings, and so he countered Tolkien's world with a protagonist serving the Lords of Chaos, using a soul-sucking evil sword, last remnant of an empire of cruel, decadent and demonic elves, in a tragic world doomed to endless falls and oblivions... (Though, ironically, Moorcock would end up initiating a genre of dark fantasy that Tolkien himself had explored in his unpublished texts...). Others did it not because they disliked Tolkien but wanted to prove you could do something else: for example Ursula Le Guin admired and appreciated Tolkien's works, but she was fed up with all the imitators and pastiches, and so she created her "Earthsea" world. No European setting dominated by white people, but an archepilago of islands with dark-skinned characters. No big war or political manipulations, the stories being about about the life, journeys and evolution of individual people. No sword-wielding hero or horse-riding paladin, but wizards and priestesses as the protagonists. No big prophecy about the end of the world, flashy magical sword or evil overlord ready to destroy the universe (well... almost), but rather philosophical and existential battles doubling as a fight against oneself and one's very existence...

This counter-Tolkien genre definitively peaked with the other big name of "dark fantasy" and what would annonce the "grimdark fantasy" a la Game of Thrones: Glen Cook's The Black Company.

But what about the titular "Tolkienesque renaissance" I speak of?

Well, if the "Tolkien followers" had only done bad rip-offs, it would have never lasted, ad the "counter-Tolkien" movement would have won. In fact in the 80s, it almost did! Tolkienesque fantasy was thought of as cliched and stereotyped and overdone and dead. People had enough of these blatant-rip offs, as the hype of the 60s and 70s had died out, and the 80s folks turned to other forms of fantasy - such as The Black Company (Dark Fantasy), or Fafhrd and the Gray Mouser (Sword and Sorcery), or various parodies and humoristic fantasies, but all far from the "epic fantasy". And yet, something happened... The "Tolkien imitators" became "Tolkien followers" or rather "Tolkien reinventors", and began the "Tolkienesque renaissance".

The Tolkienesque renaissance is this group of fantasy authors, most predominant in the 90s though they began their work by the late 80s, that decided they would make the Tolkienesque fantasy live on. Not just by copying it as their predecessors did, a la Shannara, no. But by reinventing it, freshening up the old ways for a modern audience and new times. They took back all the key ingredients, and the famed archetypes and the usual tropes of the epic fantasy a la Tolkien, and they reused them without shame... But in new ways, with twists and turns, playing on the codes of the genre, while carefully avoiding the cliches and stereotypes of the time. Giving what people liked about epic fantasy, while also producing new works that felt fresh and went into opposite directions - taking lessons from the counter-Tolkien movement.

It is commonly agreed that the series that began this renaissance was David Eddings' The Belgariad, published between 1982 and 1984. Just a look at the Wikipedia article mentions this best-selling, very influential fantasy series was the "last gasp of traditional fantasy, and the founding megasaga of modern fantasy"... Now, I actually have to disagree with Wikipedia's words. I do not consider it a "last gasp of traditional fantasy" since it already began the Tolkienesque renaissance and thus a new generation of fantasy ; and the other qualificative is ridiculous since modern fantasy already began with Tolkien, and the Belgariad is not a mega-saga, but just five average-sized books. But the idea of it being a link between an older and a newer generation of fantasy books is very true.

While The Belgariad has to be put first, second comes Robert Jordan's The Wheel of Time, which probably is the most famous of the Tolkienesque renaissance works of the 90s and became this behemoth of fantasy literature. And to make a trilogy of iconic works, I will add another 90s success: Tad Williams' "Memory, Sorrow and Thorn". Another iconic work of the Tolkienesque renaissance, though lesser known today than the Belgariad or The Wheel of Time - which is a shame, because Williams' work as a huge and heavy influence on a famous fantasy story of today... "A Song of Ice and Fire", which takes a LOT from "Memory, Sorrow and Thorn" (I even call this trilogy the "missing link" between LotR and ASoIaF).

The thing with these Tolkienesque renaissance series is that today, to an audience that was nourished by Tolkien and D&D and Pratchett and other things of the sort, a superficial glance might make them seem like "yet other rip-offs, yet other stereotyped, yet other clichéed" fantasy series. You just have to see the reception of the first season of "The Wheel of Time" tv series - here there was a clash between two generatons of fantasy.

And what these people who take a superficial glance will miss is how inventive and fresh and interesting these series felt back then because they played with or subverted the tropes and the codes of the traditional fantasy. They all played by the usual archetypes - you have an everyman young chosen one, a magical mentor who must "die" at one point, an evil overlord in an ominous half-disembodied state, evil black-clad horsemen going after the hero, elves and dwarves and trolls... And yet, these series twisted these same ingredients they used to bring new flavors.

Let us take the Belgariad briefly, to see how the whole Tolkienesque formula was subverted. Like in Tolkien you've got an order of wizards appeared as elderly, bearded men - but here, they are definitively human beings unlike the otherwordly Istari, and their appearance is explained by them being the disciples of a god that likes to take the appearance of a bearded old man, and who by divine influence made them look like him. You've got a dangerous, all-powerful item the big bad is seeking to destroy the world - but here it is no evil, or corrupting thing. It is rather an item dangerous because of the sheer scope and range of its power, and the temptation isn't becaue it is "evil" power, but just because it is a power so massive it can break the world. You've got a missing king with a stewart/regent holding the throne for him until the lost heir returns - but when said heir returns, the stewart/regent is no evil vizir or scheming usurper, and gladly offers back the throne to its legitimate owner. Belgarath, your Gandalf-stand-in, is far from being the dignified guide and noble mentor of Tolkien, as he is a half-werewolf drunkard that hates any kind of official ceremony or garb and prefers running through the woods or rolling under a table in taverns. And while everything is designed as a Tolkienesque setting, you've got no elves or dwarves or orcs - but humans. And that's a big change compared to more traditional 80s fantasy (like D&D or the Krondor series or Shannara). You have your Nazgûl stand-ins, but they're humans. You've got your Istari, but they're humans. You've got your dwarves equivalent, but they're humans. You've got your orcs equivalents, but human too. And it is shown that it is all a human vs human combat, despite being a world of magic and gods, placing some relativism into it all. (Though the fact they decided to subvert the Tolkienesque good vs evil wordlbuilding by having humans on both sides did cause other aspects of the series to age badly but that's another topic).

I can go on and on but I think you see my point - and this same subversion can be found in the other two series I talked about.

The Wheel of Time begins with the chosen one going on a quest... But which chosen one? That's the problem - there are multiple candidates, and so we begin with a guessing game. And the Aes Sedai are clearly an answer to Tolkien's Istari - but all women instead of all men, and much more numerous and pro-active. As for "Memory, Sorrow and Thorn" we have benevolent trolls that are actually more akin to Tolkien's dwarves and have some Inuit-influence, while the Tolkienesque-elves turn out to either be the big bads of the series and the evil guys ; or to be sheltered, useless side-characters that are not helping anyone and cause more problems than anything (I'm exaggerating a bit here, but you get the subversion). Spoilers - but the Galadriel equivalent literaly gets murdered during her second actual appearance, to make it very clear what kind of subversion we are into.

Because this was the game of these books - and the reason they were such huge successes. It wasn't about avoiding or setting themselves free from the tropes and code and archetypes of the genre. Rather it was about reappropiating them, reusing them, twisting them and modernizing them in order to get rid of the stale cliches and frozen stereotypes. It was all a game of imitation yes, but also of derailing - a subtle, discreet, derailing so that everybody got on board of the same type of train, but said train took different tracks to another landscape and worked on a different fuel. (If it makes sense?). It is a game of subtle twists - but unfortunately it is often this subtlety that makes these series overlooked, as people just focus too much on what is identical/similar and not much on what is different... Despite the differences being key here in this effort of renewing what was a dying style. Placing back these books in their context highlights even more how "fresh" they felt back then.

I have one specific point that illustrates this, but I'll need to write a whole post for it...

#fantasy books #fantasy literature #tolkienesque renaissance #tolkien #the belgariad #the wheel of time #memory sorrow and thorn #fantasy series #the elric saga #earthsea #the black company #lord of the rings #lotr #tolkienesque fantasy #dark fantasy #epic fantasy #fantasy cliches #fantasy tropes #the evoluton of fantasy

54 notes · View notes

stellae-de-baphometis · 1 month

Text

Using Latin Chants To Summon Daemons: A Daemonolatry Info Post

This is something I've been wanting to make a post about for a while, but I completely forgot to write about it lol. It's been sitting in my drafts for forever now, thanks to my clusterfuck of an AuDHD brain. 🤪 I FINALLY got it finished though, so here it is!

Okay so I've been summoning daemons using Latin for quite a while now, and I thought I'd write about it because I figured other practitioners might like to try this out too!

Full post under the cut. ↓

~ What's The Deal With Latin?

Daemons have long been stereotypically associated with the Latin language. But why is this? Well, I speculate that it's partially because of the fact that many historical books on demonology and witchcraft were written in Latin (e.g. grimoires such as the Ars Goetia and Liber Officiorum Spirituum).

However, the link between daemons and Latin goes back further than this. It's most likely and primarily due to the fact that the Roman Catholic Church retained Latin as its liturgical language. Many of their scripture and rites (including the ones regarding exorcisms of mainly "demonic spirits") remained written in Latin. And so, daemons starting being conflated with the Latin language as a whole.

~ Why Summon Daemons In Latin?

Nowadays, Latin is a rather obsolete language and isn't largely spoken in most parts of the world anymore. As a result, some people may find that it adds an extra layer of mysticism between the practitioner and their magical workings. Given how ancient the language is (as well as its associations with daemons and The Devil in the modern day), this can give it more subconscious power when used in your craft.

I've personally found it helpful to evoke/invoke daemons in Latin, and I find that it helps me connect with them better.

~ Why Not Just Use Enns?

Personally, I don't like to use the well-known enns to conjure daemons. From what I know, the demonic enns seem to originate from the works of S. Connolly, and I'm not a huge fan of her books in general... Personally I feel that a lot of the information in her books is poorly researched, and that the Dukante stuff and demonic enns are likely fabricated, and I find that she's just a highly problematic and culturally-appropriative person in general, which tends to show within her books (in my personal opinion; don't sue me ffs). So I try to stay away from her stuff, as I'm paranoid that it might potentially negatively effect my craft.

This is one of the reasons why I actually came up with Latin chants to conjure daemons in the first place; I like the idea of demonic enns, but I personally just don't want to associate with any of Connolly's stuff whatsoever. But that's just me though. If you like using the enns and it works for you, that's okay! It's just not personally my thing.

~ How To Summon Daemons Using Latin

I came up with a specific type of Latin chant that can be used to summon daemons; It's called a vocatum.

The word "vocatum" literally means "called", "invoked", or "having been summoned" in Latin. A vocatum can be iterated as a chant in order to invite or request the daemon's presence, as well as to help you get into a meditative state so you can communicate with the daemon better. You could also just say the vocatum once, if that personally suffices for you.

Here are some daemonic vocatums I have personally come up with and used in my own practice:

~ Simplified Vocatum ~

✧ Vocatum: "Ave [Daemon's Name], vos invoco/evoco." ✧ Translation: "Hail [Daemon's Name], I invoke/evoke you."

✰ Example: "Ave Satanas, vos invoco."

~ Complex Vocatum ~

✧ Vocatum: "Salve, [Daemon's Name]. Magnus [Rank], reverenter vos invoco/evoco." ✧ Translation: "Greetings, [Daemon's Name]. Great [Rank], I reverently invoke/evoke you."

✰ Example: "Salve, Glasya-Labolas. Magnus Comes, reverenter vos evoco."

🌟 Note: Use "invoco" for invocations and "evoco" for evocations.

Here is a short list of the Latin translations for the daemons' ranks (mostly from the Ars Goetia):

King/Queen - Rex/Regina

Duke/Duchess - Dux/Ducissa

Prince/Princess - Princeps/Principissa

Marquis/Marchioness - Marchio/Marchionissa

Earl/Count/Countess - Comes/Comitessa

President - Praeses

Knight/Sir/Dame - Miles/Dominus/Domina

~ Difference Between Invoking And Evoking

Many people may consider evocation and invocation to be the same thing, but personally I differentiate the two. Here is my personal gnosis on the differences between them:

☆ Evocation is when you call upon a deity or spirit and ask them to preside during rituals or magical workings; You're basically asking them to come and hang out with you in your space.

☆ Invocation is more so a form of voluntary possession. You're inviting them into yourself, and they are (partially) merging their being with your own; They are manifesting within you, instead of manifesting alongside you.

If you're a beginner practitioner, I would personally hold off on invoking daemons before getting to know them better through evocation first; But that's just me. Some daemons' energies can be very intense and quite overwhelming, especially if you haven't met the daemon before.

E.g. Upon making first contact with Quing Paimon, I invoked them instead of evoking them, and their energies were quite heavy and overwhelming when they partially merged their soul with mine; I ended up feeling a little dizzy, became mentally exhausted rather quickly, and also got a mild headache (but maybe the headache was just from the incense I was burning LOL). I've had similar experiences with Count Glasya-Labolas too.

But once you get to know a daemon and adjust to their energies overtime, you should be fine. Please don't let my personal experiences discourage you from pursuing a relationship with the daemons you feel most drawn to!

Welp, that's pretty much all I had to write about regarding this topic. I hope you found this post helpful! And, as always... May you be blessed by whoever it is that you venerate, and I wish you all the best on your spiritual path. <3

~ ~ Ave Satanas ~

+ . . . Divider Credit . . . +

#daemonolatry info posts #demonolatry #demonology #demons #demonblr #witchblr #paganblr #daemonolatry #daemonology #daemons #daemonic divine #demonic divine #paganism #pagan #demon vocatums #demon summoning

53 notes · View notes

colleendoran · 1 year

Text

OK, so you are looking at a comic I did back in 1990 that changed my life in so many ways. Not the way you’re thinking of.

It taught me some very important lessons about the comics business, fame, and more importantly, how fame doesn’t rub off. And how having reasonable expectations will keep you centered and on the right path.

Many people don’t internalize this lesson. And now that our industry is no longer just Fandom Culture but is now Celebrity Culture, we see more and more creators with incredibly unrealistic expectations getting into comics, expecting the sun and moon to rise out of whatever they do, and being disappointed and frustrated when they don't.

I got occasional mainstream comics work in the early 1980’s, but I was still looking for my big break years later, especially since a major gig I was working on got shelved forever. I cannot even begin to tell you just how much being out of the eyes of the market for YEARS at a time while you work on a gig - and then the gig never coming out - can absolutely sink your brand.

Nowadays we have social media. Back then, you had no way to be seen if your work wasn’t being published. People forgot about you in about 15 minutes.

So when I got a gig working on Amazing Spider-Man, you bet I was thrilled. And even more thrilled when the darned thing sold like crazy. This issue of Amazing Spider-Man outsold previous Todd MacFarlane issues. And I knew Marvel was looking for a new artist. Huzzah! I outsold Todd! Maybe the new artist should be me!

You can imagine how pleased and excited I was to go to conventions and sign copies of a book that hundreds of thousands of fans bought. It was fun getting my first big lines of fans. I thought it would be a perfect opportunity to push my other works to them as well.

But few Spider-Man fans were interested in my other books. They could not possibly care less about Amethyst: Princess of Gemworld, that’s for sure.

The Spider-Man glow was gone in no time. And Marvel picked Erik Larsen to be the regular artist.

I might as well have never worked on Spider-Man for all the long term good it did. Were it not for that one brief shining moment of royalty check (which was darned good,) it had no effect on my prospects.

While I got more work at Marvel, I was scrambling to make a living and took on too much, doing sub-par art that didn’t please anyone.

I realized pretty quickly that Spider-Man’s fans weren’t my fans. I might as well have been a spark plug on that issue. Fans lined up, got me to sign a book, and forgot about me the next day.

(Yeah I know some people say they love that comic, but I often hear from people who tell me how much they hated my art back then and how much they grew to love it later. Thank you, I’ll take it.)

Anyway, it was all a very tough lesson. But I appreciate that I learned it early before I got to the point where I could never learn it.

Fame isn’t transitive. It doesn’t rub off.

The public needs more than your proximity to something they know to transfer their attention to you and your work.

A lot of people got a taste of this in the early 1990’s. For a while, self-publishing was The Big Thing. I self published A Distant Soil and did well for some years, at one point making more than I could in mainstream comics, until the market crashed in 1996. A lot of creators thought if they just went to Image Comics, they’d all be millionaires.

That didn’t happen for almost all of them.

An old frenemy saw how well I was doing self publishing and assumed that if they just transferred their mainstream comics fan base to their creator owned work, they’d get rich.

But that didn’t happen. Their self-published work sold a fraction of what mine did. Their project died in the red. I never got my art back, including work from an unpublished future issue of the project. I remember being with this creator at a show and enduring their fury at how fans weren’t paying attention to them and their project.

How could this happen? They were a star mainstream creator!

The mainstream cred did not transfer to the other work. The fans wanted the famous characters, not the indie project they were trying to push.

There was no point in explaining this either. I’d learned this lesson myself, but this person never learned it.

Most people never learn it.

How is it that I work on Famous This or with Famous Person and why am I not famous Too?

Because fame isn’t transitive.

I’ve worked on projects that got a lot (and I mean a lot) of buzz, but there are projects that didn’t necessarily set the world on fire that did more for me as an artist and for my finances than “big” projects did.

Reign of the Zodiac and The Book of Lost Souls, both early/mid 2000’s comics with mediocre sales set me on a solid financial footing because they are two of the few regular monthly gigs I’ve done in all my years working in comics. That monthly paycheck paid more than the projects I’d done before them. The financial and emotional stability was beyond price. I loved everything about those projects.

Except for their premature demise.

The one and only famous project that had a major transformative afterglow effect re: me and my work was Sandman. I met Neil Gaiman years before I worked on Sandman, before he was famous. I only worked on two issues. Many other artists were far more important to the project than me, of course. Then I went for nearly twenty years solid without working with Neil at all except on a pinup and short story adaptation of Troll Bridge that almost no one remembers.

I started working with Neil again when he saw some art I did for a book for Tori Amos back in 2008. Tori Amos fans didn’t flock to my side when they saw it, yet another example of how Famous People Fame Doesn’t Rub Off. But I lavished time and attention on the project, did the art on spec with a completely new style and process, and showed it to Neil. I asked Neil if he’d take a chance at working with me again after lo, these many years and let me have a go again at adapting the story Troll Bridge that I’d botched in 1998. Neil said yes.

After The Book of Lost Souls got killed back in 2006, I could barely get arrested in comics and I wasn’t sure I had a future. I was shocked that Neil said yes.

That Tori Amos job reestablished my working relationship with Neil and brought me to Dark Horse Comics, a publisher which had shown little prior interest in my stuff.

It took me years to complete Troll Bridge and during that time, Peter David contacted me to ask if I’d work on Stan Lee’s autobiography. That came out of the blue, and boy did I appreciate it. It sold like crazy, which was unexpected, really.

So I went from Not Being Able to Get Arrested in Comics in 2008, doing 1$ sketch cards and working for page rates I worked for in 1986, to Not Being Able to Remember What I am Doing Because I have Too Much To Do in 2022. I mean literally couldn’t remember I did a pinup for a gig back in February, and I not only forgot about it, I didn’t know it was published last June.

It looks like I had a super fast and fun run up if you’re just looking at my highlight reel. But it wasn’t. I’ve had peaks and valleys, (a few very fine peaks, the best being around 1993 and the other now), and sometimes the “big time” projects I thought would make my career held me back worse than the “small time” ones. “Big time” projects got shelved or came and went, quickly forgotten, and I said no to other projects while I was busy, and the one that got away ended up getting made into a multi-million dollar film franchise that would have set me up for life.

Ow.

If just being next to a famous person or working on a famous project was a guarantor of success, than I’d have been hugely successful every day of my adult life.

That is not how it works.

Even the famous people are not as all that as you think, otherwise you wouldn’t see so many actors with haunted looks on their faces at conventions.

I met Neil before he was famous, but it took over thirty years for me to establish a solid working relationship with him.

Thirty.

Years.

I’ve worked with famous wrestlers, actors, musicians, politicians, a Pulitzer Prize winning author, and on almost every single major licensed character there is. And I’m not super-famous or rich. I mean, I never wanted to be famous in the first place, but I’m not completely unknown in my field, and I’m not poor (anymore). Still, seriously, folks. I’m not going to movie premieres and living in Hollywood.

I actually get asked about that, and I think it’s so funny.

I was watching some recent art auctions, and I was absolutely shocked to see original pages by an Eisner-nominated creator go for rock bottom prices, mainstream interiors at around $50 per page. I could not believe it. This artist is over 40 years old. I wonder if things will turn around for them.

Time will tell.

In the end, it’s not all about the people you’re standing next to. Or the character. Or the company. Or the award. And it's certainly not all about you.

Fans are here for you one minute, and forget about you tomorrow. Then you get $50 for your Eisner nominated art.

Art either takes off or it doesn’t. You either take off or you don’t.

And then you can fly too close to the sun and fall.

Worse yet…you just fade and no one even notices that you crashed beautifully into the surf.

If people knew what the magic formula was, they’d be selling it and everyone would have what they want out of their art life.

But there is no magic formula. There just isn’t.

Everyone wants to be special to someone. Especially artists. Everything you create is special to you.

But it is extremely rare that what you create is as special to others as it is to you. Sometimes artists are just like everyone else.

Here and gone.

Fame and success is not transitive. And they're not forever.

That’s the lesson.

I'm working on Good Omens right now. The Kickstarter pre-sign up news is here. No, it's not an icky newsletter, it will just let you know when the Kickstarter launches.

I have a Patreon. I'm funding the final volume of my space opera A DISTANT SOIL with it, but I won't be working on it again until Good Omens is complete. I have one of the most active and productive Patreons on the site.

I'm also on Twitter and Facebook and Instagram. Not too much though, they are distraction pits.

Make art because you love it. Because the rest...well, good luck. If it happens for you...it happens. And I hope it does.

#comics #neil gaiman #sandman #essays #comics industry #fame #spider man #tori amos

153 notes · View notes

skaldish · 11 months

Text

What is Norse Heathenry?

Nowadays, Norse Heathenry is referred to by many names, which reflects different developing iterations of it. Amongst these names are Norse Paganism, Asatru, and Forn Sidr / Forn Sed.

Where does Norse Heathenry come from?

The following explanation is a product of ongoing anthropological, theological, and cultural research, in combination with what we know about the historical.

Norse Heathen Beliefs

Animism

A staple of Norse Heathen epistemology is Animism.

Usually, Animism is defined as the belief that all things have a spirit or vital essence to them. But this is only one definition of many, and not the definition that applies here.

Additionally, there's no separation between the sacred and the profane.

Immanence

Faiths that focus on spiritual ascension, enlightenment, or attaining a good afterlife are known as transcendent faiths.

The Norse Gods

Many people are already familiar with the Norse gods, such as Thor, Odin, Loki, and Freyja, but not many people are familiar with how they operate as gods.

In Norse Heathenry, however, gods don't operate in a lordship capacity. Instead, they're more like celebrities in that they're celebrated figures everyone knows about.

Myths & Folklore

Spirits

Values & Morality

Because Norse Heathenry has no doctrine and is immanent in nature, it has no fixed value system. Just like the stories were decentralized, so were the Norse people's values.

This is a feature as opposed to a flaw, and a fact as opposed to a theory. But it also has a habit of making Americans very uncomfortable.

Anyone claiming Norse Heathenry has a universal value system is either new to Heathenry, or selling something.

Veneration

Heathen veneration is not just limited to gods, but also includes ancestors and even certain kinds of spirits, such as nisse/tomte.

Oftentimes, relationships with entities are very interpersonal. Heathenry's animistic and immanent nature means entities are rarely cold and distant, including the gods.

Misconceptions!

A list of misconceptions off the top of my head:

The Black Sun is a Nazi symbol, not a Heathen one.

No, Norse Heathenry is not a closed practice.

No, you don't have to have Scandinavian heritage to practice Norse Heathenry. Blood quantum is not a thing.

The rune alphabets are old, but the method of runecasting is new.

So is the use of magical bindrunes.

Norse Heathenry is not the same as being a viking, and Norse Heathens are not vikings. However, some Heathens partake in viking reenactment as an extension of their practice.

There's no good or bad gods in Norse Heathenry. All the gods are capable of great good and great bad, just like people. They're fallible, and that's what makes them relatable.

Odin and Loki aren't at odds with one another.

You don't need to wait for a god to pick you to start venerating them.

If you're interested in learning more about any of these in-depth, check out the website I've built on Norse Heathenry, located in my pinned post!

#norse paganism #forn sidr #forn sed #asatru #vanatru #rokkatru #lokean #heathenism

230 notes · View notes