𝙵𝚒𝚛𝚜𝚝 𝙸 𝚓𝚞𝚜𝚝 𝚠𝚊𝚗𝚗𝚊 𝚜𝚊𝚢 𝚝𝚑𝚊𝚝 𝙸 𝚕𝚘𝚟𝚎 𝚑𝚘𝚠 𝚢𝚘𝚞 𝚍𝚛𝚊𝚠 𝙴𝚍𝚍𝚒𝚎 𝚊𝚗𝚍 𝙷𝚘𝚠𝚍𝚢 𝚖𝚞𝚌𝚑, 𝚢𝚘𝚞'𝚛𝚎 𝚊𝚛𝚝 𝚜𝚝𝚢𝚕𝚎 𝚏𝚒𝚝𝚜 𝚜𝚘 𝚠𝚎𝚕𝚕 𝚊𝚗𝚍 𝙸 𝚕𝚘𝚟𝚎 𝚒𝚝 𝚜𝚘 𝚜𝚘 𝚖𝚞𝚌𝚑! 𝙺𝚎𝚎𝚙 𝚝𝚑𝚎 𝚐𝚛𝚎𝚊𝚝 𝚠𝚘𝚛𝚔 𝚞𝚙 𝚑𝚘𝚗.
𝙱𝚞𝚝 𝙸 𝚠𝚊𝚗𝚝𝚎𝚍 𝚝𝚘 𝚊𝚜𝚔 𝚑𝚘𝚠 𝚠𝚘𝚞𝚕𝚍 𝙷𝚘𝚠𝚍𝚢 𝚛𝚎𝚊𝚌𝚝 𝚝𝚘 𝚘𝚝𝚑𝚎𝚛 𝚋𝚞𝚐 𝚕𝚒𝚔𝚎 𝚌𝚑𝚊𝚛𝚊𝚌𝚝𝚎𝚛𝚜 𝚕𝚒𝚔𝚎 𝚑𝚒𝚖. 𝙸'𝚖 𝚝𝚑𝚒𝚗𝚔𝚒𝚗𝚐 𝚕𝚒𝚔𝚎 𝙱𝚎𝚎'𝚜 (𝚕𝚒𝚔𝚎 𝚖𝚢 𝚙𝚎𝚛𝚜𝚘𝚗𝚊) 𝙱𝚎𝚊𝚝𝚕𝚎𝚜, 𝚊𝚗𝚝𝚜, 𝚎𝚌𝚝 𝚓𝚞𝚜𝚝 𝚖𝚎𝚎𝚝𝚒𝚗𝚐 𝚑𝚒𝚖. 𝚆𝚘𝚞𝚕𝚍 𝚑𝚎 𝚋𝚎 𝚑𝚊𝚙𝚙𝚢 𝚘𝚛 𝚋𝚎 𝚊 𝚋𝚒𝚝 𝚗𝚎𝚛𝚟𝚘𝚞𝚜? 𝙹𝚞𝚜𝚝 𝚊 𝚝𝚑𝚘𝚞𝚐𝚑𝚝 𝙸 𝚑𝚊𝚍 𝚒𝚗 𝚖𝚢 𝚖𝚒𝚗𝚍 𝚝𝚋𝚑.
H e a v i l y depends on who Howdy meets smhhhh- example being one of my many large spider characters JDHDHHDHD
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MDC - Alexander
For the longest time this guys name was 'Kind' cause I could NOT come up with a name for him. He was one of the first Dolls (both literally and in lore), closely resembling Master in appearance. He was also very simple in quirk initially, he was made to just be the happy man that fulfills tasks and simple errands for the Master. His chores expanded when more 'traitors' left so he is the multi-task guy that maintains different things in the mansion. Another example of a Doll being unable to break programming, since he is an older Doll created for a more simple purpose, he is not allowed to express curtain emotions. He is basically forced to be in a happy state or at least not allowed to show any other strong emotions that stray too far from his good mood state, lest he starts becoming nauseous and vomit black fluids. These fluids are basically a physical form of negativity or anything that isn't 'good' along with some blood, its super fun guys I swear. Alexander just puts on his smile and tries to help others when he can, he does his best to avoid shifting his mood too much and others respect him for his difficult to break facade (even Allenjes doesn't mess with him much, it only took one vomiting session for Allenjes to stop indefinitely with pranks and japes), it eats at him internally. Alexander does yearn for feeling something else but just slaves away doing his tasks nothing more...until some little gremlin moth woman comes his way...
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Sharks, orcas, wolves, mongooses, hawks, owls, eagles, big cats, snakes, piranhas, centipedes, preying mantises, scorpions, spiders, squids, komodo dragons, polar bears, sea lions, crocodilians: entire groups of life adapted to eat absolutely nothing but the raw flesh of other creatures. Our society recognizes all of these as iconic killing machines. They all occupy a position in our collective consciousness that teeters between majestic warrior hunter and grim terrifying murder monster. Embodiments of nature's ferocity. Agents of death.
Frogs: an entire group of life adapted to eat absolutely nothing but the raw flesh of other creatures. We think they're silly guys who ought to wear floppy hats perhaps
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How many languages do you speak?
You are always talking about alchemist that lived all around the world in very differente time periods. And you have mentioned several times that there's a ton of numerology hidden in their texts, counting syllables and letters of certain words and paragraphs. So one would assume you need to read them in the original language it was written, right?
That's a really good question! As with most really good questions, the answer is "kinda, it depends!"
So! Most alchemical texts are written in some form of coded language, but the nature of that code depends on the era and culture the text is being written in. Depending on how its written, modern scholars have a lot of different tools for cracking open alchemical esoterica.
Most ancient Greek/Byzantine texts are written in postclassical Greek. But, they're often written in dense philosophical prose. The reader needs to be familiar with the likes of Plato, Aristotle, and the early Neoplatonists, to make sense of them. Luckily for us, people have been studying postclassical Greek for nearly 2000 years. There are many excellent translations into English.
Late Egyptian alchemists wrote almost entirely in pictograph code. Not as in hieroglyphics, mind you. Egyptian alchemical recipes often made use of custom character sets and symbols that represented alchemical concepts. (One famous example, the Formula of the Crab, uses a complex diagram that looks like a centipede to represent a particular gold compound.) These are damn near impossible to read without expert help.
At the same time, Jewish and Syriac writers of the era could get by on the fact that not everyone could read Hebrew and Syriac lol. The language barrier itself acted as a sort of copyright system for protecting their ideas. Luckily for us, many of these texts were preserved and translated by medieval Arab scholars!
Speaking of Arabic, once you hit the Islamic Golden Age, the amount of alchemical literature increases by a factor of ten. Thing is, the Islamic Polymaths weren't all that interested in obscuring their work. The Islamic Golden Age was all about copying and translating older works, and compiling them into big textbook/dictionaries. They're not intentionally encoded, they're comparatively easy to read once you get a good translation. Thing is, you gotta know your Neoplatonism. Medieval Islamicate scholars love Neoplatonism.
Then we get the reintroduction of alchemy to Europe around the 10th century. What you get is about 400 years of monks painstakingly translating medieval Arabic into Latin. A lot of these texts are very well preserved, and have good translations into English.
Then, around the late 14th century, European entrepreneurial alchemy kicks into high gear, and THIS is where we get all those fancy numerology encoded alchemical texts. Renaissance alchemists loved themselves some puzzles. This would be fine if they were all just writing in Latin, but the printing press meant they could write in any damn language they please. You get a lot of French, German, Dutch, Italian, and antiquated English alchemical texts, and they can be a bitch to read without help.
BUT the introduction of the printing press also gave us something useful: cheap picture books! Late renaissance alchemists loved writing in word games and coded metaphor, but they also loved including esoteric diagrams. And the thing about esoteric diagrams is --if you know your stuff-- you don't need to speak 15th century french to read a picture. Which isn't a replacement for reading the original translation, not even close, but the explicit purpose of these images was to prove to other alchemists that the author knows what they're talking about. So if you can read them, you can get a damn good sense as to what the text is about.
This was fun to write so I'm gonna plug my patreon if you wanna see me write more about alchemy.
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