#...that humans are unique from the concept of Nature and the World...

[uncanny-tranny]

On the "darker" side of being comforted by one's immortality (not in the physical, but metaphorical), I've always been comforted by bone needles.

The idea that even after death, you've still been remembered by how you are used. No, bone needles probably weren't used with human bones, but it's a reminder that you aren't just going to... disappear. I'm comforted in the knowledge that I don't end in a "me" but in a "we," in nature. Everything about me is reused material so much more ancient than I am, and knowing that, I feel so much closer to the world.

[velvet4510]

We all knew Rio was Nicky’s other parent but it’s glorious to see it firmly confirmed and so no hater is able to deny it anymore.

And now we can really bask in just how deep and unique the writing is for that final episode.

From conception, Nicky was half-life, half-death.

Death isn’t supposed to create life. It’s a total paradox that explains why Nicky was meant to be stillborn. How could the child of Death live? Agatha becoming pregnant must’ve turned Rio’s world upside down.

Also Rio doesn’t see death as a tragedy. How could she when it’s her job? When it’s the natural order of things? Before meeting Agatha, it never crossed her mind that death could be seen as bad.

But it’s when she fell for a living human, a mortal, that she finally saw what death means for humans. How much pain and fear and grief it brings.

And suddenly here’s Agatha pleading and pleading for her to NOT do her job, to NOT take their child with her. If she does this, she’ll break Agatha’s heart - the antithesis of her understanding of death. Rio suddenly comprehends that as long as Agatha lives on, there’s no way for the three of them to ever be together as a family. No wonder she chokes back tears.

As for Agatha, she only has the living person’s perspective. How could Rio want THEIR child to die? It’s the antithesis of parental instincts to want or allow your child to die. Death or no Death, surely Rio can see why this would be wrong?

Agatha and Rio are looking at the situation through totally different and incompatible lenses.

So out of love for Agatha alone, Rio lets Nicky’s “life” half take over not just for a few hours or days, but SIX WHOLE YEARS.

Then when Rio can’t stretch the rules any longer and she comes for him, Nicky knows her. He does not fear her, or where they are going. How can he, when she is his mother, when she needs him home?

Then Rio pays the price, as Agatha cuts ties with her and wants nothing to do with her anymore.

I also think this explains why Rio is so determined to kill Agatha herself or to let the Salem Seven do it, during the rest of the show. Again, as Death, she doesn’t see death as bad, or a harm, or a pain. If Agatha dies, then Rio can take her to Nicky and they can finally be a family. But Agatha doesn’t want them to be a family together. She still sees what happened as a loss and betrayal that Nicky would never forgive her for - the opposite of how Rio views it.

Ultimately, Agatha makes herself into a ghost who can’t cross over to where Nicky is, and Rio’s dream of her family being together is shattered.

Truly one of the greatest and most profound tragedies in television history, let alone MCU history.

[cece693]

Not Going to Change, Honey

pairing: carlisle cullen x male reader tags: evil reader, he doesn't really have morals tbh, Carlisle is your mate, rocky relationship, unresolved conflict, part 2 if people want it

For all the centuries Carlisle Cullen had roamed the earth, he had never encountered anyone quite like you. He had seen grandeur in architecture, brilliance in art, and compassion in the tender eyes of mortals. But when he first laid eyes on you—one of the Volturi’s most lethal guards—he was utterly unprepared for the impact you would have on him.

Carlisle’s initial impression was one of quiet awe. You stood poised in the grand reception hall of the Volturi fortress, clad in the distinctive blood-red cloak that symbolized your allegiance to Aro. Long, elegant lines formed your silhouette—every inch of you exuded a kind of potent, dangerous allure that was hard to ignore. Perhaps it was the severe cut of your jaw or the dark gleam in your eyes that made Carlisle’s breath catch. But despite the warning prickle of tension in the air, there was something undeniably captivating in your presence.

“I presume you are the esteemed Dr. Cullen,” you said smoothly, voice as cold and refined as the marble walls around you.

Carlisle inclined his head, forcing himself to maintain calm even though his chest felt inexplicably tight. “Yes. Carlisle Cullen,” he replied politely. “I recently arrived at Aro’s invitation.”

You surveyed him with an intensity that made him feel as though every thought he had was laid bare. Carlisle found his gaze lingering on the sharp contour of your cheeks and the elegant line of your mouth. There was a deadly grace about you, but more than that, a magnetic pull he couldn’t explain.

“Word of your…unique lifestyle precedes you,” you remarked, a slight edge of amusement curling your lips. “I suppose you’ll find Volterra quite different from your usual endeavors.”

Carlisle almost smiled in return. “I suspect I will,” he said quietly. Then he glanced around, torn between fascination and a subtle dread of the Volturi’s rigorous methods. “Though I’m eager to see what the Volturi’s world is truly like.”

You nodded curtly, turning on your heel to guide him deeper into the fortress. The moment you moved, Carlisle found himself transfixed by the fluidity of your steps, by the swish of your cloak. He wondered if you realized how captivating you were, or if cruelty and power were all you cared to claim as your own.

As time slipped by in Volterra, Carlisle discovered the Volturi’s customs and tactics were indeed difficult to reconcile with his beliefs. Yet, even amid that discord, he found himself drawn to you. You were everything Carlisle was not: ruthless, unwavering in your loyalty to Aro, and wholly accepting of a vampire’s predator nature. And yet, it was your contradictions that made you all the more alluring.

Carlisle had never believed in the concept of “opposites attract” until he crossed paths with you in the fortress library. He had been reading an antique medical text by the pale light of an ornate lamp, trying to distract himself from the day’s unsettling events, when he heard the soft echo of footsteps.

“Does Cullen also dabble in the history of human medicine?” you teased as you approached, a crimson sash draped diagonally across your chest. Your posture was perfect, your head held high.

Carlisle looked up, the faintest warmth creeping into his golden eyes. “I’ve devoted my life to saving humans. It’s…a passion.” He paused, watching as you took a seat across from him, uninvited and unbothered. “I’m surprised to see you here. I didn’t realize you had an interest in medicine.”

Your lips curved into a small, wry smile. “I don’t. But I was curious to see what keeps you tucked away in this dusty library night after night.”

Something about your directness made Carlisle’s throat tighten. He shut the old tome carefully, inhaling the scent of aged paper. “And now that you’ve seen me, what do you think?”

Leaning forward, you regarded him thoughtfully, your crimson eyes lingering on the gentle lines of his face. Your gaze was unsettling, piercing, but Carlisle found it shockingly intimate. “I think you’re a man out of place—yet you keep striving to adapt. There’s something admirable about that.” Then your smile vanished. “But I also think you’re naive to believe you can find any goodness here.”

Carlisle’s lips parted slightly. “There must be some measure of order, of morality, if the Volturi have kept the vampire world hidden so efficiently for so long. It can’t be all cruelty.”

“Morality?” You laughed under your breath, a low and dangerous sound. “Is that what you think you’ll find among us?” You shook your head, your eyes glinting. “Aro is cunning; Caius is cruel. Marcus is…numb. Morality is a tool, wielded only when convenient.”

And yet, as you spoke, Carlisle couldn’t help but notice how the lamplight highlighted the sculpted angle of your cheekbone, the richness of your voice, the slender cords of muscle in your neck as you half-turned away. He felt drawn to you, as though in another life, you might have fit in the place he dreamed of—somewhere far gentler.

As the weeks passed, Carlisle had more and more reason to question the Volturi’s practices. He witnessed the methodical punishments, the harsh interrogations, and the unwavering loyalty demanded of each guard. And yet, in quiet moments, he also witnessed small kindnesses from you—fleeting but unmistakably real.

Once, in a secluded corridor, he caught you covertly offering a sympathetic word to a newly turned vampire, shaken and afraid. You hid it behind a stern command, but Carlisle recognized the concern flickering in your eyes. Another time, you saved a mortal servant from the wrath of another guard who had lost control. Though you claimed it was only for efficiency’s sake, Carlisle saw the truth. You possessed a depth of compassion you refused to acknowledge.

You confronted Carlisle one evening by the window of the fortress’s grand hall, where silvery moonlight reflected on the polished floor. He was staring out into the silent streets of Volterra, hands clasped behind his back.

“What are you really looking for, Carlisle?” you asked, voice hushed yet insistent.

“I’m not sure,” He answered honestly. “Perhaps reassurance that I made the right choice coming here—or proof that I should leave.”

You lifted your chin, a scoff escaping your lips. “If you despise our methods so much, why stay?”

Carlisle’s gaze drifted to your face, gentling as he took in the faint lines of tension on your brow. “Because I’d hoped to find something good here—someone I could help redeem. And I…” He swallowed, voice trembling with emotion. “I’d hoped you might join me in that.”

You stared at him for a moment, your expression unreadable. Then, to his surprise, you raised a pale hand to brush an errant lock of hair back from his temple. The touch was achingly gentle, contradictory to your reputation for merciless skill in battle.

“Why waste your compassion on me?” you whispered, red eyes flickering.

Carlisle felt his throat tighten at the quiet vulnerability in your question. “It isn’t a waste,” he murmured, turning his head just enough to press into your hand. “I see your strength, your elegance, and beneath it all, a heart that still cares.”

Your lips parted slightly in a faint expression of surprise, but you hardened your gaze, retracting your hand as though burned. “Don’t romanticize me, Carlisle. You’ll only be disappointed.”

Yet, despite your dismissive words, Carlisle could see the faint quiver of your jaw—proof that not everything in you was made of stone.

Carlisle wanted to stay with you—see the connection between you blossom into that of mates—but as time went on, his resolve to leave the Volturi grew stronger. He couldn’t reconcile his moral code with the violence he saw. The tipping point came when he witnessed an unjust execution—one Aro insisted was necessary to maintain secrecy. Carlisle found himself unable to stand by as a life, no matter how tainted, was extinguished without mercy.

He sought you out in the ancient corridor lit by flickering torches. Stone arches framed you like an immortal sculpture, and for a moment, Carlisle’s heart clenched at how beautiful you appeared—like a painting come to life.

“I’m leaving,” he said softly but firmly, stepping closer than he ever had before. “I can’t stay here and watch this cruelty. It goes against everything I believe.”

Your expression hardened, but your eyes betrayed a flash of pain. “So, that’s it?” you asked, voice low. “You leave because reality offends your delicate conscience?”

Carlisle exhaled shakily. “It’s not about being offended. It’s about upholding the sanctity of life. You know that’s my creed.”

You swallowed, the torchlight catching in your hair, illuminating your features in deep shadow and warm highlights. Carlisle’s gaze flickered over your face, taking in every detail—every elegant line, every subtle contour he had come to find so enthralling.

“I already asked you before,” Carlisle continued, breath trembling. “but please come with me. Whatever bond is between us—whatever this is—I can’t bear the thought of leaving it behind.”

He reached out, gently brushing his fingertips along your jaw. The featherlight contact sent a tremor through both of you. For a moment, you closed your eyes as if steeling yourself against an onslaught of emotion.

“Carlisle,” you murmured, the single syllable loaded with longing and heartbreak. Then your eyes opened, scarlet irises locking onto his golden ones. “I cannot follow you. Aro trusts me. I have earned my place here through centuries of service.”

Carlisle’s lips parted, and his chest constricted painfully. “But what about your happiness? Don’t you see there’s more to life than this endless cycle of violence?”

Your jaw tightened. “This is my world. My choice. I’m not like you. I can’t pretend that moral codes and hopeful ideals will keep me safe.” You lowered your gaze. “You have to go. If you stay, you’ll be broken—one way or another.”

Something inside Carlisle cracked, the pain resonating through every fiber of his immortal body. “So that’s it?” he asked, voice faltering. “You choose them over—”

“I’m sorry,” you interrupted, your voice trembling at the edges. “But you have to leave. Now.”

In a final desperate moment, Carlisle pressed a tender kiss to your forehead, lingering just long enough to feel the slight chill of your skin. You stood perfectly still, your eyes sliding shut in silent torment. Then he stepped back, letting the cold air slip between you as though forming an invisible wall.

You remained where he left you, the slow hush of your unneeded breath the only movement. It took several minutes before you opened your eyes, composure already brittle. You touched the spot on your forehead where his lips had lingered, an ache you couldn’t name thudding in your chest. You had chosen your duty over love—and it stung in a way you hadn’t anticipated.

Carlisle eventually found a new life far from Volterra, building a family and fostering the ideals he cherished. Yet in the quiet hours of predawn, when his coven was at rest and the world was still, he thought of you. He recalled the elegantly carved lines of your face, your unwavering stare, and the fleeting softness you revealed only to him.

No matter the distance, no matter how many centuries stretched between him and that fortress of stone, you lingered in Carlisle’s thoughts—an unhealed wound and a cherished secret. He imagined a time you might leave the Volturi’s shadows behind, stepping into the light he so desperately wanted to share with you. Until that day, he carried the memory of your touch and the haunting depth of your eyes. For in the darkest corners of his heart, he still believed you were worthy of love—and that one day, you might finally believe it too.

[nobody-nexus]

A world of chaos and destruction, not much is known about what exactly the place is aside from the name of a blood bath of a free for all world where death is only a temporary set back... Welcome to...

The Deadzone

The Digital Deadzone is an AU where Caine is the head of a sandbox free-for-all game that the cast are stuck in. Having infinite lives, they're all here to fight and die for the entertainment of a third party

Constant weapons, supplies, and stuff spawn for them and it's supposed to be everyman for themselves, however some form bonds over the years they've spent in constant chaos. Every character has a class, a passive ability, and an active ability- as well as the power to use any and all weapons that Caine provides them

Caine will also force the players and NPCs into teams to do missions to keep everything fresh and unique. But that won’t help everyone during an almost hopeless situation… Well. At least they have each other

Below the keep reading for the main cast! (All Humans + Caine)

-----------------------------------------------------------------------------

Health: High Attack: Medium Defense: Medium Agility: High Height: 4’11’’ Real Name: Eliza Pavlova Old Occupation: Full Time Modeler and Coder Class: Offense

Passive Ability: Due to her cat-based abilities, her speed, agility, and flexibility is naturally increased. She has retractable claws and a tail that she can use to hold onto things -----------------------------------------------------------------------------

Health: Very High Attack: Low Defense: High Agility: Medium Height: 5’6’’ Real Name: Amanda A. Raggson Old Occupation: Script Writer Class: Support

Passive Ability: She’s naturally resilient to most damage due to her plush and cotton filled body. She can take more hits than usual, and she can fix herself up easily. However, stuff like water, milk, or any other kind of liquid can slow her down if dosed in enough of it -----------------------------------------------------------------------------

Health: Medium Attack: Low Defense: Very Low Agility: Very High Height: 6’4’’ Real Name: Jackson Mendez Old Occupation: Game Tester Class: Offense

Passive Ability: His jumping capability has been increased due to being a Leporidae, making him able to go high into the air and land without taking damage (if he lands on his feet, of course) -----------------------------------------------------------------------------

Health: High Attack: Low Defense: Medium Agility: Medium Height: 5’10’’ Real Name: Grace Sezer Old Occupation: Concept Artist Class: Defense

Passive Ability: Being made of ribbons, she’s naturally flexible and can go through tight spaces and reach places most can’t. She also can wrap herself around objects (when she doesn’t have clothes on, which is kinda weird) -----------------------------------------------------------------------------

Health: High Attack: High Defense: Low Agility: Medium Height: 7’2’’ Real Name: Zoe Imelda Albrechtsson Old Occupation: Environmental Modeler Class: Support

Passive Ability: They can take themselves apart and put themselves right back together due to their building block like body. This makes them practically immune to a good portion of explosives and limb detachment tactics -----------------------------------------------------------------------------

Health: Medium Attack: Medium Defense: High Agility: Very Low Height: 6’4’’ Real Name: Caesar Kingston Old Occupation: Head of the Game Department / Head Coder Class: Defense

Passive Ability: Due to being made of a strong petrified wood, Kinger seems to not take much physical damage unless it’s from explosives or heavy environmental damages. He can still feel the pain though -----------------------------------------------------------------------------

Health: Low Attack: Medium Defense: High Agility: Medium Height: 5’11’’ Real Name: Daniel Kaufman Old Occupation: Janitor Class: Offense

Passive Ability: His body is blubbery, which makes him less likely to be damaged by bludgeoning or stabbing like damage, however other sorts of physical damage do the same amount of damage to him -----------------------------------------------------------------------------

Health: Very High Attack: Very High Defense: Very High Agility: Very High Height: 5’3’’ Real Name: “Master of the Deadzone” Old Occupation: None Class: ???

Passive Ability: He knows everything about every new player as soon as they enter into the world. It’s unknown how this is even possible, but it seems to be something he’s fed through an unknown source. But this does make him want to know more about the minds behind the stories… -----------------------------------------------------------------------------

This is an AU that means a lot to me personally. It will handle topics that I understand and relate to. It'll also be a rather serious AU as well

Once I post more about this AU (which I very much will be doing because I have a LOT about it), I shall make a proper masterpost on this one

And please ASK AWAY ON THIS AU. I legit have spent MONTHS working on this AU because I want it to be perfect

Hope to see more soon!

[notaplaceofhonour]

One of the most frustrating parts of the extreme rhetoric around Israel/Palestine (besides the obvious reliance on antisemitic & anti-Arab, Islamophobic tropes) is that it exceptionalizes so many things that are actually pretty standard features of nation-states and war in a way that completely compartmentalizes the criticism of these things into just being about criticizing the “few bad apple” countries instead of criticizing the entire institution of nation-states and war as a whole.

For instance: the fact is that war kills civilians, at an alarming average of 6:1 civilians-to-combatants deaths. The status quo of war, across the board, is that way more civilians die than combatants. And yet, despite the high death toll, despite Hamas using civilian infrastructure & noncombatants as human shields (which Hamas has openly admitted to doing), despite the imprecise & destructive nature of using bombs on urban targets, and despite the inadequate humanitarian aid that has been able to make it into Gaza… the IDF has still managed to stayed well below the average of civilian casualties.

The point of saying this is not “this is what war looks like so it’s not a big deal” it’s “this is what war looks like so we as a species need to stop doing it”—seeing the devastation war has brought to the people Gaza should move you, and it should make you never want to see another war again. It should make you want a ceasefire not just for Israel and this war but all wars always. And obviously, in practice, it’s not that simple—peace is more than “just don’t do war” and the thing about ceasefires and peace treaties is they kind of have to be mutual to mean anything—but the point stands: War Bad.

However, if instead you see the destruction in Gaza and think it’s an exceptional case, where Israel is evil and the only way war could be this destructive is genocide, you get to preserve this romanticized, idealistic fantasy of war as, violent yes, but perhaps only in a cathartic, tragic-but-beautiful way—a glorious struggle where two armies clash on a battlefield far removed from everyday life and only soldiers die. You get to preserve your belief in Just War, to look forward to a morally uncomplicated Glorious Revolution™️—you may even preserve your ability to cheer on the death of Israelis.

And that’s just one issue. There are others: the claim of “ethnostate” obscures criticisms of nation-states as a concept, the claim of “apartheid” obscures criticisms of how borders & citizenship are set up across the world, etc. This inverse Israeli Exceptionalism where Israel is treated as uniquely or exceptionally problematic isn’t simply discriminatory or rooted in prejudice (which are reasons enough to criticize it, as I have), it’s actively impeding the left’s ability to criticize the actual structural systems that are the problem.

[velvetseahorse]

Erotic Chaos: Kundalini, Ashlesha, Uttara Bhadrapada, and the Struggle for Control

In ancient Vedic texts, Kundalini is described as the “serpent power,” an intense, primal energy coiled at the base of the spine. This energy is tied to our ego and physical identity, anchoring us to the material world while also placing limits on our spiritual growth. Mastering Kundalini means learning to awaken and guide this energy upward through each chakra, each center representing a unique aspect of consciousness. A true Kundalini awakening is not just about spiritual insight it also involves embracing sexual energy as a natural, powerful force within the spiritual journey, transforming raw desire into higher awareness. Source: Claire Nakti

Ashlesha nakshatra is deeply connected to this concept because it embodies the themes of binding and constriction spiritually and energetically. Governed by the Nagas (serpent deities), Ashlesha represents the dual nature of serpents: they can bind and paralyze with poison but also possess the power to release and unbind. Being in the sensitive water sign of Cancer, Ashlesha is about preserving energy and maintaining purity. Nagas, associated with water, are highly sensitive to spiritual pollution and react strongly against actions that disrespect sacred knowledge. Their Yin nature means they don’t initiate but rather respond, acting as protectors of Dharma (spiritual order) and sacred practices. Uttara Bhadrapada, on the other hand, also has a restrictive quality, but its limitations are tied to Saturn’s influence and Pisces’ connection to the 12th house the realm of isolation, subconscious depth, and hidden places like prisons or asylums. Its deity, Ahir Budhnya (the deep sea serpent or dragon), guards hidden treasures in the depths of the ocean, symbolizing the containment and protection of sacred knowledge. Uttara Bhadrapada’s connection to Kundalini is more refined it is linked to the Ajna (third eye) chakra, where spiritual energy is stabilized. In this stage, Kundalini rises beyond ego and personal identity, bringing a profound shift where ambition and the desire for achievement fade away. The individual transcends their limited human self, merging with a higher state of consciousness and aligning with universal truth.

Ashlesha is about breaking free from “motherly” restrictions to avoid becoming frozen or paralyzed in a state of innocence or naivety. It represents the struggle of moving beyond a sheltered, virginal state. In “The Year of the Carnivore,” Cristin Milioti an Ashlesha native plays Sammy Smalls, a young woman stuck in a grocery store job she dislikes but keeps to avoid moving back in with her overbearing parents. Sammy’s life takes a turn when she develops a crush, and after an awkward sexual encounter, the guy tells her she is sexually immature due to her inexperience. This criticism triggers a spiral for Sammy, pushing her into a series of awkward, misguided sexual experiments as she tries to gain experience. One telling scene shows Sammy getting intimate with a guy but unable to stop laughing — a clear sign of discomfort with physical touch.

This aligns with the nature of Ashlesha, whose yoni (animal symbol) is the male cat, considered the least sexual yoni in terms of directness, reproduction, and penetration. Like a cat, Ashlesha can be finicky, picky, and indirect, preferring to preserve their energy. This focus on energy preservation is tied to Ashlesha’s connection with water the most easily polluted element. Water signs like Cancer (Ashlesha’s zodiac sign) and Pisces are especially vulnerable to contamination, which is why Ashlesha women are often concerned with purity and self-protection. Ashlesha natives often need to explore sex in a way that genuinely gratifies them, and their indirect, cautious approach can sometimes lead to an aggressive or even predatory sexual expression a “man-eating” or cannibalistic trope.

This is seen in “Raw,” where Garance Marillier who has an Ashlesha ☽ and an Uttara Bhadrapada ↑ plays Justine, a veterinary student raised as a strict vegetarian by her overprotective mother. When Justine is forced to eat raw rabbit meat during a hazing ritual, she develops an intense, almost uncontrollable craving for raw flesh, leading to a disturbing transformation. Her struggle with hunger and primal urges is a dark, exaggerated portrayal of Ashlesha’s conflicted relationship with instinct, hunger, and desire. After experiencing intense cravings for meat, Justine feels ashamed and begins secretly eating raw meat. Her hunger takes a darker turn when her sister Alexia accidentally cuts off her finger and instead of helping, Justine picks it up and starts chewing on it. Justine’s hunger for human flesh intensifies and begins to blur with her feelings of lust, especially toward her roommate, Adrien. Adrien is more sexually experienced, while Justine is still a virgin and unfamiliar with her own desires. During a hazing ritual, she is pressured to kiss a boy but ends up biting his bottom lip instead. Later, when she has sex with Adrien, she struggles with an urge to devour him but manages to control herself, biting her own arm instead and experiencing an orgasm.

In “Jennifer’s Body,” Megan Fox an Ashlesha ☽ native plays Jennifer Check, a high school girl known for her wild reputation. One night, Jennifer and her best friend Needy go to a local bar to see an out-of-town band perform. The lead singer, mistakenly believing Jennifer is a virgin, decides to sacrifice her for fame and fortune. But the ritual backfires because Jennifer isn’t a virgin, and she is transformed into a succubus instead of dying. As a succubus, Jennifer begins seducing and killing local boys, feeding on them to maintain her beauty and vitality. If she goes too long without eating, she becomes pale and withered, needing “male meat” to stay healthy and beautiful. These stories highlight Ashlesha’s intense, pent-up feminine energy a force that is both alluring and dangerous. Ashlesha is like a group of hidden, pure water creatures sensitive, waiting, and filled with angsty, sexualized energy. It craves something strong enough to resist or contain it. When that strength is absent, Ashlesha’s energy can become consuming, uncoiling and rising like a serpent, leading to a kind of bliss or ecstasy. Despite its connection to inexperience or naivety, Ashlesha has a fierce, almost predatory side. Its intensity is rooted in a primal hunger, making it one of the most dangerously passionate nakshatras, especially when its desires are awakened.

𓆗

Uttara Bhadrapada, with its Saturnian influence and connection to the deep waters of the subconscious, often manifests as a struggle between repression and chaotic release, especially when it comes to sexuality. The nakshatra’s link to hidden depths means that emotions and desires are often buried, but when they surface, they can do so violently or in distorted ways. This is evident in two films featuring Uttara Bhadrapada natives: “The Piano Teacher” and “A Dangerous Method.” In “The Piano Teacher,” Erika Kohut (played by Uttara Bhadrapada ☽ Isabelle Huppert) is a rigid, troubled piano professor in her late thirties, living under the suffocating control of her elderly mother in Vienna. Her father spent years in a psychiatric asylum, and Erika’s entire life is a study in repression she leads a scheduled, lonely existence, pouring all her energy into her strict, almost cruel teaching style. Her mastery of classical music, (which @invenusworld has linked to Saturn nakshatras) is her only source of pride, but it also becomes a prison. For Erika, who was conditioned to believe that only her piano skills had value, everything else beauty, charm, or love seems beyond her reach. Erika embodies the detached, mysterious qualities of Uttara Bhadrapada. She feels fundamentally excluded from the world around her, a theme captured in the novel by Elfriede Jelinek: “She feels left out of everything because she is left out of everything. Others go farther, even climbing over her. She looks like such a minor obstruction… The paper can’t get very far, it rots away right there. The rotting takes years, monotonous years.” This isolation and repression transform her desires into something dark and destructive. Her sexual needs, suppressed for so long, emerge through voyeurism, sadomasochism, and self-harm. Uttara Bhadrapada’s connection to Saturn (restriction) and the 12th house (hidden desires, self-undoing) makes Erika a prisoner of her own twisted cravings. Her attempt to control her sexuality leads to a disturbing power struggle with Walter Klemmer, a young pianist who becomes fascinated with her. Although she is impressed by his talent, she tries to sabotage his acceptance as her student, a reflection of her fear of losing control. Her insecurity peaks when she sabotages another student, Anna, injuring her to steal her performance opportunity. Walter’s interest in Erika turns into a toxic, violent relationship.

When she tries to control their encounters with a list of masochistic fantasies, Walter is disgusted and calls her sick. Uttara Bhadrapada, with its mix of Saturn’s restraint and the 12th house’s hidden darkness, can manifest as a craving for the forbidden but also a fear of being consumed by it. Erika’s attempt to engage with her desires becomes self-destructive. Her repression is so severe that even when she tries to submit to Walter at an ice rink, she becomes overwhelmed and vomits. Later, when Walter arrives at her apartment and violently assaults her, acting out the fantasies she had described, it becomes the ultimate loss of control a tragic consequence of her conflicted desires, which she never truly wanted to become reality. What Erika genuinely craved was affection and love, but her need for them was distorted into unhealthy perversion. The next day, she brings a knife to the concert hall where she is set to perform in Anna’s place. When she sees Walter laughing with his family, she calmly stabs herself in the shoulder and walks away, her self-harm a final act of despair and self-punishment.

The Andromeda myth, tied to Uttara Bhadrapada, is a story of captivity, sacrifice, and transformation. Andromeda, a princess chained to a rock as an offering to a sea monster, represents the themes of being trapped, suffering for the sins of others, and the potential for liberation through divine intervention. These themes echo the emotional and psychological struggles associated with Uttara Bhadrapada, where hidden fears, repressed desires, and subconscious turmoil create an internal prison. Yet, like Andromeda, the potential for transformation always exists, even in the darkest moments.

Uttara Bhadrapada’s connection to Andromeda can be seen in how its natives often experience deep psychological suffering or repression, feeling bound by invisible chains whether through strict upbringing, oppressive relationships, or their own unresolved fears. This nakshatra is ruled by Ahir Budhnya, the serpent of the deep, a being bound to the ocean’s depths yet holding vast knowledge. Like Andromeda, who is saved by Perseus, Uttara Bhadrapada’s struggle is not without hope. Transformation comes when they confront the monstrous aspects of their subconscious, freeing themselves through self-awareness or a profound emotional release.

. ♓︎ .

This theme is vividly portrayed in “The Piano Teacher,” where Erika Kohut (Uttara Bhadrapada ☽ Isabelle Huppert) is emotionally chained by her controlling mother and repressed desires. Her strict, punishing approach to life is a form of self-imposed captivity, but beneath her cold exterior lies a sea of chaotic, unfulfilled desires. Her voyeurism, sadomasochism, and self-harm are expressions of this repressed energy breaking through, much like the sea monster in the Andromeda myth. When she meets Walter, their interactions become a cruel power struggle a battle between her need for control and her longing for release. Walter initially seems like a liberator but becomes another form of torment when he violently acts out her fantasies, leaving Erika even more wounded. Her final act of self-harm before walking out of the concert hall is a twisted attempt at reclaiming her agency a distorted form of freedom.

In “A Dangerous Method,” Sabina Spielrein (Uttara Bhadrapada ☉ Keira Knightley) is also trapped by her traumatic memories and her intense, conflicted desires. Her hysteria and emotional suffering are symptoms of unprocessed trauma, but they are also the source of her transformation. Through her relationship with Carl Jung, she confronts the darkness of her past, ultimately transforming her suffering into insight, becoming a pioneer in psychoanalysis. Her journey from patient to healer reflects Uttara Bhadrapada’s power to turn pain into wisdom, just as Andromeda is saved and transformed by her ordeal.

“Augustine” portrays another trapped woman, Augustine (Uttara Bhadrapada ↑ Soko), who is institutionalized after violent fits and paralysis. Charcot’s obsessive study of her turns her suffering into a spectacle, reducing her to a subject of medical curiosity. But Augustine’s symptoms seizures, loss of sensation, and fainting are not just physical. They are expressions of repressed emotions and desires struggling to surface, much like Kundalini energy coiled in the depths. Her final escape from the institution, after using her supposed hysteria to manipulate Charcot, is a symbolic liberation, a rejection of being used and controlled.

Going back to the cannibalistic narratives of “Raw” (starring Ashlesha ☉, Uttara Bhadrapada ↑ Garance Marillier) and “Bones and All” (directed by Ashlesha ☉, Uttara Bhadrapada ☽ Luca Guadagnino and starring Uttara Bhadrapada ☽ Timothée Chalamet). In “Raw,” Justine is overwhelmed by her repressed hunger, both literal and metaphorical, which becomes monstrous when she tastes human flesh. Her descent into cannibalism is a grotesque form of transformation, where she must confront the darkness within herself a classic Uttara Bhadrapada struggle. In “Bones and All,” Chalamet’s character lures his victims through seduction, a serpent-like dance that combines hunger, desire, and violence. His embrace of a man in the cornfield, wrapping around him before striking, is a direct nod to the snake symbolism of Ahir Budhnya the hidden hunger that coils around its prey. These cannibalistic themes reveal the shadow side of Uttara Bhadrapada, where suppressed desires erupt in monstrous ways. But they also hint at the potential for transformation, as both characters are forced to confront the darkness within them. These stories show how Uttara Bhadrapada’s Andromeda connection is not just about suffering but about the choice to either remain trapped or transform to either let the sea monster devour you or find a way to break free.

[serpentface]

Here's what typical vestment for The Odomache looks like.

The pelt of the lion that was originally sacrificed and worn raw for her incarnation is retained throughout the years of service, preserved and fashioned into a headdress and cape (obscuring a helmet). This can get dreadfully hot in the summer but no one ever said that being a hollowed out pathway for God's spirit was easy.

The body is always obscured near completely, barring the hands, feet, and parts of the face (philosophically, these are the body's least vulnerable parts as its modes of Action, though this is in large part a practicality). This is partially a matter of psychological enforcement that this person is not Just a human, and partly a matter of protecting the part of God's living spirit that's in a wholly human body. Conceptually, the Odomache Enables tremendous power rather than being intrinsically powerful in of herself, so all manners of protecting the metaphysically vulnerable human body are of tantamount importance in her case.

The complete obscuring of any identifiable feminine form is also notably important to the underlying philosophies and biases involved. It is necessary that she is female, a condition ascribed a unique malleability to change and transformation (for good or harm), but the act of female/non-male sex and gender assignment also serves to uphold an underclass in a patriarchy that she By Necessity must be distanced from. This extends beyond the masculinized social and dress performance of Odonii to a masculinized social performance with dress that utterly obscures any part of the body that could be gendered, and dress that is not gendered in of itself (women do wear less revealing clothing than men and skirts of similar length, but the act of Fully covering the body in this form exists outside of the bounds of gendered dress).

[[It should be noted that on a historical level, this role is largely a descendant of a variety of 'celibate and/or masculinized female religious authority' figures in pre/proto-Wardi societies stretching back centuries, rather than an emergent property of contemporary religion and philosophy. This is an adaptation of older roles and worldviews to securely fit the contemporary zeitgeist, and that's part of why many aspects of this role Superficially clashes with said zeitgeist.]]

The relatively undecorated white cloak and robes in comparison to culturally favored displays of color and opulence further emphasizes a sense of the Odomache's separation from humanity. The Wardi image of God is not a human lord, but rather the world itself and the functions of the world distilled into the forms of animals. Human hierarchies exist Within God rather than God having a place within human hierarchies, so in this philosophy it's natural for this particular person of high authority to not closely resemble a Human Authority.

This is still ultimately a human body existing at the top end of a human hierarchy (and in the dimension of religious thought, it a human body holding aspects of God most specifically concerned with maintaining concepts of 'right' civilization and hierarchy), so public-facing garb like this will still include a few mundane trappings of lordship such as this fancy gold khattanocuy displaying an image of an enemy being trampled by the Face Odomache as the guardian lion. Purely ceremonial garb for the Odomache hides the body in its entirety beneath the white cloak and forgoes all decoration save for the obligatory weaponry.

A sword and dagger is worn at all times as a matter of being the ultimate physical bastion of her society's military might, and she is always accompanied by a retinue of 'lieutenants' (Extremely elite servants/squires) who carry whatever other elements of her perpetual armament are not currently in use. These weapons are Completely ceremonial in nature (to the point that they're made or plated with gold rather than anything like, durable) and there is absolutely zero expectation that the Odomache will ever directly engage in combat (the times this has happened historically have been when things have gone horribly wrong).

Her face is usually masked in public, though this is not a strict necessity of the role and is forgone for some ceremonial purposes. On these occasion, it's standard to paint the face red to still partly obscure human features in the same fashion of battlefield Odonii. As the color of blood, it positively evokes bodily vitality and strength, the living spirit of the world itself and the mode of connection to God (and will also be reminiscent of the rite of incarnation during which she is Actually covered in blood)

[honey-bee05]

TWST Stranded Alien AU

Okay this may be a bit convoluted, but I’ve had this idea living rent free in my head for a while now and I had to write it down.

So, we know how Twisted Wonderland is a different dimension/ planet from the one Yuu is from, right? I’ve always thought how convenient it was that Yuu is the same as the humans of twst (minus the magic part), spoke the same language, eats the same foods, etc. But what if that wasn’t the case?

What if instead of Twisted Wonderland being just a magical version of Earth, it was well and truly a different planet. Here’s a bit of a brain dump of things that I think would be different:

-Twst humans aren’t biologically the same as Earth humans.

Sure, they look similar, but there are some glaring differences. I like to think that Yuu would give the twst humans sort of an “uncanny valley” feeling, and vice versa. Like maybe the twst humans’ skin is weirdly texturless/ too smooth, or Yuu’s facial expressions are really exaggerated in comparison. I want Yuu to really feel like an alien in comparison. It might also be neat if only humans could easily tell the difference, so Faye and Merpeople and the like may not be able to tell at first.

I also imagine this would extend to things like Yuu having a blood type no one else in twst has (heck, maybe blood types don’t even exist there). Maybe they’re allergic to certain common foods or able to digest things that are poisonous to most twst humans. I could write about this part for days, but I’ll leave it here for now.

-Different Language and Culture

If you were to suddenly find yourself on an entirely different planet, what are the odds that you would speak the same language as the people living there? Pretty much 0, in my opinion. I think an untranslatable language barrier could be a really fun obstacle to play around with, and would add an extra layer of difficulty and frustration to the whole situation. 

I’ve also read a lot of fics where Yuu/ reader tries to navigate cultural differences between them and the non-humans of twst, but what if that were extended to the whole cast? I imagine that because of magic, the evolution of life on Twisted Wonderland happened in an entirely different way than it did on Earth, which would lead to a unique culture for its civilizations.

-The Geography/ Planet Itself is Different

Not sure why, but I’ve always had the headcannon that Twisted Wonderland is significantly smaller than Earth. I know we haven’t seen much of the world map yet, but I imagine what we do have is about ½ to ⅓ the size of the whole planet (Forgive me if I’m wrong, I haven’t finished reading the last chapter or hardly any of the vignettes yet). With that being said, gravity would be much lighter than that of Earth’s which could lead to some funky consequences. 

I also think that the weather would be different, and in my opinion, less extreme. I remember in the masquerade event, when Malleus caused an earthquake after finding out Rollo duped him, the cast was pretty shocked (yes, at the fact Malleus caused it, but it also seemed like they were surprised by an earthquake in general), even though it was quite a light one with little to no real damage done. Natural disasters aren’t really that uncommon in our world, and are often bad enough to take tens to hundreds of lives and cause millions in damages. I mean hell, we even have “tornado/ hurricane season” it's so common. 

-Morality and the Concept of Good vs Evil

Ok this kind of ties in with the culture thing, but I felt it deserved its own category. I think that the difference in how civilization came to be would vastly alter what people think is and isn’t ok. We know that physical/ magical strength is a huge factor in determining class/ hierarchy in twst society, so there might be more of a “survival of the fittest” mentality going on. It’s also interesting to think how having multiple sapient species, as opposed to Earth’s one, would affect things.

These are just some thoughts I’ve had for a while. I love world building so much, I’d be absolutely delighted to write more about this if anyones interested. Also, if you have anything to expand on this, please tell me! I’d love to bounce ideas off one another :D 

Anyways, hope y’all have a great day!

[katakaluptastrophy]

You know how it goes: through some incredible circumstances, God and a young woman living under the shadow of an oppressive empire have a metaphysically unusual baby who grows up to be a general nuisance, won't stay dead, and sports a few additional holes...

It's the third Sunday of Advent and I'm a little concerned Bible studies for weird goth kids might be turning into a series... Let's talk about the Blessed Virgin Mary and Commander Awake Remembrance of These Valiant Dead Kia Hua Ko Te Pai Snap Back to Reality Oops There Goes Gravity.

Wake was probably never described as "gentle", "meek", or "mild", but there are a few similarities: distinctive outfits, snazzy shrines, commitment to putting down the mighty from their seats, and of course babies with great and terrible destinies niftily conceived without sex.

On the topic of conception, let's clear up a common, uh, misconception: the term "immaculate conception" does not refer to Mary becoming pregnant with Jesus. It's Mary's own conception.

Why are we talking about how Mary was conceived and what does this have to do with lesbian necromancers?

To answer that question, we have to go back further still, way before Mary's conception. Back to these guys and their unfortunate snack cravings:

Remember how last time we talked about the concept of being in a state of grace? Well, the Christian read on Adam and Eve is that a state of grace was, as it were, the factory setting for humanity. They were fully in tune with God, there was no sickness or death, there was no sin. Until, that is, the whole unfortunate business with the apple. The first sin. The world is fundamentally altered. Humanity is expelled from paradise, burdened with sin, death, disease, patriarchy, and work. Worse, this sinful human nature turns out to be sexually transmissible: every human being is born tainted by this "original sin" of Adam and Eve.

This is why Catholicism is so big on baptising babies: even if they're many years off being able to commit any sins themselves (a sin has to be something consciously chosen and understood), they're still contaminated by that original sin of Adam and Eve. Baptism is understood to erase original sin, wiping the slate clean.

Bear with me, we'll be back to necromancers soon I promise. Have a picture of Mary beating up the devil while an angel holds baby Jesus:

OK, but what does Adam and Eve's danger snack have to do with Mary's conception?

The "immaculate conception" refers to the idea that unlike every human being between Adam and Jesus, Mary was conceived without the contamination of original sin. The rationale for this is complex, but essentially boils down to something like the saving power of Jesus not being bound by piffling things like time and space and thus saving his mother before her own conception and allowing himself to also be conceived and born sinless.

But the important bit is that something specific about Mary means that she is uniquely able to be pregnant with Jesus.

You may be starting to guess where this is going...

Because while unconventional pregnancy seems to have been the plan from the get-go for Jesus, it was not with the artist formerly known as The Bomb:

“I had the baby,” said Wake. “The baby I’d had to incubate myself for nine long fucking months, when the foetal dummies these two gave me died.”

“Oh, God, it was yours,” said Augustine, in horror. “I thought you’d used in vitro on one of Mercy’s—”

“I said they all died,” said Wake. “The dummies died. The ova died. Only the sample was still active, no idea how considering it was twelve weeks after the fact, but I wasn’t about to look a gift horse in the mouth.”

“So you used it on yourself,” said Augustine. “Anything for the revolution, eh, Wake?”

We have to assume the foetal dummies plan was hatched by Mercymorn, a brilliant scientist with a myriad of experience. If the problem encountered by Wake were as simple as Lyctoral infertility, I suspect Mercy would have spotted that long before.

But what do Wake and John have in common that Mercymorn or any of the other ova-having residents of the Mithraeum did not? They are both (to some extent at least) factory setting humans: unlike everyone else in the Dominicus system, they never died and were resurrected, nor are they the descendants people who were. John's abilities, while macabre, are not straightforwardly the necromancy otherwise practiced in the Houses. That necromancy is a direct result of one specific act of taking that resulted in the very nature of the world changing: a thanergetic system, inhabited by human beings who, necromancer or not, are fundamentally tainted by thanergy and by the after effects of that action of John's. You might call it a sin. An indelible sin. He does.

It's not an exact parallel, but necromancy certainly occupies a space not dissimilar to original sin: the result of a single action, tainting every descendant of its progenitors regardless of their actions of abilities.

And then enter Gideon, born in space away from the thanergetic energy of the Dominicus system to a mother lacking the 10,000 year intergenerational burden of the resurrection and necromancy. The child of Jod, born to die.

[the-sol-eater]

[ content warning: discussion of in-canon sexual abuse ] Maybe it’s just because I’m not too active in the ALNST fandom and mostly observe from afar, but I think this fandom brushed aside way too quickly the fact that Till was sexually assaulted. I have never seen anyone talk in depth about like, what that actually means in terms of his arc and the storytelling of his character. Which I find deeply, deeply upsetting because holy fucking shit.

This man right here has been told, basically his entire life, that not only is he himself not worthy of being treated as a human, but that his body is not his body, but a piece of property that can be owned. And whoever owns his property can use it for whatever, and however they wish. Now, dehumanization is nothing new or unique in this world, obviously. The very concept of Pet Humans is dehumanizing by nature, leaving all six of our main characters as victims to it, even those who are more well-off like Mizi. But Till is a specially fucked up case almost distinctly unlike the rest, because he is actually treated like a fucking dog.

(x) Ivan: If you keep rebelling like that, they won’t ever remove your collar you know? Till: This annoying bastard… — Ivan: I told you so, didn’t I? You didn’t listen? Till: This annoying bastard... (translation courtesy of @leiikos on youtube)

(x)

An unruly animal who needs to be leashed up and put in it’s place. Animals, as is common knowledge, are not on the same level as a human being. But they are ordained to follow the commands of those above them. And if someone (thing) isn’t doing as it is told…

It deserves to be taught better. But I’m getting ahead of myself. This is the mindset that has followed Till his entire life by the ones who were supposed to take care of him. He is not human, even less human than the existing inhuman. He is a pet, even more so than the other pets, an animal. A thing. Property. Something to own. And the best thing about owning something?

You gain the ability to do whatever you want to it. Till’s body was not his from the start. It was used as something to toy around with, experiment with, to train and train and train, presumably for his whole life. His body, his skin, his flesh and bone and blood, it was all nothing more than a plaything. So what if he screams? Just ignore it. Or don’t. If this competition has taught us anything, voices have the most value of all. On top of it being reinforced that Till is not deserving of humanity, he is also not deserving of his bodily autonomy. People are free to do whatever they want with his body because it’s not his body, it’s theirs. And that brings us, finally, to the scene itself

He can’t sing her song, he refuses to. This isn’t the first time he’s refused to do something, far from it actually. What was once an innocent puppy with dilated hope in his eyes has grown into an angry, disobedient mutt. And we know what happens to an animal that refuses to do what they’re told. But there’s something interesting about dogs, or rather about the ones they descended from, the wolf: When the circumstances call for it, they will bite the hand that’s supposed to feed them.

And here is where I intrude to remind you that this is the only time we see anyone physically fighting back against the aliens in the confines of Alien Stage. We see Hyuna and Mizi fucking up aliens in All In, but that was after they had escaped from the cage. And you could make a case for Mizi trying to escape the grasp of the guards that grabbed her in Ruler of My Heart, but from what we saw she didn’t actually lay a hand on them and more so just tried to force herself out of their grasp. though if you disagree with me on that that's fine Here though? Till has this bitch’s face grabbed into his palm with a bottle in hand ready to smash it directly in between it’s eyes. I consider this to be the first act of physical violence shown against the aliens within the uncomfortably tight enclosure. And it’s triggered not because of anything personally done to Till, which on its own could probably fill a list that reaches the ground. But because of the prospect of Mizi being dead. Till knows that this place is shit, that his life is shit. Said so directly on his profile.

Dislikes: Everyone, including Guardian Urak (translation courtesy of @kh47uo on twitter)

But he stays regardless because Mizi is there. If Mizi is dead, Till has absolutely nothing to lose…Right?

I can almost imagine him thinking: There’s nothing you can put me through that’s worse than every other way you’ve hurt me. …But there was. Oh there was.

A final, disgusting message to the pet to put him back in his place. Back on his leash. Making sure he will never forget where he stands for the rest of his days.

And that is really what the sexual assault of Till represents to me. It is a cruel reminder to Till that fighting back is impossible, having hope, being free, it might as well be a fool's fantasy. He will always be less-than-human, less than anything. His body will always be the property of the ones that were supposed to protect him, claimed, and then used used used until it’s worn out and dead.

And the aliens chose to exemplify that fact in the most direct way they possibly could.

So what if he screams? Just ignore it. Or don’t. If this competition has taught us anything, screams have the most value of all

[nottobehornyonthemain]

Ok, it’s actually very simple.

Will is the protagonist, but he is not the hero.

Jack Crawford is the hero and he is fundamentally good.

Jack Crawford’s enemy is Hannibal Lecter, but he doesn’t know that because he thinks his enemy is the Chesapeake Ripper.

Hannibal is not always the Chesapeake Ripper, but no one else is allowed to be, because to take someone else’s place is Rude.

Bedelia DuMauier is not Rude by Hannibal’s standards, so she believes herself safe, and she is until she takes Will Graham’s place, then she joins Randell Tier and Francis Dolerhyde, in making Will Graham feel as though he is not Unique, then she is fair game to be hunted.

Hunting is different from fishing because the concepts of Stalk vs Lure.

Garrett Jacob Hobbs is a Stalk, and Will kills him as such despite the fact that Will is actually a Lure, but so is Abigail. Will is god, but not Jesus, except for when he’s Abigail. Hannibal is the Devil except for when he’s god.

Alana and Abigail both make deals with the Devil, which they know will eventually lead to their deaths, but Alana isn’t divine, she is always human, so Hannibal looks more human when she’s with him, but Will looks less human when she’s with him because she accentuates where he fails.

Will is a dog, but he isn’t a dog at all, he’s a wolf.

Margot is a horse but she isn’t allowed to run free until she’s a human, but she is not divine, nor is she good or evil, which is why Alana gets close enough to break her curse.

Mason is a pig amongst pigs, and is not even fit to be eaten, unless it is by something as vulgar as himself.

Gideon stole someone else’s identity, so he was forced to watch and partake in the systematic deconstruction of everything that made him himself.

Hannibal is the Wendigo, because the Wendigo is his true nature, but he is not the Stag, however sometimes the Stag is the Wendigo, because the Stag is a representation of the relationship of two people and Hannibal is never really Will, even when he’s pretending to be, but sometimes Will is Hannibal, and sometimes they’ve become too conjoined to tell apart.

Miriam Lass is Jack’s greatest failure, because she was an innocent he threw into the jaws of a monster, and she came back forever broken, but then Jack’s greatest failure was Bella, who was not a failure at all, just someone he couldn’t save, which to him is the same, although her loss is without spectacle or bloodshed, and then Jack’s greatest failure was Will, first in not believing him, and then in ignoring all evidence in order to believe in him out of guilt, but not trust.

Fredrick Chilton strips away the dignity and autonomy of others, so he gains the gift of an identity he tried to pawn off, and the destruction of his own body while he survives to bear the next indignity.

Freddie Lounds speaks truth, but she also lies, and is often believed.

Hannibal lies and is believed, but he also speaks truth and is not.

Will lies through not telling the truth, the deepest truths he speaks are ignored until it’s too late even though he is expected to know all truths.

Molly is no one and nothing, until Will, and then she is alone in a world of monsters.

Hannibal desires attention, and to be admired for being clever. Will has the ability, but he doesn’t have the initial desire because Hannibal does not interest him.

Will does not have a desire to be understood, but he does desire to be seen as unique.

Chiyoh has mastered the balancing act. She can kill, but does not overkill, has been manipulated, but not blinded, understands, but does not overstep into claiming to know, she can see violence as love, but she understands the abnormality of that, so she survives and gets to walk away without a scratch on her.

To love is to accept death, whatever form that takes, your partner’s, your own, those your parent has caused, or the ones you have caused.

It makes perfect sense that the most absolute form of love is to cause death by your partner’s side, and wish for both of your deaths in return.

[talonabraxas]

The Archetypes and the Collective Unconscious (1968) Carl Jung

Why did primitive man go to such lengths to describe and interpret the happenings in the natural world, for example the rising and setting of the sun, the phases of the moon, the seasons? Carl Jung believed that the events of nature were not simply put into fairytales and myths as a way of explaining them physically. Rather, the outer world was used to make sense of the inner.

In our time, Jung noted, this rich well of symbols – art, religion, mythology – which for thousands of years helped people understand the mysteries of life, had been filled in and replaced by the science of psychology. What psychology lacked, ironically given its borrowing of the ancient Greek term, was an understanding of the psyche, or the self in its broadest terms.

For Jung, the goal of life was to see the 'individuation' of this self, a sort of uniting of a person's conscious and unconscious minds so that their original unique promise might be fulfilled. This larger conception of the self was also based on the idea that humans are expressions of a deeper layer of universal consciousness. To grasp the uniqueness of each person, paradoxically we had to go beyond the personal self to understand the workings of this deeper collective wisdom.

The collective unconscious

Jung admitted that the idea of the collective unconscious “belongs to the class of ideas that people at first find strange but soon come to possess and use as familiar conceptions.” He had to defend it against the charge of mysticism. Yet he also noted that the idea of the unconscious on its own was thought fanciful until Freud pointed to its existence, and it became part of our understanding of why people think and act the way as they do. Freud had assumed the unconscious to be a personal thing contained within an individual. Jung, on the other hand, saw the personal unconscious mind as sitting atop a much deeper universal layer of consciousness, the collective unconscious – the inherited part of the human psyche not developed from personal experience.

The collective unconscious was expressed through 'archetypes', universal thought-forms or mental images that influenced an individual's feelings and action. The experience of archetypes often paid little heed to tradition or cultural rules, which suggests that they are innate projections. A newborn baby is not a blank slate but comes wired ready to perceive certain archetypal patterns and symbols. This is why children fantasize so much, Jung believed: they have not experienced enough of reality to cancel out their mind's enjoyment of archetypal imagery.

Archetypes have been expressed as myths and fairytales, and at a personal level in dreams and visions. In mythology they are called 'motifs', in anthropology 'représentations collectives'. German ethnologist Adolf Bastian referred to them as 'elementary' or 'primordial' thoughts that he saw expressed again and again in the cultures of tribal and folk peoples. But they are not simply of anthropological interest; usually without knowing it, archetypes shape the relationships that matter in our lives.

Archetypes and complexes

Jung highlighted a number of archetypes, including the 'anima', the 'mother', the 'shadow', the 'child', the 'wise old man', the 'spirits' of fairytales, and the 'trickster' figure found in myths and history. We look at two below.

The Anima

Anima means soul with a female form. In mythology it is expressed as a siren, a mermaid, a wood-nymph, or any form which 'infatuates young men and sucks the life out of them'. In ancient times, the anima came represented either as a goddess or a witch – that is, aspects of the female which were out of men's control.

When a man 'projects' the feminine aspect within his psyche onto an actual woman, that woman takes on magnified importance. The archetype makes itself present in a man's life either by infatuation, idealization or fascination with women. The woman herself does not really justify these reactions, but acts as the target to which his anima is transferred. This is why the loss of a relationship can be so devastating to a man. It is the loss of a side of him that he has kept external.

Every time there is an extreme love or fantasy or entanglement, the anima is at work in both sexes. She does not care for an orderly life, but wants intensity of experience - life, in whatever form. The anima, like all archetypes, may come upon us like fate. She can enter our life either as something wonderful or as something terrible – either way her aim is to wake us up. To recognize the anima means throwing away our rational ideas of how life should be lived, and instead admitting, as Jung puts it, that “Life is crazy and meaningful at once”.

The anima is profoundly irrational – and yet she carries great wisdom. When she comes into your life it may seem like chaos, but it is only later that we are able to divine her purpose.

The Mother

The Mother archetype takes the form of personal mother, grandmother, stepmother, mother in law, nurse, governess. It can be fulfilled in figurative Mothers such as Mary Mother of God, Sophia, or the Mother who becomes a maiden again in the myth of Demeter and Kore. Other Mother symbols include the Church, country, the Earth, the woods, the sea, a garden, a ploughed field, a spring or well. The positive aspect of the archetype is Motherly love and warmth, so celebrated in art and poetry, which gives us our first identity in the world. Yet it can have negative meaning – the loving mother or the terrible mother or goddess of fate. Jung considered the Mother the most important archetype because it seemed to contain all else.

When there is an imbalance of the archetype in a person, we see the Mother 'complex'. In men, the complex may give rise to 'Don Juanism', which can make a man fixated on pleasing all women. Yet a man with a mother complex may also have a revolutionary spirit: tough, persevering, extremely ambitious.

In women, the complex can result in an exaggeration of the maternal instinct, with a woman living for her children, sacrificing her individuality. Her husband becomes just part of the furniture. Men may be initially attracted to women with a mother complex because they are the picture of femininity and innocence. Yet they are also screens onto which a man can project or externalize his anima, and he only later discovers the real woman he has married.

In other forms of the archetype, a woman will go to any lengths to not be like her biological mother. She may carve out a sphere of her own, for example becoming an intellectual to show up her mother's lack of education. A choice of marriage partner may be to antagonize and move away from the mother. Other women in the hold of the archetype may have an unconscious incestuous relationship with the biological father and jealousy of the mother. They may become interested in married men or having romantic adventures.

* * * *

Jung noted that in evolutionary terms the unconscious came well before the development conscious thought. Yet in its youthful enthusiasm the conscious mind feels it can defy or deny its deeper counterpart; it is all-powerful while the unconscious seems a murky irrelevance. Yet he believed that “Man's worst sin is unconsciousness”. We project everything we internally don't like or can't accept onto the world, so that we wage war instead of studying ourselves. It is a case of 'anything but self-knowledge' – but in the end we pay the price, whether as individuals or collectively.

Spiritual archetypes

Why is psychology as a science so young? Jung suggests it was because for most of human history it simply wasn't necessary. The wonderful imagery and mythology of religions was able to express the eternal archetypes perfectly. People feel a need to dwell upon ideas and images relating to rebirth and transformation, and religions supply these in abundance for every aspect of the psyche. The Catholic Church's strange ideas of the Virgin Birth and the Trinity are not fanciful images but packed with meaning, Jung wrote, archetypes of protection and healing that administered to any ruptures in the minds of the faithful.

The Protestant Reformation reacted against all this. The rich Catholic imagery and dogma became nothing but 'superstition', and in Jung's view this attitude made way for the barrenness of contemporary life. Genuine spirituality must engage both the unconscious and the conscious mind, the depths as well as the heights.

Jung observed the trend of people in the West flocking to Eastern spirituality, but felt this was hardly necessary given the depth of meaning embedded in the Christian tradition. Another result was that that people are attracted to political and social ideas that were “distinguished by their spiritual bleakness”.

Humans have a religious instinct, Jung believed, whether it is a belief in God or in some secular faith like communism or atheism. “No one can escape the prejudice of being human” he observed.

Individuation

'Individuation' was Jung's term for the point when a person is finally able to integrate the opposites within them - their conscious and unconscious minds. Individuation simply means to become what you always were in potentia, to fulfil your unique promise. The result is an individual in the real sense of the word, a whole and indestructible self that can no longer be hijacked by splintered aspects or complexes.

But this reintegration does not happen by thinking about it rationally. It is a journey with unexpected twists and turns. Many myths show how we need to follow a path that transcends reason in order to fulfill ourselves in life. Jung went to some length to define the self. He understood it to be something different from the ego; in fact the self incorporated the ego, “just as a large circle encloses a smaller one”. While the ego relates to the conscious mind, the self belongs to the personal and collective unconscious.

The healing mandala

Jung included in Archetypes and the Collective Unconscious many reproductions of mandalas, abstract patterned images whose name in Sanskrit means 'circle'. He believed that when a person draws or paints a mandala, unconscious leanings or wants are expressed in its patterns, symbols and shapes.

In his therapeutic practice, Jung found mandalas to have a 'magical' effect, reducing confusion in the psyche to order, and often affecting a person in ways that only became apparent later. They worked because the unconscious is allowed free reign; what has been swept under comes to the surface. Motifs such as egg shapes, a lotus flower, a star or sun, a snake, castles, cities, eyes, etc. are produced for no obvious reason, yet reflect or draw out processes that are going on deep below that person's conscious thinking. When a person became able to make a meaningful interpretation of the images, Jung observed that it was usually the beginning of psychological healing. It was one step taken in the individuation process.

Final comments

We think we are modern and civilized with all our technology and knowledge, but inside, Jung says, we are still 'primitives'. He once observed in Switzerland a Strudel, a local witch-doctor, remove a spell from a stable – in the shadow of a railway line on which several trans-European expresses roared by.

Modernity does not do away with the need for us to attend to our unconscious minds. If we do neglect this side of us, the archetypes simply look for new forms of expression, in the process derailing our carefully made plans. Usually the unconscious supports our conscious decisions, but when a gap appears the archetypes are expressed in strange and powerful ways; we can be ambushed by lack of self-knowledge.

The universe of ancient symbols we once used for deciphering life's changes and larger meaning has been replaced by a science – psychology - that was never designed to understand the soul and cater to it. Writing of the scientific mindset in general, Jung wrote: “Heaven has become for us the cosmic space of the physicists...But 'the heart glows,' and a secret unrest gnaws at the roots of our being.” Modern man or woman lives with a spiritual emptiness that was once easily filled by religion or mythology. Only a new type of psychology that actually recognized the depth of the psyche would be able to quell this secret unrest.

When it seems you are helpless in the face of problems, it should be remembered that this deeper mind carries the totality of human experience, a vast store of objective wisdom and perfect solutions. It only has to be recognized and accessed. The archetypal vortex. From the Journal of Borderland Research, Vol XLV. Super Quantum Speed in No Time

[astra-ravana]

Djinn And Their Types

Djinn, or jinn, are supernatural beings in Islamic mythology, believed to be created from smokeless fire. They are considered to be parallel to humans, possessing free will and the ability to choose between good and evil. While they are often invisible, they can assume various forms, including human or animal shapes, or something beyond perception entirely. The concept of djinn is deeply rooted in Islamic beliefs and has influenced various cultures and mythologies. While some djinn are considered benevolent, many are seen as mischievous or even malevolent. They are in fact, individuals with their own agendas.

The categorization of djinn can vary depending on different cultural interpretations and folklore traditions.

Here are some of the most well-known types of djinn:

• Ifrit: Powerful and often rebellious djinn, known for their fiery nature and ability to control fire. They are often depicted as having immense strength and destructive power.

• Marid: Another powerful type of djinn, known for their pride and arrogance. They are often associated with water and can control the seas and oceans.

• Ghul Sila: Nocturnal creatures often associated with graveyards and tombs. They are said to feed on corpses and can shapeshift.

• Shayateen: A type of djinn that tempts and misleads humans. They are often associated with evil and are believed to be responsible for many misfortunes.

• Qareen: Their name literally means "constant companion. In Arabic folklore, they were like a cliche devil on someone's shoulder, encouraging them to make bad choices. While this may ring of some truth, their nature, personality, and alignment can vary drastically between individuals.

• Pari: A type of flying djinn akin to faeries. They have good natures and may use their spiritual power to prevent hexes, bring good luck, and other significant things.

In addition to these, there are many other types of djinn, each with its own unique characteristics and abilities. Some djinn are said to be able to grant wishes, while others are known for their ability to cause harm. They are a fascinating and complex part of Islamic mythology, and their stories continue to captivate audiences around the world. Your chances of encountering a djinn are slim but never zero, as these powerful spirits are nearly unmatched at navigating the plains of existence.

[artist-issues]

and another thing.

if every character that has a unique characterization in their thought process, or fictional perspective, MUST BE “autistic” or “neurodivergent-coded,” that character is no longer relatable to people who don’t self-diagnose, or identify with, or are not diagnosed with, autism or anything on the neurodivergent spectrum.

I mean honestly I see you guys out here telling me that Mulan is neurodivergent, that ROZ from the Wild Robot is neurodivergent and gee, so is Brightbill, that Hiccup is neurodivergent and Ariel is autistic.

Ariel. The “girl next door” princess.

The whole point of characters, especially main characters, especially main characters in children’s media, is to be believable and relatable, on some level. If they’re all ‘special brain-different,’ they’re only relatable to people who accept that label or are given that diagnosis.

AND. It does a huge disservice to the storytelling techniques.

A story is supposed to get under the mental guard of a person. You’re supposed to take your hands off the “thought” wheel and your feet off the “emotion” pedals, and let the story drive your brain and heart to a new place. Or an old place you haven’t been in a while, or were forgetting.

One of the best ways to do that is to create a character that, on the surface, seems special and unrelatable. Like a girl living in the Imperial Dynasty of China, or a literal non-human robot. You can’t, on the surface, relate to them as easily, so you naturally start to think, “what would it be like to be seeing the world through these new eyes?” And then you’ve given up the wheel and pedals of your mind to the movie. You find yourself relating to concepts like motherhood and protectiveness, which the robot character is experiencing, but you’re looking at those concepts through new eyes.

That is why the character is a robot. Not so that she can be an allegory for your “special-undefined-perspective-on-life which is sometimes called neurodivergence.” She’s not a robot for that reason. She’s a robot because a robot character flips the “what would it be like to learn everything over again?” switch in your brain, and then the story can show you it’s focus, (like motherhood and kindness in The Wild Robot) after the switch is flipped.

and it’s flipped for everybody, (“neurodivergent” and “neurotypical”) not just people who identify as the vague term “neurodivergent,” or have been diagnosed as autistic. Stop fitting everything into vague-enough-to-be-claimed, but named-enough-to-be-a-special-identity boxes. You’re ruining the universal, unifying value of it all.

[hayatheauthor]

How To Write Vampires With An Original Twist 

Mythical creatures are an essential part of the fictional scene, but the same creatures have been used so many times that these creatures now often seem redundant and boring in fiction. This is why I've started a new blog series: How To Create Original Mythical Creatures. I'm kicking off this series with vampires!

Join me as we dive into the world of vampires, from their mythical beginnings to their modern-day interpretations, and learn how to write them effectively in your own narratives.

Origins of Vampires

Vampires have a rich and diverse history rooted in ancient folklore and legends. Across various cultures and civilizations, tales of bloodsucking creatures have emerged, each with unique characteristics and behaviors.

One of the earliest known vampire myths comes from ancient Mesopotamia, where stories of blood-drinking demons known as Lilitu or Lamashtu date back to around 3000 BCE. These entities were believed to prey on humans, particularly targeting children and pregnant women.

In ancient Greece, the Lamia was a mythical creature often depicted as a female vampire who lured and devoured children. Similarly, in Roman mythology, the Strix or Strigoi were vampiric entities that fed on blood and flesh.

Moving forward in history, Slavic folklore introduced the concept of the Upyr, a vampire-like creature that rose from the dead to feed on the living. These early depictions of vampires often portrayed them as revenants or undead beings with a thirst for human blood.

Modern-Day Vampires: Where Were They Originated? 

The modern concept of vampires, as we commonly know them today, took shape during the European Middle Ages and the Renaissance. Legends of vampires emerged in Eastern Europe, with notable figures like Vlad the Impaler contributing to the folklore. Vlad's reputation for cruelty and his association with impaling enemies on stakes led to the creation of the vampire archetype, inspiring Bram Stoker's iconic character, Count Dracula.

From ancient Mesopotamia to medieval Europe, vampire lore has evolved and adapted, weaving its way into popular culture and literature. Understanding the origins of vampires provides writers with a rich tapestry of mythology to draw upon when crafting their own bloodsucking creatures.

I wanted to go into more detail regarding the Lamashtu and Lamia since they’re not as well known as their Slavic and European counterparts, but unfortunately, that would deviate from the purpose of this blog. 

The Evolution Of Vampiric Appearances 

Before we proceed with this section, it's crucial to clarify that the mythical creatures and beings discussed in this blog are not direct representations of ancient vampires. Instead, they serve as inspirations for the concept of vampires and share certain attributes with our modern-day depictions, including blood-feeding, pale skin, human-like appearance with some animalistic features, and so on.

Vampiric Creatures In Mythology

In ancient mythology, vampiric entities were not always depicted as the suave, charming figures we see in modern vampire tales. Instead, they often embodied primal fears and monstrous traits.

Lamia: In Greek mythology, Lamia was a terrifying creature depicted as a woman with a serpentine lower body. She was known for her insatiable hunger for children, often depicted as a child-eating monster. Lamia's appearance combined elements of human and serpent, emphasizing her monstrous nature and predatory instincts.

Lamashtu: In Mesopotamian mythology, Lamashtu was a malevolent demon who preyed on pregnant women and newborns. She was depicted with a fearsome appearance, often described as having the head of a lion, the body of a donkey, and bird-like talons. Lamashtu's grotesque features and destructive tendencies reflected ancient beliefs about the dangers of childbirth and infancy.

Lilitu: In Mesopotamian and Jewish folklore, Lilitu or Lilith was often associated with nocturnal demons or spirits. She was depicted as a seductive, winged demoness who preyed on men and newborns. Lilitu's appearance varied across different myths but often included features like wings, long hair, and sometimes talons, emphasizing her otherworldly and dangerous nature.

Strix: In Roman and Greek mythology, the Strix was a bird-like creature or vampiric owl associated with dark omens and death. It was believed to be a shape-shifting creature that could transform into a woman or an owl. The Strix's appearance combined avian and human features, instilling fear and dread in those who encountered it.

Strigoi and Upyr: In Eastern European folklore, Strigoi and Upyr were blood-sucking undead creatures similar to modern-day vampires. Strigoi were believed to be restless spirits or revenants that returned from the dead to torment the living. Upyr, on the other hand, were vampire-like beings with sharp fangs and a penchant for drinking blood. Both creatures were depicted as pale, gaunt, and often with elongated canines, reflecting their predatory and undead nature.

Medieval Depictions: Shift in Appearance

During medieval times, the depiction of blood-sucking mythological creatures underwent a transformation, shifting from monstrous and terrifying to more humanoid and relatable appearances. This change in portrayal can be seen in various aspects of their physical features:

Teeth: Originally depicted with long, sharp fangs or talons for blood-drinking, medieval depictions often featured more subtle fang-like teeth or no visible teeth at all, aligning with the concept of vampires being able to blend in with humans.

Skin: While ancient vampires were often described as monstrous and otherworldly, medieval vampires were portrayed with paler skin to signify their undead nature but without extreme deformities or monstrous features.

Appearance: Medieval vampires were often depicted as more human-like in appearance, with regular clothing and a less monstrous demeanour. This shift allowed for more nuanced storytelling and exploration of themes like temptation, desire, and the struggle between humanity and monstrosity. This is also what birthed the romanticization of vampires. 

Mythological Vampire vs Modern-Day Vampire

Mythological vampires, rooted in ancient folklore and mythology, were often depicted as malevolent spirits or creatures with supernatural powers. These creatures varied widely across different cultures, from the Lamia and Lilitu in Mesopotamian mythology to the Strix in Roman and Greek folklore, and the Upyr in Slavic tales.

These ancient vampires were not always the suave, charismatic beings we see in modern media. Instead, they were often portrayed as terrifying and monstrous, with features that reflected their otherworldly nature. For example, the Lamia was described as a demonic woman with the ability to transform into a serpent, while the Lilitu were associated with storm demons and fertility spirits.

In contrast, modern-day vampires, especially those popularized in literature and film, have undergone significant transformation. They are often depicted as sophisticated and alluring, with a penchant for romance and drama. Authors and filmmakers have humanized vampires, giving them complex personalities, tragic backstories, and even moral dilemmas.

While modern vampires still retain some traditional attributes such as a need for blood and sensitivity to sunlight, their portrayal has evolved to include a wide range of characteristics and abilities. This shift has allowed for more diverse and nuanced storytelling, exploring themes of immortality, love, redemption, and the eternal struggle between good and evil.

Which Option Is Better For Your Novel? 

When deciding which type of vampire to incorporate into your story, consider the tone and themes you wish to explore. Mythological vampires offer a darker and more primal essence, rooted in ancient fears and superstitions. On the other hand, modern-day vampires provide a canvas for exploring human emotions, relationships, and societal issues through a supernatural lens.

Ultimately, the choice between mythological and modern vampires depends on the narrative direction and atmosphere you want to create. Both types offer unique storytelling opportunities, allowing you to craft captivating tales of mystery, romance, horror, or even philosophical introspection.

Research and Resources

Writing about mythical creatures like vampires requires a solid understanding of folklore, mythology, and literary traditions. Here are some resources and research methods to help you delve into the world of vampires and other mythical beings:

Books and Literature

Start by exploring classic works of literature that feature vampires, such as Bram Stoker's "Dracula," Anne Rice's "The Vampire Chronicles," and Stephenie Meyer's "Twilight" series. These novels not only showcase different interpretations of vampires but also delve into the cultural and historical contexts surrounding these creatures.

Mythology and Folklore

Dive into ancient myths and folklore from various cultures to uncover the origins of vampire legends. Look into Mesopotamian, Greek, Roman, Slavic, and other mythologies to discover different vampire-like entities and their characteristics.

Research Journals and Articles

Academic journals and articles can provide valuable insights into the evolution of vampire folklore, the psychological aspects of vampirism, and the cultural impact of vampire mythology. Explore journals in folklore studies, literary analysis, and cultural anthropology for in-depth information.

Online Resources

Utilize online platforms such as mythology databases, folklore websites, and literary forums to gather information and engage in discussions about vampires. Websites like The Vampire Library, Vampire Empire, and Vampire Rave offer a wealth of resources for vampire enthusiasts and writers.

Historical Research

Delve into historical records, archival documents, and historical accounts related to vampire hysteria, vampire burials, and vampire folklore in different regions. Understanding the historical context can add authenticity to your portrayal of vampires.

Interviews and Expert Opinions

Consider reaching out to folklore experts, historians, and scholars specializing in vampire mythology for interviews or consultations. Their insights and expertise can provide valuable perspectives on vampire lore and storytelling.

Creative Exploration

Don't hesitate to let your imagination roam while exploring vampire mythology. Experiment with creating your own vampire mythology, incorporating unique traits, powers, and origin stories for your vampires.

By combining thorough research with creative exploration, you can develop rich and compelling portrayals of vampires in your writing. Remember to stay open to diverse interpretations and adaptations of vampire folklore, allowing room for innovation and originality in your storytelling.

I hope this blog on How To Write Vampires With An Original Twist will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[anarcho-animism]

Anarcho-Animist Manifesto

I have been nurturing and sitting on this for a long time – it was first penned in 2021 and revised every so often since then. I’ve not posted it sooner out of the desire to make sure it stood the test of time for myself. I wrote it at 23, and now I am 26 and a very different (and more well-read) person…but the core of this manifesto remains strong and something that I am proud of. So I’m releasing it into the big wide world. Any updates or edits to wording past this point will (hopefully) be just spelling and grammer. In Love & Rage, Wolverine. Originally posted on Wordpress. “Anarchy is a society being freely constituted without authorities or a governing body. It may also refer to a society or group of people that entirely rejects a set hierarchy.” Wikipedia entry on anarchy “Potentially, animism perceives all things—animals, plants, rocks, rivers, weather systems, human handiwork, and perhaps even words—as animated and alive” Wikipedia entry on anarchism

Anarcho-animism is the intersection of spirituality and eco-anarchism. It seeks to protect the environment for the environment’s sake. It recognises the world as a living, breathing, system. It abhors the abuse and destruction profit incentives cause.

Animism is the belief that all things – all beings, plants, rocks, animals, rivers, weather systems, the whole world – is animated and alive with a living soul. From me, to you, to a barking dog, to a field mouse, to a bird, to a lizard, to an ant, to the ground beneath us and the plants that give us oxygen: it all has its own unique soul.

Even if the animist concept of all beings and entities having souls does not ring true, all beings and entities have inherent worth and should be treated with care, kindness and respect. Just because we do not understand the language of plants and other beings, does not mean that language somehow doesn’t exist.

It rejects the idea of humans as the centre and paramount of existence. It embraces all experiences of the world across the diverse family of beings as important.

Reject capitalism

Anarcho-animism rejects an unnatural hierarchy of governing bodies within animist practice.

Anarcho-animism rejects capitalism and the state as they are the architects of ecocide (defined as “unlawful or wanton acts committed with knowledge that there is a substantial likelihood of severe and either widespread or long-term damage to the environment being caused by those acts” – theecologist.org).

All power gained by capitalists, states and their puppets is power that they have gained unjustly. They have exploited and continue to exploit the world and its inhabitants.

Anarcho-animism and capitalist consumerism cannot coexist. Capitalist consumerism demands no end to consumption of resources, products and more that is draining the world only to make the select few richer. It is endangering the lives of living beings everywhere, forcing them to work and live under cruel conditions.

It rejects petrochemical companies who have a stranglehold on the energy sector. It embraces sustainable and accessible living for all people and animals, the world over. It embraces the collected differences and seeks to make an accessible world where all can live in freedom and togetherness.

It rejects all borders, states, nations and invisible lines that divide beings on earth and sections land away. Anarcho-animism demands total freedom of movement for ALL, free of the states and nations that fueled capitalism.

Embrace spirituality and animism

Spiritual practice should not be commercialised. Every being should be free to adopt the traditions of their kin and the traditions of those that share with them. It should not be dependent on mass market goods.

Anarcho-animism recognises humans as intrinsic to nature. It explicitly rejects the separation of human and non-human animals as distinct categories & the ideological elevation of humans over all other living beings.

Even though it can be hard to break hierarchical styles of thinking, it is something that can always be worked towards and is an admirable goal for all beings.

Anarcho-animism recognises that everything in the world has a spirit/soul/essential essence tied to it, that cannot be revoked or infringed upon by anything or anyone without deep disrespect.

As an extension, the world is an interdependent web of living things, the environment and the earth’s spirit.

It is anti-racist, anti-fascist and embraces marginalised beings

Nature is inherently a place of diversity.

Anarcho-animism is anti racist and anti-fascist. There is no room for volkish neo-nazis in anarcho-animism. There is no room for eco-fascism, and those ideologies must not be allowed to flourish for they bring unspeakable harm to the most marginalised beings.

Anarcho-animism welcomes and celebrates queer & trans people.

It demands for the world’s colonised land to be returned to indigenous people with no conditions attached.

It demands land back to the public of countries and nations who face increasingly little access to the wild. Take the land from landowners that seek to exploit it for profit, make it free, let all beings roam again. Destroy the state.

Anarcho-animism respects the right to roam of all communities and beings. It stands in solidarity with Gypsy, Roma & Traveller communities against anti-trespass laws.

Care for the environment

Anarcho-animism embraces politics such as rewilding & indigenous land stewardship. It seeks to restore balance to depleted habitats, to allow all to flourish again. It supports the reintroduction of predator species such as the wolves in Yellowstone and the lynx in europe.

Anarcho-animism seeks to stop monocultures of crops eating up the land and draining the water away. Food forests and alternate gardening techniques will help all thrive. It embraces foraging, food for free, folk knowledge of edible plants and mushrooms, and sustainable hunting to feed communities.

Care for fellow beings

It abhors the treatment of beings under industrial meat production. All beings on the earth deserve a good death in whatever form it may come in. The meat industry does not give this mercy after a life of humiliation. All beings have an inherent spirit that deserves dignity and respect.

It seeks to remove the conditions that force other beings into traumatising slaughterhouse work – migrant status, economic status and “unemployability”. No being was made to work, especially under traumatising and unethical conditions.

Anarcho-animism rejoices in the inherent creativity of all the beings of the earth, and in the community found in creative pursuits. In dreams that all beings share.

It celebrates all beings’ milestones in life, it celebrates the seasons and the world changing in time with them.

It looks to nature for the purest form of joy – that found in play. In freedom to play, and learn, and grow, unfettered by capitalism, crushing expectations and the threat of working or death.

Care for the community

It places emphasis on community care and ritualised practices to mark cycles, celebrations, and seasons.

It places emphasis on the joy that exists as part of living, in building community with others by sharing good food, stories, art, love and most of all, it emphasises the joy found in connection with the rest of the living world.

It is a moral obligation to our fellow beings to build a world accessible to those with neurodivergence, sensitivities, disabilities of all types, to the elderly and the young, and for all of it to be done well and to the best of our abilities.

It recognises the interdependence of humans and the environment. Care for self, others and nature are all radical acts of love. It seeks to repair harm by centering those most hurt, and those most in need of healing. It looks to transformative and restorative justice, and imagines a world without punitive justice. There are no cops in nature.