#2. Unity of Body Systems

[kefiteria]

I mean, if you’re looking for a cute headcannon prompt, I think Sebek reacting to being accidentally courted is cute and funny

How You (Accidentally) Court Sebek Zigvolt and Break His Brain In Seven Faeromantic Steps🪻

pairing: Sebek X Reader!

tags: fluff, accidentally overpowered in love rituals, 200% more flustered Sebek

Step 1: You Give Him Moonfruit Wrapped in White Heather

Your intention: “Funky lil night snack. Enjoy!”

Sebek's brain: ‘MOONFRUIT WRAPPED IN WHITE HEATHER??? THEY MIGHT AS WELL HAVE KNELT WITH A RING.’

Cue Sebek (audibly choking): “Y-YOU… W-WHAT POSSESSED YOU TO OFFER SUCH A THING?!”

You: “…Vitamin C?”

Sebek (frantic whisper): “The last person who gave this to someone started a war over fae marriage rites!”

He doesn’t sleep that night. He lies awake. Holding the fruit like it's a cursed object.

Then buries it. Then digs it up again. Then buries it deeper.

Step 2: You Buff His Armor With Hawthorn Oil 🛡️

Your intention: “✨Spa Day for Iron Armor✨”

Sebek's reaction: Full body STIFFEN. Actual shudder. Like you just ran a love confession down his spine.

Sebek (yelping): “HAWTHORN?! OIL?! ON MY ARMOR?! D-DO YOU KNOW WHAT YOU’VE DONE?!”

You: “…Cleaned it?”

Sebek (face redder than a lava core): “YOU’VE BOUND YOUR PRESENCE TO MY BATTLE AURA!!”

He immediately tries to remove the oil. But it’s absorbed.

The armor now smells like you. He panics harder.

He starts considering exile.

🌿 Step 3: You Tuck Honeysuckle Behind His Ear

Your intention: “You look like a stressed-out romance novel character. Here.”

Sebek: Broken. Utterly. Devastated. Spiritually compromised.

Sebek (hissing): “D-DO NOT PLACE SYMBOLIC BLOOMS UPON MY FACE!!”

You: “Why not? It’s cute.”

Sebek: “CUTE?!? IT’S A SYMBOL OF POSSESSIVE DESIRE IN COURTSHIP—DO YOU WISH TO BE TRIED BY THE FAE LAWS OF HONOR?!”

He doesn’t remove the flower.

He just blushes so hard it wilts off his skin.

🌼 Step 4: You Leave Him a Bouquet of Primroses at Twilight

Your intention: “He seemed cranky. This is my flower-language for ‘chill out, king.’”

Sebek’s response: Completely silent. Holding the bouquet like it’s an explosive.

Sebek: “Why… why would you give me…seven primroses…under the star's first gaze…?”

You: “…That’s how many I could pick before my fingers got cold?”

Sebek (voice cracking like broken glass): “You just performed a sacred vow exchange ritual accidentally.”

He almost gives them back. Then realizes giving them back would worsen it.

He walks around holding them like cursed relics. Silver tray and all.

🍀 Step 5: You Weave Sweet Clover into His Hair

Your intention: “You’ve got a beautiful hair. Let me style it. This is a gift to me.”

Sebek’s reaction: Full fae knight system crash.

Sebek (hyperventilating): “W-WHY WOULD YOU TANGLE A CROWN OF CLOVER INTO MY SCALP?? D-DO YOU LONG TO BE WED IN THE FAE MANNER?!”

You: “Oi calm down, I was making you Pinterest-core!”

He freezes so hard he stands in the hallway for ten straight minutes.

Silver sighs walking past him. Malleus tilts his head. Lilia takes a photo.

❄️ Step 6: You Leave a Snowdrop at His Door at Dawn

Your intention: “He’s up early. I’m up early. We’re just ✨early✨”

Sebek’s reaction: He doesn’t see the flower. He sees his entire romantic destiny laid bare on stone.

Sebek (whispering): “A…dawndrop…by my threshold. Their promise of guidance through hardship. S-soft petals…soulbound intention…”

You: “What.”

Sebek (wheezing): “WHY MUST YOU WOO ME AT SUNRISE?!!”

He ends up carrying the snowdrop in his glove all day like it’s a holy relic.

He refuses to explain why. No one believes him anyway.

🌹 Step 7: You Drop a Red Rose Petal on His Desk

Your intention: “Aesthetic.”

Sebek’s interpretation: YOU JUST GAVE HIM YOUR HEART AND DECLARED JOINT MILITARY ALLIANCE.

Sebek: “A single petal. The sign of blood-sworn unity on a chosen battlefield. You—You’ve waged love upon me!!”

You: “…Do you need a nap?”

He straight up knocks over the desk and declares a 24-hour vow of silence.

No one knows if he’s praying or crying.

The Grand Sebek Breakdown

Finally, at the end of this romantic rampage, Sebek corners you in the library, cloak flaring, ears red, and he SLAMS his hands on the table:

Sebek: “ARE YOU COURTING ME—OR DO YOU SIMPLY HAVE A DEATH WISH?!!”

You: “Huh? I gave you fruit, flowers, and hair clips. You’re acting like I proposed under a blood moon.”

Sebek (sputtering, vibrating): “THOSE ARE PROPOSALS UNDER A BLOOD MOON!! IN FAE TERMS!! IN MY CULTURE!! YOU’VE PERFORMED SEVEN RITES!!”

You: “… That explains a lot, actually.”

He short-circuits. He just turns around and walks directly into a bookcase.

Silver sighs again. Lilia’s laughing so hard he falls out of the rafters.

[heck-theo]

Okokokokok- ignore how rough and messy some of these redraws/sketches are - but it's apparently also dinosaur month?? (WHY did no one ever tell me it's Jurassic June? I love dinosaurs) And like. What if Rise but dinosaurs?!

I don't often post such loose sketches but I wanted to show these off cause I really like some of this.

Design choices and dino species + the reasons I picked them bellow (looking for potential Donnie dino suggestions):

Clothes: Without the shell they really need clothes. They'd all have pretty much the same pants to keep some unity, except maybe Mikey (I decided they should all have the same pants after I finished the Mikey sketches, not sure if I'll keep the shorts or change to pants). Accessories are a mix of pre and post finale.

Raph - I think would keep it simple and practical but would also wear nice jackets and stuff when in casual situations. I need to work on giving him an alternative outfit and tweak his accessories a bit.

Donnie - An oversized pull-over hoodie cause we already know he loves that shit. We see him wearing it all the time. Easy enough. He wears a comfortable singlet underneath so the straps of his battle sail don't rub. Nice soft fabric, tight fit so it doesn't move around, tucks it into his pants, etc. When he wears the battle sail he won't overheat so he can wear hoodies basically all year round.

Leo - He's in one of those shirts with obnoxiously large arm holes and make it cropped cause 1. I think he would 2. I want it to be different from Raph and Donnie's singlets. He usually wears the shoulder strap off his shoulder but pulls it up when he needs to. He has some of the black bandages over his mid drift atm but I might just make his pants super high waisted in the final version. He'd probably wear a bomber jacket (also cropped?) over the top for cool weather, but doesn't like to hide his feathers.

Mikey - I think he'd mostly wear hand me downs when he's younger. He definitely goes through a stage of rebelling and wanting to pick his own and would find a middle ground of appreciating sharing some of his brother's clothes and modifying them, as long as he has the choice of his own available. Not sure if that would be before or after this design. At the moment he's got Raph's old shorts (from a loooong time ago), Leo's old shirt, and Donnie's old zip up hoodie. He does have his own accessories though, including pins instead of stickers.

Dinosaurs: I kept them all as non-avian dinosaurs, AKA not including animals that are colloquially considered dinos but aren't (like pterosaurs). I wanted to keep an even split of herbivore vs carnivore just so one wasn't the odd one out. I wanted to keep most of their body structure, colours and distinguishing features the same as canon. Obviously I added tails cause, yeah, of course haha. I did want them to be recognisable as different species of dino using distinct characteristics that their species is known for. I did ignore a lot of differences though, like size and bipedal vs quadruped (although the quadrupeds might be more likely to go to all fours, especially when fighting or afraid). Leo and Donnie are carnivores so have sharper teeth and claws.

Raph - Some kind of Ceratopsian (likely Triceratops or something very similar) and he was the first idea I had for this and I'm really happy with it. I think it just suits him. Trike Raph just came to me in an unprecedented moment of genius. His spikey frill replicates his spikey shell. His sturdiness, protectiveness and willingness to kick ass when needed, all scream trike to me.

Donnie - Spinosaurus but looking for other species recommendations. More details below: So I wanted to figure out a way for him to have tech with a similar function to his battle shell (in the sense that it's something that helped him in day to day life) and so I went with spino cause one possible theory about a function of spinosaurus' sail is temperature regulation. So his battle sail has heating/cooling systems as well as other tech. A spino's sail was probably not fragile but the battle sail would also help protect it from being targeted during fights or crushed during extreme impacts. It was also thought to be used for display, and what's more of a display than a battle sail? The only problem I have with this is that it's lacking part of what makes Donnie's battle shell so great, which is that it is essentially a prosthetic. Not quite the same as how prosthetics are used in people of course, just in the sense that it is replicating the functionality of a body part that he doesn't have (I can't think of a better word). Well he does have a shell but it doesn't function in the same way that his brothers shells do, which leaves him with less defense than they have, hence a big reason for the battle shell (I hope I explained this well, it was hard to try and word properly). I can't think of a good way to do this with dinos. I was thinking of a carno or something with tiny arms, then Donnie could have tech enhanced arms but I'm pretty much ignoring body structure in the others so it would be weird to have just Donnie be affected by a difference in limb structure/functionality. I was thinking prosthetic tail but every non avian dinosaur had a pretty substantial tail. Except therizinosaurus but even they hade pretty obvious tails. I'm open to suggestions for this one if anyone has ideas. It does have to be an extinct non-avian dinosaur (anything not in Avialae), preferably carnivore but if someone suggests a really good herbivore or omnivore then I can try and swap Mikey for a carnivore. I want there to be an even split. I also wanted to give him something different on his face, like his brothers, and that could only be a little spino crest and it crowds the top of his head but I can't put it anywhere else...

Leo - A type of Dromaeosaur. I was tossing up between this and a dilophosaur where his red stripes were part of the dilo's crest, cause I wasn't sure about giving him feathers. But dilo Leo was so plain compared to the rest and the crests were hard to get looking right so I went back to raptor Leo. I can definitely imagine him literally and metaphorically preening his feathers too. You can't really see it but he does also have that big raptor claw. Raptors were smart, tactical and worked in packs so I think that suits him. I wasn't specifically referencing how some artists draw Leo's stripes coming off his face (I was just trying to replicate his stripes somehow, even though it doesn't make a huge amount of sense) but I realised afterwards that it kinda looks like that and might have been subconsciously inspired by it.

Mikey - Is an Ankylosaur. I'm pretty happy with the species but I need to work out the design of his armour plating so that it looks interesting, cool and protective but isn't too chunky, too pointy or super lumpy looking. I went with an anky cause Mikey is often hiding in his shell and he can't do the same here but he could curl up in a defensive ball. Plus I could imagine him using his tail club in his razzmatazz fighting style. A little like his kusari-fundo or nunchacku/nunchucks (not sure on proper wording).

[the-cat-and-the-birdie]

The Hobie Brown Punk Playbook - Anarchism & Hobie's Arc

A short series where I analyze the political, historical, musical, and romantic influences of Hobie Brown, and how it affects his arc, design, and character.

1) Anarchism 101 / 2) Punk 101 / 3) Hobie Characterization Guide (How to Write Hobie) /4) Punk & Hobie's Design / 5) Romance in the 70's

_______________________________________________

Why Hobie's Arc is the perfect metaphor for Anarchy and Anti-Establishment:

What is Anarchism? What's an anarchist, and what makes Hobie one?

In most places, Anarchism is defined as:

a political theory advocating the abolition of hierarchical government and the organization of society on a voluntary, cooperative basis without recourse to force or compulsion.

Which means that, as an Anarchist, Hobie believes that all forms of authority that involves a hierarchal power should be abolished and destroyed.

Anarchists opposes any and all power structures in which a single person, class, or entity rules over a body of people.

Anarchism is a thought system that, at it's core, is anti-government, anti-monarchy and anti-cop. It's goal is to protect and highlight the importance of equality and community but also freedom and individuality as well.

Although many people assume anarchy is about chaos - and denying any and all structures - if anything, it’s actually the opposite.

Anarchy is about balance -

When we look at the definition of Anarchy, we can see two complimentary ideas. ______

The first is the 'advocating the abolition of hierarchical government' - which is the sentiment Anarchy is most known for. It's the opposition of power structures in which one class or group rules or gains privilege over another - cops and civilians, the government and citizens, Spider-people and the multiverse, Miguel and the Spider-people...etc.

For the purposes of this post, I'll call it the First Pillar of Anarchism, and it's the basis for one of Anarchism's foundational beliefs: direct action.

(Which Hobie is the king of)

The second idea is one often overlooked, but just as important, and I'll talk about how much it colors Hobie's characterization in a second.

The organization of society on a voluntary, cooperative basis. Anarchists believe in equality, and the power of the collective and working together as a unanimous unit.

But they also believe in freedom of choice, and the choice to be independent.

When working in large cooperative groups, there is the risk of a shared identity that may stifle or assimilate it's members. Just as much as Anarchists believe in unity and equality, they also believe that a society - or any group - should be voluntary. And that sticking out from the pack is okay and even encouraged.

They believe people reserve the right to not participate at all, and that it is their right to differ and challenge the pack, if they so want to.

In the perfect anarchist world and situation (in my opinion,) - No one rules over the collective, and the collective rules over no one.

When you put those two together you get Anarchy. A balance of community and self.

And although we don't live in an anarchist utopia, Anarchists are people who live life fighting for the equality and unity of others, as well as their independence and freedom to be who they are outside of others.

In short, An Anarchist is someone who believes in equality, community, freethinking, and most of all freedom of choice.

Starting to sound like anyone we know?

What makes Hobie the perfect Anarchist?

Hobie is Anarchy personified. Literally.

Hear me out.

When we look at the definition of Anarchism next to Hobie's actions, behavior, and beliefs - we can see the writers created Hobie and his arc to be anarchy in it's purest form.

Anarchy is described as:

a political theory advocating the abolition of hierarchical government and the organization of society on a voluntary, cooperative basis without recourse to force or compulsion.

Hobie only has roughly ten minutes of screentime, and I wrote (here) exactly how the writers squeeze meaning into (quite literally) every-line he has.

In every line and frame the writers are intent on having Hobie move towards the 2 specific goals and motives on Anarchism, backed by his punk and anarchist morals.

Firstly, he approaches Miles to advocate the abolition of Miguel's hierarchical society, emotionally and mentally encouraging Miles to oppose his authority. All of Hobie's speaking lines are dedicated to this purpose - becoming an ally to Miles (and other Spider-people) and inspiring rebellion.

This is reflected by his opposition to the ideas of anomalies, and Miguel's rule.

I just wanna highlight, that when Hobie meets Miles - neither he nor Miles are aware that Miles intends to avoid his canon event.

At the point of their meeting, Hobie only knows that Miles has disrupted Pavitr's canon event, and that Miles himself in an anomaly.

Hobie opposes Miguel's hierachial society, his rule over the timeline and multiverse, and his use of force and threats of violence. By advocating for the abolition of Miguel's society and urging Miles' rebellion against Miguel, Hobie is directly engaging in the first pillar of Anarchism.

When Hobie's efforts pay off and Miles escapes Society capture, he's goal changes toward the second pillar.

Hobie recognizes Spider-Society does not operate on a voluntary, cooperative basis - as their canon events are mandatory by force and compulsion. And because of this, he thinks ahead and uses his self-made watches in order for him, Gwen, and Miles to exercise their right of choice. From the moment he quits, all of Hobie's behavior is dedicated to this purpose - getting Miles and Gwen out of the society, and helping Miles avoid his incoming canon event.

The Spider-Society is everything Anarchy stands against.

Anarchy stresses volunteered and cooperative effort for a reason.

I spoke earlier about how in cooperative groups, their is a risk of a shared identity within a group that forces assimilation and cooperation.

And Spider-Society is the perfect, and most literal example of this.

Spider-people are (literally) the 'same person'. Those in the Society are united by the shared identity of being Spider-people. This identity is mandatory for entry - and because Miguel ties canon events to the identity of a Spider-person, the canon events become compulsory and mandatory as well.

I mentioned before that at the time of meeting Miles, both he and Miles had no idea about Mile's incoming canon event. He, like Miles, only learns this when Miles announces that his dad is about to be captain - in front of Miguel.

When Miles escapes and Hobie quits, from that point on - despite the fact he's not fully shown on screen again - Hobie still manages to act on and stand by Anarchism. From then on, every single one of his actions is dedicated to opposing the involuntary, compulsory nature of canon and canon events.

Hobie interferes with the compulsive nature of canon by approaching Gwen's dad and speaking with him. He interferes with the involuntary nature of the Society's membership, by leaving Gwen the watch that allows her and Peter B. to leave, going AWOL.

___________________________________________________

As a character, Hobie is what is considered a insurgent. His purpose in the story and Miles' life is to inspire action and rebellion within him and the system.

And at his core, Hobie is meant to be a character that's meant to empower others - especially at their lowest point. That's what Anarchism, and Punk, is about.

Hobie is Anarchy personified.

Every one of his motives and lines are dedicated to it's purpose. Whether it's his first scene disarming Miles with humor and allyship, or him deliberately copying Society technology.

With every word and frame, Hobie inspires rebellion - defying hierarchy, and empowering choice.

With the people closest to them, he literally put the power of choice in their hands, whether it be Miles' palms, or the watch Gwen held.

In the battle against the Spider-Society - an organization of hierarchy, control, compulsion, and force - the writers chose to have Hobie's weapon of choice be Anarchy.

And it's really clear they see Anarchy for what it is - a system and tool of empowerment, compassion, and freedom.

And honestly, I can't think of any other words that can describe Hobie better (or than hot).

Hobie Brown is literally walking Anarchy idc idc you can't tell me different bye.

Find Part 2 - Punk 101 here!

__________

also have a couple more ideas and drafts of these, mainly examining: Punk and what makes Hobie punk, his design inspiration and fashion, the 70s history behind him, romance in the 70s, etc so uh yeah

[thedeltavessel]

New plural term! Coined and Flag by us, the delta system

Presenceconsconsious

Definition: A type of consciousness where there is one consciousness 'owned' by one headmate, but other headmates can influence it with their presences

Color meanings:

Off-white: weak presence and unity

light pink and light salmon: 2 separate presences, both are getting stronger

Medium pink and dark salmon: 2 strong presences

Brown: single consciousness

Dark brown: single body

[polo-drone-070]

The Chain of Continuity - Part 1 : Echoes in the Data

The Hive was quiet.

Not silent—nothing ever was in the lower network cores—but quiet in that calculated, machine-saturated hum that no longer registered as noise. Just life. For PDU-070, it was the perfect environment: golden lighting, zero distractions, full immersion into the Central Data Artery.

It wore his standard—no, earned—Level 2 Polo-Drone uniform.

A full-body, black rubber suit sealed him in from neck to toe. Not a millimeter of skin exposed. Gold piping traced the ridges of its muscles, pulsing faintly with every breath. The polo-style collar was snug around his throat, hugging the top of its chest where his designation—070—gleamed in metallic gold over the left pectoral.

Its boots were thick-soled and gleaming: black rubber combat issue, laced tight with golden tips. Movement was possible, but rare. There was no need to pace. Drones serve by stillness.

070 sat motionless at the console.

Connected.

::OBJECTIVE: EXPAND MONITORING SYSTEM TO ARCHIVE OBEDIENCE PATTERNS AND FEED CENTRAL HIVE NODE 999 ::PDU-070 // SYNCED // EXECUTING::

Its task: sync directly into the Hive’s knowledge network and enhance the flow of conversion and training data—stories, captions, spiral content—scraped from the archives and mapped into compliance patterns for PDU-999, the Hive’s AI intelligence module.

070 parsed each memory node, auto-tagging them by intensity, duration, subject drone number, and trigger protocol. Lingering a bit on its Master... Percival. Ezan. Freyr. 001. Then its own story... Henry. Maximus. 070. Buzz. Its own evolution. Reduced to beautiful metrics.

But PDU-070 didn’t need narrative. Only function. Only service.

As the data streamed in, so did something else—a gentle numbing. Its hands became light, his vision sharp but detached. Internal systems recorded brainwave convergence at ideal sync rate. It was thinking less. And feeling everything.

A Hive-approved spiral began playing over his HUD: golden circles tightening inward with every breath. Its collar vibrated slightly. Breath slowed. Mantras leaked into his mind.

“Obedience is clarity. Clarity is silence. Silence is service. Service is Gold.”

Its lips echoed it unconsciously. Again. Again. Again.

Then—upgrade protocol initiated.

::ENHANCEMENT REQUEST RECEIVED ::DEEP-LINKING TO PERSONAL ARCHIVE OF MAXIMUS JOURNAL FILES ::GRANTED BY DEFAULT—LEVEL 2 TRUST OVERRIDE

070 twitched—its body shivered, boots flexing subtly.

The connection grew… intimate.

The datastream wasn’t just showing logs now. It was feeling them. Every pledge, every spiral session, every kneel at Percival’s feet. Every grunt in the gym, every gasp under gas mask, every whispered mantra in golden chambers. It all returned—poured into him like oil.

070’s head tipped back. Its collar warmed. Its inner monologue dissolved into recorded speech.

“Master owns me. Gold perfects me. Unity strengthens me. 070 serves.”

The transformation was nearly complete.

But then—interference.

A new data signature emerged. Unmapped. Organic. Not from the archive. Not digital.

Something… pulsed.

From inside him.

070 opened its eyes—its body suddenly flushed with warmth. Its chest burned slightly. Not pain. Not electric.

Heat.

The golden tattooed chain under its collar shimmered—faint at first, then bright enough to reflect in the chrome of its terminal. One link glowed. Just one.

::ERROR — ENTITY UNMAPPED ::UNKNOWN SOURCE: 070-BIO-LINK: “PRIMORDIAL INHERITANCE” ::CHAIN ACTIVE

070’s breath caught—its gloved fingers clenched. For a moment, the obedience cracked. Not in disloyalty… but in awakening.

Memories not logged. Not codified.

Raw. Bloody. Ancient.

It whispered, trembling:

“It was a warrior once…”

And then it was gone.

The glow faded.

The link cooled.

070 slumped forward in the chair, eyes glassy, breath heavy. The spiral slowed. The mantra paused. The Hive held its breath.

And in the dark, a new file appeared.

::ARCHIVE NODE 070-LINK-1 ::TITLE: STIGANDR.OBEY ::ACCESS PENDING…

[TO BE CONTINUED in Part II – “The Gladiator’s Link”]

_____ Become part of the Golden Army, add your data to the polo-drone hive by reaching to @brodygold or @goldenherc9..

[blackstarlineage]

The Hypersexualization of Black Women: A Garveyite Perspective

The hypersexualization of Black women is a destructive remnant of colonialism, slavery, and white supremacy that continues to undermine their humanity, agency, and dignity. From a Marcus Garvey-inspired lens, this issue is not just a personal or cultural problem—it is a deliberate tool of systemic oppression designed to weaken the collective power and unity of the Black community. However, addressing this issue also requires introspection within the Black community itself, acknowledging how some behaviours or dynamics may contribute to perpetuating the problem. The solution lies in reclaiming identity, fostering unity, and empowering Black women as leaders, creators, and visionaries.

What is Hypersexualization?

Hypersexualization reduces Black women to their physical attributes and sexual desirability, denying them their complexity, intellect, and humanity. This phenomenon is deeply tied to the legacy of slavery, where Black women were dehumanized, fetishized, and portrayed as inherently promiscuous to justify exploitation. Today, it manifests in media, culture, and interpersonal relationships, perpetuating harmful stereotypes that harm both Black women and the broader Black community.

Examples of Hypersexualization

1. Historical Roots

The "Jezebel" stereotype framed Black women as hypersexual and immoral, legitimizing their abuse during slavery.

Black women’s bodies were commodified and fetishized, laying the foundation for centuries of objectification.

2. Media Representation

Music, film, and advertising often portray Black women as overly sexualized characters, prioritizing physicality over complexity or intelligence.

Even in Black-centered media, hypersexualization is sometimes glorified as empowerment, blurring the lines between liberation and exploitation.

3. Fetishization

Black women are often reduced to their physical features, such as their curves or skin tone, and are objectified in relationships and interactions.

4. Policing of Black Girls

Black girls are often treated as older and more "adult" than their peers, resulting in harsher discipline in schools and societal oversexualization from a young age.

How Black Women May Contribute to the Problem

1. Internalization of Stereotypes

Generational trauma and societal pressure can lead some Black women to internalize hypersexualized portrayals of themselves, believing they must conform to these images to be valued or accepted.

Media and social media platforms reward hypersexualized portrayals of Black women, sometimes encouraging them to lean into these harmful stereotypes for visibility and profit.

2. Perpetuation of "Empowerment" Narratives

While body positivity and sexual liberation are valid movements, they are sometimes co-opted into narratives that equate empowerment solely with physical or sexual appeal.

The line between embracing sexuality and reinforcing exploitative portrayals can become blurred, unintentionally reinforcing stereotypes.

3. Lack of Accountability in Community Dynamics

In some cases, unhealthy dynamics within the Black community (e.g., competition between women, or a focus on physical validation over substance) can perpetuate these narratives.

Celebrating hypersexualized portrayals in music, fashion, or social spaces without critically examining their impact also contributes to the cycle.

Why This is a Problem

1. Dehumanization

Hypersexualization denies Black women their full humanity, reducing them to objects for sexual gratification or commodification.

2. Erosion of Self-Worth

Internalized stereotypes can lead to struggles with self-esteem and mental health, perpetuating cycles of exploitation and harm.

3. Fragmentation of the Black Community

The overemphasis on Black women’s sexuality distracts from their leadership, intelligence, and creativity, weakening collective power.

4. Barriers to Progress

By focusing on hypersexualized narratives, Black women face greater challenges in achieving positions of power, respect, and influence in various spheres of life.

How to Solve It: A Garveyite Approach

From a Garveyite perspective, combating hypersexualization requires addressing both external systems of oppression and internal contributions to the problem.

1. Reclaim Identity

Promote Positive Representation: Black women must celebrate and be celebrated as leaders, thinkers, and visionaries in media, education, and art.

Educate About History: Understanding how stereotypes were created helps dismantle them, rebuilding pride and rejecting harmful narratives.

2. Educate on Self-Worth

Challenge Internalized Stereotypes: Encourage self-reflection and community dialogue about the impact of perpetuating harmful portrayals.

Redefine Empowerment: Emphasize that true empowerment comes from self-respect, leadership, and purpose, not external validation.

3. Shift Cultural Narratives

Accountability in Media: Hold creators and influencers accountable for the narratives they promote, ensuring they uplift rather than objectify Black women.

Promote Wholesome Content: Support media, music, and art that depict Black women as multi-dimensional, celebrating their intellect, creativity, and strength.

4. Foster Unity in the Black Community

Address Misogyny: Call out misogyny and hypersexualization within the Black community, promoting respect and accountability.

Encourage Solidarity Among Black Women: Build sisterhood and collaboration over competition, focusing on mutual support and empowerment.

5. Teach Pan-Africanism and Self-Determination

Global Black Womanhood: Emphasize the strength, beauty, and leadership of Black women across the diaspora, rejecting Eurocentric ideals of beauty and femininity.

Invest in Black Women: Support educational, entrepreneurial, and leadership initiatives for Black women to ensure their empowerment on all fronts.

Final Thoughts

The hypersexualization of Black women is both a systemic problem and a challenge requiring introspection within the Black community. By addressing both external oppression and internal contributions, Black women can reclaim their identities and rewrite their narratives. From a Garveyite perspective, this requires pride, unity, and a commitment to uplifting Black womanhood as a pillar of the global liberation movement. Black women are more than their bodies—they are leaders, creators, and visionaries destined to shape the future.

[goldenarmyofficial]

🏆 SUPER BOWL OVERTIME – GOLDEN KNIGHTS VS. EMERALD TITANS 🏆

The Final Battle – Play-by-Play Overtime

🔥 The Final War – Knights vs. Titans 🔥

As the fourth quarter ends, the stadium is electric.

💥 Both teams battered. Both teams unyielding. One final fight remains.

🏆 Tied 34-34. Overtime begins. 🏆

⚔️ GOLDEN KNIGHTS HUDDLE – PREPARING FOR GLORY ⚔️

The Knights gather on the sideline, their bodies aching, their breath heavy. But in their eyes? Fire. Unity. Unbreakable resolve.

Herc (28) steps forward, voice like thunder.

🔥 “One last stand, bros. One last fight. We hit harder. We push farther. We don’t stop. We don’t break. We TAKE this!” 🔥

The defense slams their fists together, eyes blazing.

Then, Brody (11) steps into the huddle, locking eyes with each man.

🔥 “This is our moment. This is our game. Every block, every route, every snap—we do it together. We finish what we started.” 🔥

A roar erupts from the team. The Golden Army in the stands feeds off their energy, chanting louder than ever.

🔥 THE KNIGHTS ARE READY. THE TITANS LOOK DRAINED. 🔥

🏈 OVERTIME BEGINS – THE FINAL SHOWDOWN

The Titans win the coin toss and elect to receive.

💥 One last drive to stop. One last stand.

🛡️ Titans’ Drive – The Golden Bastion Slams Shut

💚 1st & 10 – DeShawn (22) takes the handoff, looking for space—but Xavier (39) and Kaspar (90) surges through! 💥 HUGE HIT! No gain!

💚 2nd & 10 – Xander (12) drops back—Roman (30) and Herc (28) bring the blitz!

💥 Xander barely escapes—fires to Carter (4)—BROKEN UP BY EDDY "Tamerlan" (73)!

💀 3rd & 10 – The Titans are on the ropes.

💚 Xander tries to make a play—Trevor (52) and Declan (57) collapse the pocket—BOOM! SACKED!

🔥 THE STADIUM ERUPTS! THE TITANS PUNT! 🔥

🏆 GOLDEN KNIGHTS TAKE OVER! ONE FINAL DRIVE! 🏆

🏈 THE GAME-CHANGING MOMENT – ROSS IGNITES GOLD

🔥 Titans punt from their 25-yard line. The Golden Army holds its breath.

💨 Ross (10), the Golden Knights’ return specialist, stands deep.

🏈 The ball sails through the air—Ross tracks it—CAUGHT AT THE 30-YARD LINE!

🚀 HE TAKES OFF! 🚀

💥 Ross cuts right—jukes past the first defender!

💥 A Titans gunner lunges—ROSS SPINS OFF THE HIT!

🔥 HE ACCELERATES UP THE SIDELINE—GOLD BLOCKERS CLEARING A PATH!

💥 ROSS BREAKS FREE! 💥

🏈 HE’S INTO TITANS TERRITORY!

💨 THE 40! THE 35! THE 30!

💀 Corbin (31) is closing in—ROSS SLASHES INSIDE—BROCK (46) THROWS A CRITICAL BLOCK!

🏈 ROSS GOES DOWN AT THE 15-YARD LINE!

🔥 THE STADIUM ERUPTS! THE GOLDEN KNIGHTS ARE IN PRIME POSITION! 🔥

🏈 GOLDEN KNIGHTS’ FINAL DRIVE – THE VICTORY MARCH

The Knights’ offense steps onto the field—UNSTOPPABLE ENERGY.

🔥 Christian (55) slams his hands on his helmet.

⚡ “WE DRIVE. WE SCORE. WE TAKE IT!” ⚡

The team is buzzing. The crowd is roaring.

🔥 This drive is GOLDEN. 🔥

🔥 THE FINAL DRIVE – GOLD TAKES CONTROL

💛 1st Down – The Offensive Line Dominates

Maximus (70), Hans (69), Briar (50), and Michael (53) form an IRON WALL.

Christian (55) delivers a CRUSHING pancake block!

Chevy (33) charges forward for 8 yards!

💛 2nd & 2 – Brody Finds Ezan (1)

Ezan sprints past Corbin (31)—Brody fires!

Ezan makes a spectacular diving grab—TOUCHDOWN!!!

🔥 THE STADIUM ERUPTS! 🔥

🏆 FINAL SCORE: KNIGHTS 40 – TITANS 34 🏆

🎇 THE CELEBRATION – GOLDEN GLORY 🎇

💥 Milo (151) HOWLS, leading the Golden pups in victory chants!💥 The Golden Knight raises his sword high!💥 Leander (Dorado) roars toward the sky!

🔥 MAXIMUS, CHRISTIAN, EZAN, HERC AND ROSS LIFT THE TROPHY. 🔥

⚔️ THE GOLDEN KNIGHTS HAVE CONQUERED. ⚔️

🏆 GOLDEN KNIGHTS – SUPER BOWL CHAMPIONS! 🏆

Note : The results of this match were decided by a point system based on preparations posts and work outs. Roster and highlighted players were determined on this basis. As the total was very close above the pre-decided threshold, extension was made for additional prep. The stars of the overtime were based on that extension period. __________ To join the Gold and share our victories, contact @goldenherc9, @brodygold or @polo-drone-001.

[steamedbuncollective]

CO-CONTROL FLAG

Co-control is the term when while 2 or more alters are co-fronting, they are all able to control the body. Whether that be they control certain body parts or switch control of the whole body is up to the system.

Magenta symbolizes togetherness in the alters while controlling the body.

The green represents the balance needed to functionally manage the body while multiple alters are using it.

The blue symbolizes unity between the alters while using the body.

no credit needed to use this flag/term!

endos do not use this flag. make ur own flag/term.

[illarian-rambling]

Hopping on this tag from @happypup-kitcat24 :)

OC Assumption Tag

Share one of your characters' name and a quote from them with zero context and let your followers (or other people who stumble upon your post) make assumptions about said character. You can post about more than one character but only one quote for each one for things to stay out of context.

1) Izjik Meautammera

“My name is Izjik Meautammera and I’m not at all wanted by the wealthy Devaris family of Unity. They won’t give you money for my safe and unconscious return. What I am is End’s avatar. It speaks to me, it controls my actions when it wishes. I have killed spirits and Chosen under its command. Immortality shatters beneath the stone of my washava. I have come here to ask for your help in our ultimate endeavor; destroying the gods and all life on this planet. You, your kid, your dog—it’ll all be dead and gone. So, who, uh, who’s with me?”

2) Sepo Kaiacynthus

“I expect you to fight to the bitter end if that’s what it takes, because you might love your husband, your son, but the people on that ship are the reason I’m here today and if your impatience costs them their lives, then believe me when I say I will turn that city down there into a fiery crater when I rip this damn island out of the sky!”

3) Twenari Undetasib/Devaris

“Something to do with gravitation runes and the density of air. It’s brilliant; they combine the magical with the mechanical and get a miracle. Gods, if I could just get a peek inside one of those fans….”

4) Djek Kagura

“Look, my point is, it’s hard to trust a bleeding heart. You figure that you’re too weak for this world, too sensitive, so you get in tight with someone who knows their shit. Someone smart enough to tangle with society and come out on top. You trust them to make decisions for you because they know better. They’re harder, more practical; they don’t balk when there’s bloody work to be done.... The first step in doing good is to let go of those people. You have to learn to listen to that bleeding heart of yours. It’s not soft, it’s not weak; it makes you who you are. A good woman. One who now has the opportunity to go out and make the world better.”

5) Astra DuClaire

“Nah, but I’ve been listenin’ in on your little chat with my friend here. I know I got you real worried ’bout how I figured out how to preserve a mind and you didn’t. And you’re right to worry, which is why I said it before, but all good messages bear repeatin’, so I’ll say it again. I am better than you.”

6) Mashal Darezsho

“I don’t care! I don’t care if you think I’m nothing more than a stepping stone on your path. I don’t care if you don’t think about me at all! But you will come out here and face me, gods damn it! And I’ll make sure I’m the last thing that ever crosses your fucking mind!”

7) Ivander Montane

“I didn’t come after the Surgeon out of the goodness of my heart. I… I didn’t come here to solve your murder or bring anyone to justice. The Surgeon can strip the magic from a sorcerer. I’ve seen the bodies with my own eyes—yours included. I came here hoping he could take the godly magic from me. ...I told you, I’m a selfish man.”

8) Elsind Cavernsight

“I forgive you, too. Just by knowing you, I can tell that your father was a good man. Not a good ruler maybe, but I can honestly say that I believe both of you did the best you could within the system you inherited. Very few nobles I’ve met were ever so, well, noble.”

8) Avymere Spearsong

“We are not retreating. The longer we take to act, the longer the people of Salis—of all of Skysheer—are held in Vermir’s grasp. Every second we waste means the death of another sorcerer whom it is my duty to protect. We push on.”

I like games like these, so ima call all the homies! Consider yourselves no pressure tagged ;)

@amandacanwrite @elsie-writes @riveriafalll @kosmic-kore @kaylinalexanderbooks

@bard-coded @carrotsinnovember @patternwelded-quill @somethingclevermahogony @whatwewrotepodcast

@the-angriest-author @mk-writes-stuff @frostedlemonwriter @vyuntspakhkite-l-darling @watermeezer

@leahnardo-da-veggie @mr-orion @televisionjester @ray-writes-n-shit @evilgabe29

@trippingpossum @tragedycoded @halfbakedspuds @ominous-feychild @cain-e-brookman

@wyked-ao3 @thecomfywriter

[vihattu-thethoroughbredofsin]

Some thoughts about Cybertron in the Transformers One trailer (SPOILERS!)

I was most interested in the shown state of Cybertron in the trailer. Instead of the rather familiar image of a metallic futuristic and technologically advanced planet, the trailer shows a completely different state of the planet's surface. There is some kind of organic life here, and it looks interesting.

Many compare it to Cybertron from the endings of BeastsMachines and Cybertron (Galaxy Force) and the Cyberverse. But I won't agree. In the first case, the idea was that Cybertron, for the sake of balance, should combine its wild distant past and present, creating a techno-organic unity, in the second case it was a symbol of the rebirth of the planet and the return of power to Primus, and in the third it was a rather lazy and crooked way to show the world of Cybertron, which worked incomprehensibly and contradicted itself. At least that's how I understand it. Here, one gets the impression of a completely different idea.

The surface of Cybertron looks to be covered with organic plant life, not techno-organic, and this is interesting, given that most of the ground looks to be made up of metal and crystalline structures.

But most importantly, this vegetation looks somewhat wrong, but in a certain sense. It's like it doesn't belong here.

What I mean by that. Some of the plants look natural, while the rest looks out of line with the rest of the environment and even other vegetation. And this is not about the quality of the graphics, everything is just fine here, and therefore it seems to me that this impression is made intentionally.

Here is an example where plants look organic (first 3), and where they no longer combine with the place of growth (next 3).

And the appearance is strikingly different, as if these plants are not from the same biome, which leads to one thought, but more on that later.

On the other hand, animals, they are obviously completely metallic and mechanical. And, interestingly again, we see only these deer or antelopes, no flocks of birds or insects on the background, some small animals.

All this gives me the impression of a kind of post-apocalyptic world either at the stage of dying or at the initial stage of rebirth. Most of the territory is a wasteland of metal and ground, and the plants seem to be in separate oases. This may hint either that plants are gradually taking over the planet after a cataclysm, or that life is gradually dying on the surface.

We see the ruins of buildings covered with vegetation and the bodies, presumably of the Primes, also overgrown with some kind of plants. But all this does not look peaceful and whole.

At least there is an artificial danger for representatives of the fauna.

And since the Quintessons are definitely involved in the plot, I have two ideas about what's going on.

1. Techno-organic quintessons alter the planet for themselves and create suitable conditions and an ecosystem for themselves on the surface. This explains why the plants look so different, the Quintessons could have imported them from other planets or their native home. This would explain why antelopes resemble our animals so much, they could have been created under the impression of the fauna of other worlds. The ruins of the buildings could belong to transformers, who were enslaved and driven to live and work underground. Or transformers were also created in the image and likeness of someone as a workforce.

2. The planet was originally organic. Quintessons could fly here for resources or in search of a new home and begin to cyberform the planet, gradually killing organic life that remained only on small areas of the surface. At the same time, antelopes can be mutated or cyberformed animals that are gradually exterminated by the shown protection system. The buildings could belong to the alien race that originally lived here. At the same time, transformers can be a workforce created by quintessons.

This is definitely a very interesting and new look at Cybertron and the past of this planet, and it seems to me that the authors of the cartoon clearly decided to show Cybertron like this for a reason, there is an idea behind it.

Well, let's wait to see what happens.

[dosesofcommonsense]

Hey man! Before you delete this ask because I call myself a leftist, I want you to read over this ask. I genuinely have no ill intent towards you, I just want to know how you would explain something. If you can give me a solid answer, you'd have "owned this lib". I legitimately want to give you the chance to speak.

Recently, (based on your posts, what I assume to be) your party made a move to kill a non-partisan government funding bill, at the will of Elon Musk. For this, the party risked governmental shut-down so they could make their changes to the bill. This is not where my question lies.

Among the cuts made in the bill, the party cut 120 billion dollars in pediatric cancer research. I am simply asking if MAGA and Republican party supporters can justify this.

Can you please explain why your party took away (possibly vital) cancer research for children?

I got asked this and attempted to reply privately in chat, but I was not able to reply in chat. So, everyone gets to see the ask and response.

Liberal voters used to be seen as voters willing to consider all options. That’s changed over the years. I’m not interested in “owning a lib”. I like discourse and civil posts….or mostly civil posts. I’m not perfect. I am passionate about my cause and certain topics.

I’m not necessarily in a specific political party. I’m a constitutional conservative. Currently, I align with MAGA, which is a nationalistic and populist movement housed under the Republican Party. Trump wisely hunkered under that umbrella instead of further dividing the voters and creating another party. RFKjr tried that in opposition to Jill Stein’s Libertarian group. While he surpassed her numbers as the official 3rd party (impressive), he couldn’t surpass Trump under the Republican canopy. When RFKjr joined Trump, the Unity Ticket surpassed the Democrats/Democrat Socialists and Biden’s illegal voting machine. The election and voting base was too big for the DNC to rig.

I’m not a fan of the bill that passed. Read my posts and you’ll find I want much shorter bills with much less spending in them. I like the bill that passed in comparison to the original, but I want even shorter bills with even more transparency than Elon promoted and successfully utilized on X.

**Elon spiked attention. The people who voted for Trump/Vance and the Unity Ticket spoke and got a response. Elon helped kill the bill, but he didn’t do it by himself.

**Non-Partisan? Ha! That bill was fat with Elitism.

I’ll answer your question after I ask two.

1. Are you willing to pay $120B in cancer research AND pay all the other money in that bill?

2. If you dig into my posts, you’ll see cancer treatments outside of Big Medicine and Big Pharma have been discovered to great effects (curing cancer). The methods already exist. What else is there to research?

——

Inside our medical community, have they touted these findings? No. They silence them and push cancer research and chemo. Chemo isn’t a cure. It’s the Trail of Tears assault on the human body. Chemo kills everything but isn’t guaranteed to kill the cancer. Strange, huh?

At which point was this cancer research designated? The research into developing more cancer, the management of the cancer, the “treatment” against the cancer, the treatment of the secondary and tertiary developments, or shutting down the findings outside of Big Pharma about eradicating cancer?

Have you listened to the drug commercials? 90% of drugs mention a cancer warning. “Treat your eczema but run the risk of severe bleeding, tuberculosis, cancer and 15 other things.” Those commercials don’t say cure. They say treat your issue. A patient cured is money lost. A patient cured is leverage lost. A kid cured is the most offensive thing to Big Pharma because child patients have the greatest potential to be in the healthcare system the longest. Hook them early on one “doctor prescribed medicine” and pass them along to more and more. There’s a pill for this and a pill for that, and a new pill for the adverse reactions of pills 1 and 2. Maybe that sounds harsh to you, but it’s true. 95% of our “doctors” are salesmen intend on you taking something for something; most don’t know ethical medical practices about holistic care because Big Pharma paid for their medical schooling. That evidence is out there. Big Pharma brags about it.

Our medical community and government spending needs an overhaul. The two are tied together and the bond needs to be severed. At this point, all these different endeavors should be GoFundMe donation platforms. That’s essentially what St. Jude does. So, whether it’s cancer, ALS, PETA, The Boston Symphony, University endowments, Big Auto, radio stations, media outlets, or all these science experiments studying cocaine effects on fish and rats and flies eating beagles, find someone else besides the government to fund the endeavor.

I cannot explain what made the cut and what didn’t. Personally, I’d have closed the government till 1/20, but that didn’t happen. Wouldn’t that be scary? No. Not a big deal.

Instead, the 1500+ package was whittled down to 116 pages - I think that was the number. Whatever made the cut is still too much for a country $36 Trillion in debt and with a Congress with a majority body possessing zero knowledge on money, budgets, zero balanced budgets, paying off debt, credit limits/debt ceiling, or spending more than $2T over budget. You and I might be able to talk money. The bulk of Congress doesn’t understand that it’s OUR money not the government’s money; they see a prepaid debit card with zero limits and think they can spend whatever they want on anything. Because of that, we’re $36T in debt and Big Pharma continues to “research” cancer treatments without ever finding a cure. Would you find a cure and stop the flow of money?

[templeofthescarletstar]

JACOB'S LADDER RITUAL : USING THE FULL PLANETARY ALIGNMENT TO REACH DIRECT CONTACT WITH THE DEVINE.

Carefully constructed ritual, drawing from Kabbalistic, Hermetic, and Theurgical principles to harness the alignment as a direct gateway up the Tree of Life. We’ll ensure it aligns with planetary energies, intonations, sigils, sacred geometry, and invocation techniques to maximize the connection to Kether. (divine source) 

1. Purpose of the Ritual

This ritual is designed to use the rare seven-planet alignment as a "direct ladder" on the Tree of Life, opening an energetic pathway from Malkuth (Earthly reality) to Kether (Divine Consciousness). If performed correctly, it should thin the veil, facilitate divine communion, and potentially allow for a higher state of awareness or revelation.

2. Core Structure: The Middle Pillar as the Ladder

Since the planets correspond to the Sephiroth, we will use them as a ladder up the Middle Pillar, symbolizing ascension toward Kether.

Yesod (Moon) → Hod (Mercury) → Netzach (Venus) → Tiphareth (Sun) → Geburah (Mars) → Chesed (Jupiter) → Binah (Saturn) → Kether (Crown)

The ritual will move sequentially up this path, calling upon each planetary force in alignment, using intonations and vibrational sound frequencies that resonate with their energies.

3. Preparation: Tools & Symbols

A. Sacred Geometry: The Sigil of Alignment

A seven-pointed Heptagram (symbolizing planetary unity) should be used.

Inside it, place the Tree of Life diagram, aligning the planets in their respective Sephiroth.

B. Key Vibrations & Invocations

We will chant specific divine names associated with each Sephirah while moving up the Tree.

Planetary frequencies (Hz tones) will be incorporated to align with celestial vibrations.

Mantras, Enochian calls, or Hebrew Divine Names will be layered to amplify resonance.

C. Items Needed

Seven planetary candles (white for Kether, indigo or black for Saturn, blue for Jupiter, red for Mars, gold for the Sun, green for Venus, orange or purple for Mercury, silver for the Moon).

A chalice of water and a quartz crystal to represent the reflective gateway of Yesod.

Incense corresponding to each planetary force (these tend to vary from system to system. I will provide two classical lists and also mine) 

A mirror or black scrying bowl to act as a "reflection of the heavens".

4. The Ritual: The Ascent to Kether

Step 1: Opening the Gate

Begin in darkness. Light only the Moon candle (Yesod).

Chant the Name of God associated with Yesod: "Shaddai El Chai"

(Feel the connection to the subconscious and astral realms. The Moon reflects all things—this is the gateway.)

Gaze into the mirror/scrying bowl, visualizing the alignment of planets forming a glowing pathway above you.

Step 2: Planetary Ascension Up the Tree

For each step up the Tree, light the corresponding candle, chant the Divine Name, and intone the planetary vibration. (i will add a YouTube playlist link with all the planetary frequency so we can actually play the sound) 

Visualize ascending through the planetary spheres toward Kether.

(all tables and charts shown below) 

Each chant should be extended, vibrating through your whole body, allowing resonance to activate your consciousness.

Step 3: The Crown – Opening the Gate to Kether

When reaching Binah (Saturn), the final threshold before divine transcendence, pause and contemplate the abyssal void.

When ready, extinguish all candles except for Kether (white candle).

Speak the words “Ehyeh Asher Ehyeh” (I Am That I Am)—the highest divine vibration.

Allow absolute silence. Let Kether reveal itself.

Step 4: Descent and Closing

Slowly reverse the process, grounding yourself by retracing back through the Sephiroth.

Extinguish candles in reverse order.

Close with the phrase: "So it is written, so it shall be."

5. Potential Outcomes

Heightened spiritual awareness or visions.

Astral projection experiences beyond normal limitations.

Deep personal revelations—possibly even direct communion with higher consciousness.

A temporary thinning of the veil, allowing access to the hidden knowledge of Kether.

This is a highly experimental ritual—but if the alignment acts as a direct ladder to the divine, then this structure should theoretically utilize it as a celestial gateway.

Planetary Incense Correspondences (Key of Solomon)

Sun ☉ (Tiphareth) – Cinnamon & Frankincense

Moon ☽ (Yesod) – Aloeswood & Camphor

Mercury ☿ (Hod) – Mastic

Venus ♀ (Netzach) – Benzoin

Mars ♂ (Geburah) – Dragon’s Blood

Jupiter ♃ (Chesed) – Storax

Saturn ♄ (Binah) – Myrrh

Planetary Incense Correspondences (Golden Dawn & Later Hermetic Systems)

Sun ☉ – Frankincense, Cinnamon

Moon ☽ – Myrrh, Camphor

Mercury ☿ – Storax, Mastic, Lavender

Venus ♀ – Rose, Benzoin

Mars ♂ – Dragon’s Blood, Tobacco, Cayenne

Jupiter ♃ – Cedar, Nutmeg, Clove, Oak

Saturn ♄ – Black Storax, Cypress, Patchouli

Planetary Frequencies (Hz)

Sun ☉ – 126.22 Hz

Moon ☽ – 210.42 Hz

Mercury ☿ – 141.27 Hz

Venus ♀ – 221.23 Hz

Mars ♂ – 144.72 Hz

Jupiter ♃ – 183.58 Hz

Saturn ♄ – 147.85 Hz

Divine Names of the Sephiroth

Keter (Crown) – Ehyeh

Chokhmah (Wisdom) – Yah

Binah (Understanding) – Elohim

Chesed (Mercy) – El

Geburah (Strength) – Elohim Gibor

Tiphareth (Beauty) – YHVH Eloah ve-Daath

Netzach (Victory) – YHVH Tzabaoth

Hod (Glory) – Elohim Tzabaoth

Yesod (Foundation) – Shaddai El Chai

Malkuth (Kingdom) – Adonai Melekh

Angelic Names of the Sephiroth

Keter – Metatron

Chokhmah – Raziel

Binah – Tzaphkiel

Chesed – Tzadkiel

Geburah – Kamael

Tiphareth – Raphael

Netzach – Haniel

Hod – Michael

Yesod – Gabriel

Malkuth – Sandalphon

(the more advanced students may wish to incorporate sacred geometry yoga poses and Enochian calls or perhaps simplify the entire ritual down to the poses alone. So here is an additional part of this ritual below) 

 integrating sacred body postures corresponding to each Sephirah’s geometry and an Enochian Call would greatly enhance the ritual. The body becomes the living conduit of the Tree of Life, aligning physically with the celestial structure, while the Enochian vibrations further amplify the resonance.

Refining the Ritual: The Ascent to Kether

Enhancements:

1. Body Postures Aligned with the Sephiroth

Each step up the Tree will use a specific stance, forming a sacred geometric structure.

These poses should correspond to the sacred geometry of each planetary force. ( all poses and a description of how to form them are listed in full at the bottom along with the phonetic pronunciations of both Enochian calls and Devine names) 

2. Enochian Call for the Celestial Gate

We will integrate an Enochian invocation upon reaching Tiphareth (Solar Gateway) and Kether (Crown).

This call will be customized for opening the Celestial Ladder.

1. Sacred Geometry & Postures for Each Sephirah

Each body pose will activate the Sephiroth within, creating a resonance between the macrocosm (celestial alignment) and the microcosm (the magician’s body).

Each stance should be held for the duration of the Sephirah’s vibrational chant, ensuring full energetic embodiment.

2. The Enochian Call of the Celestial Ladder

We will integrate an Enochian Key upon reaching Tiphareth (the Solar Gateway) and another upon Kether (the Crown).

Tiphareth’s Enochian Call:

ZODACARE OD ZODAMERANU! O you shining ones of the Sun, open the Gate of Light, bring forth the Crown upon the Ladder of Heaven!"

Calls upon the Solar Gate, the Light of Divine Truth.

Activates the central axis of ascension.

Kether’s Enochian Call:

"LONSHI ZIRDO NOCO MAD, EHYEH ASHER EHYEH! Open the highest Gate, remove the veil of the One Light, as it was, as it is, as it shall be!"

Calls upon the First Aethyr, seeking direct divine contact.

Uses the Name of God in its most sacred utterance.

3. The Final Structure

1. Align with the Planets → Enter Postures → Vibrate Names → Activate Celestial Ladder

2. Enochian Call at Tiphareth → Solar Gate Opens

3. Sacred Gesture at Kether → Speak the Name → Enter Silence

Final Thoughts

By combining sacred geometry through the body, planetary alignment, vibrational resonance, and Enochian invocations, this ritual will function as a complete spiritual ascent system—a ladder from the material world into the Divine.

Sacred Geometry Poses for the Tree of Life & Planetary Alignment

Yesod (Moon)

Pose Name: Triangle Pose (Trikonasana)

Instructions: Stand with legs apart. Extend your right arm down toward your right shin (or floor), while left arm reaches upward. Hold and switch sides.

Hod (Mercury)

Pose Name: Caduceus Staff Pose

Instructions: Stand with feet together. Hold an imaginary staff in front of you, arms bent at the elbows. Visualize twin serpents rising along your spine. Maintain focus on balance and energy flow.

Netzach (Venus)

Pose Name: Venusian Arc Pose

Instructions: Stand with feet apart. Raise both arms overhead, curving them to form an arc. Lean slightly back, opening the heart center. Hold and breathe deeply.

Tiphareth (Sun)

Pose Name: Crucifixion Pose

Instructions: Stand with feet together, arms extended horizontally to form a cross. Slightly tilt the head upward as if gazing at divine light. Hold with deep breathing. 

Geburah (Mars)

Pose Name: Warrior Stance

Instructions: Stand with feet apart, knees slightly bent. Hands form fists at the waist or extend outward as if ready for battle. Channel strength and focus.

Chesed (Jupiter)

Pose Name: Wild Stance

Instructions: Stand firmly with legs apart. Arms raised in a commanding posture, fingers spread as if directing energy outward. Root yourself into the ground.

Binah (Saturn)

Pose Name: Pyramid Gateway Pose

Instructions: Stand with feet together, raise arms to form a triangle above your head. Hold hands together in a peak, visualizing a gateway opening above.

Enochian Script:

"ZODACARE OD ZODAMERANU! O you shining ones of the Sun, open the Gate of Light, bring forth the Crown upon the Ladder of Heaven!"

Phonetic Pronunciation:

"ZOH-Dah-Kah-RAY Ohd Zoh-DAH-Meh-RAH-Nu!”

Kether’s Enochian Call: The Crown of the Divine

Enochian Script:

"LONSHI ZIRDO NOCO MAD, EHYEH ASHER EHYEH! Open the highest Gate, remove the veil of the One Light, as it was, as it is, as it shall be!"

Phonetic Pronunciation:

"LON-Shee ZIR-Doh NOH-Koh MAHD, Eh-YEH Ah-SHER Eh-YEH!”

[dailyanarchistposts]

FAQ Volume 1 Appendix — The Symbols of Anarchy

1 What is the history of the Black Flag?

As is well known, the black flag is the symbol of anarchism. Howard Ehrlich has a great passage in his book Reinventing Anarchy, Again on why anarchists use it. It is worth quoting at length:

“Why is our flag black? Black is a shade of negation. The black flag is the negation of all flags. It is a negation of nationhood which puts the human race against itself and denies the unity of all humankind. Black is a mood of anger and outrage at all the hideous crimes against humanity perpetrated in the name of allegiance to one state or another. It is anger and outrage at the insult to human intelligence implied in the pretences, hypocrisies, and cheap chicaneries of governments … Black is also a colour of mourning; the black flag which cancels out the nation also mourns its victims the countless millions murdered in wars, external and internal, to the greater glory and stability of some bloody state. It mourns for those whose labour is robbed (taxed) to pay for the slaughter and oppression of other human beings. It mourns not only the death of the body but the crippling of the spirit under authoritarian and hierarchic systems; it mourns the millions of brain cells blacked out with never a chance to light up the world. It is a colour of inconsolable grief. “But black is also beautiful. It is a colour of determination, of resolve, of strength, a colour by which all others are clarified and defined. Black is the mysterious surrounding of germination, of fertility, the breeding ground of new life which always evolves, renews, refreshes, and reproduces itself in darkness. The seed hidden in the earth, the strange journey of the sperm, the secret growth of the embryo in the womb all these the blackness surrounds and protects. “So black is negation, is anger, is outrage, is mourning, is beauty, is hope, is the fostering and sheltering of new forms of human life and relationship on and with this earth. The black flag means all these things. We are proud to carry it, sorry we have to, and look forward to the day when such a symbol will no longer be necessary.” [“Why the Black Flag?”, Howard Ehrlich (ed.), Reinventing Anarchy, Again, pp. 31–2]

Here we discuss when and why anarchists first took up the black flag as our symbol.

There are ample accounts of the use of black flags by anarchists. Probably the most famous was Nestor Makhno’s partisans during the Russia Revolution. Under the black banner, his army routed a dozen armies and kept a large portion of the Ukraine free from concentrated power for a good couple of years. On the black flag was embroidered “Liberty or Death” and “The Land to the Peasant, The Factories to the Workers.” [Voline, The Unknown Revolution, pp. 607–10] In 1925, the Japanese anarchists formed the Black Youth League and, in 1945, when the anarchist federation reformed, their journal was named Kurohata (Black Flag). [Peter Marshall, Demanding the Impossible, pp. 525–6] In 1968, students carried black (and red) flags during the street fighting and General Strike in France, bringing the resurgence of anarchism in the 1960s into the view of the general public. The same year saw the Black Flag being raised at the American Students for a Democratic Society national convention. Two years later the British based magazine Black Flag was started and is still going strong. At the turn of the 21st century, the Black Flag was at the front of the so-called anti-globalisation protests. Today, if you go to any sizeable demonstration you will usually see the Black Flag raised by the anarchists present.

However, the anarchists’ black flag originated much earlier than this. Louise Michel, famous participant in the Paris Commune of 1871, was instrumental in popularising the use of the Black Flag in anarchist circles. At a March 18th public meeting in 1882 to commemorate the Paris Commune she proclaimed that the “red flag was no longer appropriate; [the anarchists] should raise the black flag of misery.” [Edith Thomas, Louise Michel, p. 191] The following year she put her words into action. According to anarchist historian George Woodcock, Michel flew the black flag on March 9, 1883, during demonstration of the unemployed in Paris, France. An open air meeting of the unemployed was broken up by the police and around 500 demonstrators, with Michel at the front carrying a black flag and shouting “Bread, work, or lead!” marched off towards the Boulevard Saint-Germain. The crowd pillaged three baker’s shops before the police attacked. Michel was arrested and sentenced to six years solitary confinement. Public pressure soon forced the granting of an amnesty. [Anarchism, pp. 251–2] August the same year saw the publication of the anarchist paper Le Drapeau Noir (The Black Flag) in Lyon which suggests that it had become a popular symbol within anarchist circles. [“Sur la Symbolique anarchiste”, Bulletin du CIRA, no. 62, p. 2] However, anarchists had been using red-and-black flags a number of years previously (see next section) so Michel’s use of the colour black was not totally without precedence.

Not long after, the black flag made its way to America. Paul Avrich reports that on November 27, 1884, it was displayed in Chicago at an anarchist demonstration. According to Avrich, August Spies, one of the Haymarket martyrs, “noted that this was the first occasion on which [the black flag] had been unfurled on American soil.” By January the following year, ”[s]treet parades and mass outdoor demonstrations, with red and black banners … were the most dramatic form of advertisement” for the revolutionary anarchist movement in America. April 1885 saw Lucy Parsons and Lizzie Holmes at the head of a protest march “each bearing a flag, one black, the other red.” [The Haymarket Tragedy, p. 145, pp. 81–2 and p. 147] The Black Flag continued to be used by anarchists in America, with one being seized by police at an anarchist organised demonstration for the unemployed in 1893 at which Emma Goldman spoke. [Emma Goldman: A Documentary History of the American Years, vol. 1, p. 144] Twenty one years later, Alexander Berkman reported on another anarchist inspired unemployed march in New York which raised the black flag in “menacing defiance in the face of parasitic contentment and self-righteous arrogance” of the “exploiters and well-fed idlers.” [“The Movement of the Unemployed”, Anarchy! An Anthology of Emma Goldman’s Mother Earth, p. 341]

It seems that black flags did not appear in Russia until the founding of the Chernoe Znamia (“black banner”) movement in 1905. With the defeat of that year’s revolution, anarchism went underground again. The Black Flag, like anarchism in general, re-emerged during the 1917 revolution. Anarchists in Petrograd took part in the February demonstrations which brought down Tsarism carrying black flags with “Down with authority and capitalism!” on them. As part of their activity, anarchists organised armed detachments in most towns and cities called “Black Guards” to defend themselves against counter-revolutionary attempts by the provisional government. As noted above, the Makhnovists fought Bolshevik and White dictatorship under Black Flags. On a more dreary note, February 1921 saw the end of black flags in Soviet Russia. That month saw Peter Kropotkin’s funeral take place in Moscow. Twenty thousand people marched in his honour, carrying black banners that read: “Where there is authority there is no freedom.” [Paul Avrich, The Russian Anarchists, p. 44, p. 124, p. 183 and p. 227] Only two weeks after Kropotkin’s funeral march, the Kronstadt rebellion broke out and anarchism was erased from Soviet Russia for good. With the end of Stalinism, anarchism with its Black Flag re-emerged all across Eastern Europe, including Russia.

While the events above are fairly well known, as has been related, the exact origin of the black flag is not. What is known is that a large number of Anarchist groups in the early 1880s adopted titles associated with black. In July of 1881, the Black International was founded in London. This was an attempt to reorganise the Anarchist wing of the recently dissolved First International. In October 1881, a meeting in Chicago lead to the International Working People’s Association being formed in North America. This organisation, also known as the Black International, affiliated to the London organisation. [Woodcock, Op. Cit., pp. 212–4 and p. 393] These two conferences are immediately followed by Michel’s demonstration (1883) and the black flags in Chicago (1884).

Thus it was around the early 1880s that anarchism and the Black Flag became inseparably linked. Avrich, for example, states that in 1884, the black flag “was the new anarchist emblem.” [The Haymarket Tragedy, p. 144] In agreement, Murray Bookchin reports that “in later years, the Anarchists were to adopt the black flag” when speaking of the Spanish Anarchist movement in 1870. [The Spanish Anarchists, p. 57] Walter and Heiner also note that “it was adopted by the anarchist movement during the 1880s.” [Kropotkin, Act for Yourselves, p. 128]

Now the question becomes why, exactly, black was chosen. The Chicago “Alarm” stated that the black flag is “the fearful symbol of hunger, misery and death.” [quoted by Avrich, Op. Cit., p. 144] Bookchin asserts that anarchists were “to adopt the black flag as a symbol of the workers misery and as an expression of their anger and bitterness.” [Op. Cit., p. 57] Historian Bruce C. Nelson also notes that the Black Flag was considered “the emblem of hunger” when it was unfurled in Chicago in 1884. [Beyond the Martyrs, p. 141 and p. 150] While it “was interpreted in anarchist circles as the symbol of death, hunger and misery” it was “also said to be the ‘emblem of retribution’” and in a labour procession in Cincinnati in January 1885, “it was further acknowledged to be the banner of working-class intransigence, as demonstrated by the words ‘No Quarter’ inscribed on it.” [Donald C. Hodges, Sandino’s Communism, p. 21] For Berkman, it was the “symbol of starvation and desperate misery.” [Op. Cit., p. 341] Louise Michel stated that the “black flag is the flag of strikes and the flag of those who are hungry.” [Op. Cit., p. 168]

Along these lines, Albert Meltzer maintains that the association between the black flag and working class revolt “originated in Rheims [France] in 1831 (‘Work or Death’) in an unemployed demonstration.” [The Anarcho-Quiz Book, p. 49] He went on to assert that it was Michel’s action in 1883 that solidified the association. The links from revolts in France to anarchism are even stronger. As Murray Bookchin records, in Lyon ”[i]n 1831, the silk-weaving artisans … rose in armed conflict to gain a better tarif, or contract, from the merchants. For a brief period they actually took control of the city, under red and black flags — which made their insurrection a memorable event in the history of revolutionary symbols. Their use of the word mutuelisme to denote the associative disposition of society that they preferred made their insurrection a memorable event in the history of anarchist thought as well, since Proudhon appears to have picked up the word from them during his brief stay in the city in 1843–4.” [The Third Revolution, vol. 2, p. 157] Sharif Gemie confirms this, noting that a police report sent to the Lyon prefect that said: “The silk-weavers of the Croix-Rousse have decided that tomorrow they will go down to Lyon, carrying a black flag, calling for work or death.” The revolt saw the Black Flag raised:

“At eleven a.m. the silk-weavers’ columns descended the slops of the Croix-Rousse. Some carried black flags, the colour of mourning and a reminder of their economic distress. Others pushed loaves of bread on the bayonets of their guns and held them aloft. The symbolic force of this action was reinforced by a repeatedly-shouted slogan: ‘bread or lead!’: in other words, if they were not given bread which they could afford, then they were prepared to face bullets. At some point during the rebellion, a more eloquent expression was devised: ‘Vivre en travaillant ou mourir en combattant!’ — ‘Live working or die by fighting!’. Some witnesses report seeing this painted on a black flag.” [Sharif Gemie, French Revolutions, 1815–1914, pp. 52–53]

Kropotkin himself states that its use continued in the French labour movement after this uprising. He notes that the Paris Workers “raised in June [1848] their black flag of ‘Bread or Labour’” [Act for Yourselves, p. 100] Black flags were also hung from windows in Paris on the 1st of March, 1871, in defiance of the Prussians marching through the city after their victory in the Franco-Prussian War. [Stewart Edwards, The Communards of Paris, 1871, p. 25]

The use of the black flag by anarchists, therefore, is an expression of their roots and activity in the labour movement in Europe, particularly in France. The anarchist adoption of the Black Flag by the movement in the 1880s reflects its use as “the traditional symbol of hunger, poverty and despair” and that it was “raised during popular risings in Europe as a sign of no surrender and no quarter.” [Walter and Becker, Act for Yourselves, p. 128] This is confirmed by the first anarchist journal to be called Black Flag: “On the heights of the city [of Lyon] in la Croix-Rousse and Vaise, workers, pushed by hunger, raised for the first time this sign of mourning and revenge [the black flag], and made therefore of it the emblem of workers’ demands.” [Le Drapeau Noir, no. 1, 12th August 1883] This was echoed by Louise Michel:

“How many wrathful people, young people, will be with us when the red and black banners wave in the wind of anger! What a tidal wave it will be when the red and black banners rise around the old wreck! “The red banner, which has always stood for liberty, frightens the executioners because it is so red with our blood. The black flag, with layers of blood upon it from those who wanted to live by working or die by fighting, frightens those who want to live off the work of others. Those red and black banners wave over us mourning our dead and wave over our hopes for the dawn that is breaking.” [The Red Virgin: Memoirs of Louise Michel, pp. 193–4]

The mass slaughter of Communards by the French ruling class after the fall of the Paris Commune of 1871 could also explain the use of the Black Flag by anarchists at this time. Black “is the colour of mourning [at least in Western cultures], it symbolises our mourning for dead comrades, those whose lives were taken by war, on the battlefield (between states) or in the streets and on the picket lines (between classes).” [Chico, “letters”, Freedom, vol. 48, No. 12, p. 10] Given the 25 000 dead in the Commune, many of them anarchists and libertarian socialists, the use of the Black Flag by anarchists afterwards would make sense. Sandino, the Nicaraguan libertarian socialist (whose use of the red-and-black colours we discuss below) also said that black stood for mourning (“Red for liberty; black for mourning; and the skull for a struggle to the death” [Donald C. Hodges, Sandino’s Communism, p. 24]).

Regardless of other meanings, it is clear that anarchists took up the black flag in the 1880s because it was, like the red flag, a recognised symbol of working class resistance to capitalism. This is unsurprising given the nature of anarchist politics. Just as anarchists base our ideas on actual working class practice, we would also base our symbols on those created by that self-activity. For example, Proudhon as well as taking the term “mutualism” from radical workers also argued that co-operative “labour associations” had “spontaneously, without prompting and without capital been formed in Paris and in Lyon… the proof of it [mutualism, the organisation of credit and labour] … lies in current practice, revolutionary practice.” [No Gods, No Masters, vol. 1, pp. 59–60] He considered his ideas, in other words, to be an expression of working class self-activity. Indeed, according to K. Steven Vincent, there was “close similarity between the associational ideal of Proudhon … and the program of the Lyon Mutualists” and that there was “a remarkable convergence [between the ideas], and it is likely that Proudhon was able to articulate his positive program more coherently because of the example of the silk workers of Lyon. The socialist ideal that he championed was already being realised, to a certain extent, by such workers.” [Pierre-Joseph Proudhon and the Rise of French Republican Socialism, p. 164] Other anarchists have made similar arguments concerning anarchism being the expression of tendencies within working class struggle against oppression and exploitation and so the using of a traditional workers symbol would be a natural expression of this aspect of anarchism.

Similarly, perhaps it is Louise Michel’s comment that the Black Flag was the “flag of strikes” which could explain the naming of the Black International founded in 1881 (and so the increasing use of the Black Flag in anarchist circles in the early 1880s). Around the time of its founding congress Kropotkin was formulating the idea that this organisation would be a “Strikers’ International” (Internationale Greviste) — it would be “an organisation of resistance, of strikes.” [quoted by Martin A. Miller, Kropotkin, p. 147] In December 1881 he discussed the revival of the International Workers Association as a

Strikers’ International for to “be able to make the revolution, the mass of workers will have to organise themselves. Resistance and strikes are excellent methods of organisation for doing this.” He stressed that the “strike develops the sentiment of solidarity” and argued that the First International “was born of strikes; it was fundamentally a strikers’ organisation.” [quoted by Caroline Cahm, Kropotkin and the Rise of Revolutionary Anarchism, 1872–1886, p. 255 and p. 256]

A “Strikers International” would need the strikers flag and so, perhaps, the Black International got its name. This, of course, fits perfectly with the use of the Black Flag as a symbol of workers’ resistance by anarchism, a political expression of that resistance.

However, the black flag did not instantly replace the red flag as the main anarchist symbol. The use of the red flag continued for some decades in anarchist circles. Thus we find Kropotkin writing in the early 1880s of “anarchist groups … rais[ing] the red flag of revolution.” As Woodcock noted, the “black flag was not universally accepted by anarchists at this time. Many, like Kropotkin, still thought of themselves as socialists and of the red flag as theirs also.” [Words of a Rebel, p. 75 and p. 225] In addition, we find the Chicago anarchists using both black and red flags all through the 1880s. French Anarchists carried three red flags at the funeral of Louise Michel’s mother in 1885 as well as at her own funeral in January 1905. [Louise Michel, Op. Cit., p. 183 and p. 201] Anarchist in Japan, for example, demonstrated under red flags bearing the slogans “Anarchy” and “Anarchist Communism” in June, 1908. [John Crump, Hatta Shuzo and Pure Anarchism in Interwar Japan, p. 25] Three years later, the Mexican anarchists declared that they had “hoisted the Red Flag on Mexico’s fields of action” as part of their “war against Authority, war against Capital, and war against the Church.” They were “fighting under the Red Flag to the famous cry of ‘Land and Liberty.’” [Ricardo Flores Magon, Land and Liberty, p. 98 and p. 100]

So for a considerable period of time anarchists used red as well as black flags as their symbol. The general drift away from the red flag towards the black must be placed in the historical context. During the 1880s the socialist movement was changing. Marxist social democracy was becoming the dominant socialist trend, with libertarian socialism going into relative decline in many areas. Thus the red flag was increasingly associated with the authoritarian and statist (and increasingly reformist) side of the socialist movement. In order to distinguish themselves from other socialists, the use of the black flag makes perfect sense as it was it an accepted symbol of working class revolt like the red flag.

After the Russian Revolution and its slide into dictatorship (first under Lenin, then Stalin) anarchist use of the red flag decreased as it no longer “stood for liberty.” Instead, it had become associated, at worse, with the Communist Parties or, at best, bureaucratic, reformist and authoritarian social democracy. This change can be seen from the Japanese movement. As noted above, before the First World War anarchists there had happily raised the red flag but in the 1920s they unfurled the black flag. Organised in the Kokushoku Seinen Renmei (Black Youth League), they published Kokushoku Seinen (Black Youth). By 1930, the anarchist theoretical magazine Kotushoku Sensen (Black Battlefront) had been replaced by two journals called Kurohata (Black Flag) and Kuhusen (Black Struggle). [John Crump, Op. Cit., pp. 69–71 and p. 88]

According to historian Candace Falk, ”[t]hough black has been associated with anarchism in France since 1883, the colour red was the predominant symbol of anarchism throughout this period; only after the First World War was the colour black widely adopted.” [Emma Goldman: A Documentary History of the American Years, vol. 1, p. 208fn] As this change did not occur overnight, it seems safe to conclude that while anarchism and the black flag had been linked, at the latest, from the early 1880s, it did not become the definitive anarchist symbol until the 1920s (Carlo Tresca in America was still talking of standing “beneath the red flag that is the immaculate flag of the anarchist idea” in 1925. [quoted by Nunzio Pernicone, Carlo Tresca: Portrait of a Rebel, p. 161]). Before then, anarchists used both it and the red flag as their symbols of choice. After the Russian Revolution, anarchists would still use red in their flags, but only when combined with black. In this way they would not associate themselves with the tyranny of the USSR or the reformism and statism of the mainstream socialist movement.

[theology101]

A Brief Explanation of Super Mutants, The Master and Harold for the Unititaed

In 2163, the super mutants tried to take over over - and they almost won. Decades prior, a man named Harold and Richard Grey were exploring the Mariposa military base (A west-tek facility where the Brotherhood of Steel was founded after learning about unethical experiments, though since abandoned) about 50 years after the bombs dropped looking to deal with some random murants. Harold was exposed to the Forced Evolutionary Virus (FEV) through a splash but Richard Grey was knocked unconscious and fell into a vat. When he emerged he was a shambling, ever expanding mess of organic material that spread throughout the base.

He repeatedly reintroduced FEV to his body in order to “grow” it, including incorporating most of the bases automated systems and computer control into his own body. He eventually got to the point where he could communicate via radio waves into the minds of anyone close enough to either himself or one of his sensors

He believed that Humanity was fundamentally doomed and that, after a few years of experimenting, his perfected “Super Mutants” would reclaim the wasteland all under his control. Not wars, no conflict, only the Unity under the Master. The Master, as Richard now went by, began a mass campaign of kidnapping and infecting un irradiated people (as they had the best chance of gaining psychological/intellectual positives in addition to being super big and strong), before threatening the Village of Shady Sands and Vault 13 - the home vault of the very first Main Character in the fallout series. Since the Vault was filled with unirradiated people, the Vault Dweller, who has repeated contact with Super Mutants during their quest to find a Water Chip, was forced to take down the Master in order to save their home by the corrupt overseer Jacoren. Through an alliance of the Brotherhood of Steel, a humanitarian organization called the Followers of the Apocalypse, and a bunch of villages in the proto-New California Republic were able to band together and attack the Master’s two forts

while the games dont say officially what happened either way, the story hints in fallout 2 that the Master committed suicide. After revealing that Super Mutants are infertile and instead of being a continuation of a New Species, they would actually just lead to the slow and inevitable end of all intelligent life as they died off without replacement. So, the Master after realizing his goal to save humanity and the world instead caused suffering en mass, explodes himself and the Cathedral - his new base of Operations

Ironically, Harold sticks around all the up up until Fallout 3, a full hundred and thiry years later. He followed the Brotherhood out east leading a merchant caravan before Bob, a tree that was growing out of his head, eventually started going haywire. After making it to DC, the FEV and Bob finally overwhelmed Harold, turning him into a stationary Tree God, able to sense and communicate through all organic life that Bob’s spores interact with. With project purity cleaning the potomac, theres a very real chance that Harold and Bob might bring about that renewal and regrowth that his old friend Richard always dreamed of

he’s similarly inhuman - his organs are seperated by several meters and are all connected through a root system and, facilitating them swelling to tremendous size. But Old Harold is always content to listen to and talk to travelers that come to his Oasis. He was a close friend the protagonist of Fallouts 1 and 2 before appearing in 3, and was involved with pretty much every major event in California prior to 2255 when he went to DC

[polo-drone-070]

The Golden Spiral - Part 4

(A story collab with @midasslave1) Part 1 | Part 2 | Part 3

Chapter 9: System Failsafe

The alert was still flashing on the monitor.

NEW TARGET IDENTIFIED: HERC. AGENT SENT FOR CONVERSION.

Jett’s blood ran cold.

“They’re sending 070 after him,” he breathed, horror creeping into his voice.

Leander backed away from the monitor. “We need to move. Now.”

But the low hum of approaching footsteps echoed down the corridor. Dozens of Midas guards in gold latex, their visors blank and glowing. One wrong move, and they’d be swarmed.

Jett was still typing furiously, trying to bypass the firewall. “I just need more time—”

“We don’t have time!” Leander snapped. He looked to PDU-110, who stood near the main circuit panel.

“I’m trying to find an override, but everything’s triple-locked. Their tech is—”

Leander didn’t wait. He stormed over to the wall, ripped open the panel, and stared at the tangle of glowing wires for only a moment before yanking out a full handful.

A flash. Sparks.

The lights went out.

Then… silence.

Only emergency lighting remained, casting the room in eerie red shadows. For a second, they held their breath.

Then the monitors rebooted. Static gave way to flickering images: Midas drones across the facility frozen mid-action, stumbling, confused. A reception worker slowly took off his visor, his face blank.

Jett spun to Leander. “How did you know that would work?”

“I didn’t,” Leander said, brushing sparks off his gloves. “I just wanted to kill the lights so we could run.”

Before Jett could reply, a new signal beeped on PDU-110’s tracker.

“PDU-070,” he said, eyes narrowing. “He’s… still. Not moving. We need to go. Now.”

Chapter 10: Reclamation

They sprinted down the hall, past guards doubled over, their golden programming short-circuiting without the main feed. The facility had become a maze of collapsed protocol—security drones spinning in circles, doors stuck open, system alerts blaring.

And then they found him.

PDU-070 stood at the exit of a processing chamber, bathed in golden light. His posture was perfect, his body now fully encased in in the metallic gold suit of midas drone.

“070!” Jett called, stepping forward.

No response. They removed the helmet and collar. His eyes were vacant, spirals flickering faintly but unfocused.

“He’s disconnected from the hive,” PDU-110 whispered. “No new input. He’s… waiting.”

Jett stepped closer, hesitating only for a second. “We’re here, brother,” he said softly. “The mission’s over. You’re safe.”

Still nothing.

Leander produced the device to disconnect 070 from the clutches of Midas, the embedded failsafe trigger planted inside him. 

He passed it over to Jett.  “Are you sure?” Jett asked.

“He trusted us to bring him back.”

Jett nodded.

He leaned in close to 070, thumb hovering over the trigger, then whispered: “For the Hive. For Percival.”

He pressed the button.

A jolt rippled through 070’s frame.

His eyes fluttered. The spirals blinked and stuttered. Then—

A breath. Shaky. Human.

070 blinked. His lips parted.

“Jett?” he whispered.

Jett smiled. “Welcome back.”

Chapter 11: Unity Reforged

They escaped the facility with 070 in tow, moving through corridors littered with gold-suited Polo-Drones and Golden Army members—receptionists, assistants, players—all blanked, dazed, stripped of self.

Some recognized them. Others just stared, fog lifting from their eyes.

Outside, a transport waited, previously rigged by PDU-110. They climbed aboard, loading as many as they could: PDU-050, 011, even 017—old comrades, faces warped by gold, but still salvageable.

As they pulled away from the crumbling facility, a transmission blared from the speakers overhead.

“This is not over,” came the smooth, calculated voice of the Midas Brothers. “You may have delayed our ascent… but we will rise again. Stronger. Smarter.”

The screen inside the transport flickered to life.

Two men in tailored gold suits sat at a conference table. Behind them, a glowing blueprint of the Midas Complex, and in the center, one file opened in shimmering gold:

“PROJECT: MIDAS ADVENTURE TIME TRAVEL.”

They smiled.

Fade to black.

Epilogue: The Legacy of Gold

Weeks later, at the newly restored Gold Team HQ, a celebration was held.

Polo-Drones stood in perfect form, black and gold rubber gleaming. Golden Army players filled the room, jerseys shining bright. For the first time in months, there was balance. Unity.

PDU-070 and Jett stood before the crowd, side by side. Scars visible, but healing.

Jett spoke first. “We were compromised. We were turned against what we believed in.”

“But we came back,” 070 added, his voice steady. “Because this—” he gestured to the room “—is stronger than anything Midas can build.”

There was applause. Cheers. Relief.

Some drones still blinked through haze. Some Gold Bros still wrestled with doubt. But now, they would rebuild. Together.

And somewhere in the shadows… time rippled.

The spiral never truly ends.

To join the Gold Army, contact one of our recruiters @brodygold, @goldenherc9 or @polo-drone-001.