#equivalent to demon and Dangerous Spirit and Dangerous Force and Dangerous God for a reason

[eye-of-leviathan]

Lev really is one of those grandpas you find out was involved in hardcore war shit and a bunch of serious high ranking jobs when he was younger and you just cannot believe it's the same person

[sonicasura]

Yup. But there are some advantages with it and they all understand that sometimes you got to get your hands dirty to get the job done. With Kafka's nature and how he is as a person, everyone don't need to worry about Kafka abusing nor go down the wrong path. Specially when he has friends to help when needed as well.

So now we're on how the spirit world build and how it works. And I think I've come up with something that actually good and works for the most part.

The spirit world is a marvel, and I don't say it for petty sake. It is bascually a place where as many as over a dozen different realms co-exsist and work together to keep things in balance. Though some are very dangerous in their very nature while others belong higher beings thats almost god-like in their powers and various other matters. There some thats only a few are allowed to be in, due either having many endangered species or other reasons that makes it so everyone is very strict about who gets to go there.

There are also a lot of different laws and rules to follow, so much so Kafka has to made a special book for Mina to read so she at least knows the most basic of them that are universal agreed upon and followed. Learning what each realm's rules are could take several lifetimes to actually complete, if thats want you want to do. Said book now has dozen upon dozen of copies after Mina asked if she could share it with the rest of the Defense Force. It is far to useful to not share with the rest, specially with her other fellow officers who can also travle to the spirit world.

As for architecture? Its a 50/50 spilt between ancient japan and the more modern one found today. Some of the realms can't have the stuff we have today due to verious reasons, while others are a special blend between both. Then you have places where even ancient architecture add to be modified in special and unique ways to actually work. That being said, there are many things in our world that can be found there as well. Convenience stores, movie theaters (some even form the late 1890s and other past eras), to even cate cafes and more.

And then theres the people who lives here. To said it is varied is an understatment of the millennia. Yokais, spirits of all kinds, some demons and even angles, kaijus and much more can be found all around. Good, bad, neutral, inbetween and everything else.

Mina has had some very interesting adventures in there and I'm willing to share some. Anything you have in mind?

Considering how mythology and religions have different depictions of the Afterlife/Spirit World, I definitely see it being an amalgamation from each one. Some establishments do require a better examine as what might be a normal movie theatre could be something else. Hopefully there isn't the equivalent of the Backrooms somewhere.

I imagine one adventure involves Mina getting caught up in a crowd and separated from Kafka. Even the Spirit World has shopping traffic like that.

[ourbetterdevils]

The Citadel’s War

Summary: The Wizards of the Citadel in exchange for magic have struck a bargain to help the nine hells fight the blood war.

Ever since we’ve been introduced to the citadel and the nature of their whole we’re at war thing and raised a forest to be a perfect desert combined with my knowledge of Brennan Lee Mulligan and his many other campaigns and passions has me inclined not to take this at face value. They’re just Wizards doing empire is boring.

I don’t really substantively have much to work with here but, the initial description of Eoighorain inclines me to think he’s a non-standard Balgura supported with the express use of Simian.

The fact they are traveling somewhere that is simply dangerous by virtue of being there and that couldn’t be supplemented by considerable wizardry inclines me to think this would have to be somewhere extra planar and not terrestrial.

Balgura, War, Categorically Dangerous the blood war and it’s unending occurrence make a pretty compelling fit.

Now we don’t know what exactly the cosmology of this world is and likely won’t for a while but, I do maybe remember off hand hearing that Planescape and the cosmology of the great wheel was a favorite or Mr.Mulligan’s.

We also do know it was a point of emphasis and explicitly mention in Fantasy High Sophomore year of the blood war and the need for distinction to be made between Devils and Demons. With Demons truly being a force of unrepentant destruction in the alien Deus-Pah’zhul way than anything useful to cosmology. While Devils are portrayed as generally bureaucratic and not necessarily pleasant but, can be bargained or reasoned with.

What we want to extract then is why would the blood war be a thing to challenge our characters narratively. For this we gotta go back to Eruslon’s initial foray into the mortal world. There’s a need for soldiers and while you’re probably saying hey not everything needs to be connected. I am simply saying everything we have been show has to have been chosen to be so. We have been shown knights on a road marching. We have been show citadel wizards marching. This world is stepped in conflict. Maybe just one though and maybe just the same one. Demand more and more of the people who fight that makes them forsake honor and everything else precious like balance or the spirits because none of them help them win the war: the bloodwar.

So to string this out to the max we got the world probably made by gods great wheel cool.

Mortals learn magic initially from nature probably become the first druids and witches they learn and are of the same tempo with the natural world and maybe a little more.

However, someday someone chuffs at this arrangement they take more than they give and the spirits get angry and take back their gift of magic for the most part. Mortals are pissed and are adamant not to be granted a gift but, to wield a power.

They find other ways to magic darker ways but, it’s just words right nothing more than complicated airflow and the gift of magic so great. The Hells makes a deal to give them wizardry for their participation in the bloodwar. This places a considerable burden on the wizards to service this debt essentially a debt that will never be paid off(maybe) because I assume the debt was always to win the blood war for hell.

The whole empire stick is an after thought just a means to pay back this debt and continue to fight and win the actual war that matters. However, maybe something like the citadel is running out of world to colonize and it’s opposition becoming more intense. Has lead to an over taxing of resources. So it’s desperate it’s doing the equivalent of the German Wunderwafe programs moonshot projects with a non-zero Chase of maybe winning the war outright and an extremely high chance of being junk like Caging a massive ocean spirit and fight a continental force of Kudzu are exemplary ideas they betray desperation of securing anything any edge to win the war.

But mortals can’t want the bloodwar to end its well known the only thing that is keeping both hell and the abyss from cleaning up isn’t the forces of good but each other. If either side wins they whole rest of the wheel loses.

The nature of the bloodwar by default though is that they’re too evenly balanced perfectly even one might say. So that neither is ever able to do so.

Unless say one cheated by say getting mortals to win it for them. Or rather to use the ingenuity of humanity to provide the necessary cosmological change to make winning the war possible. Then hell doesn’t even care if mortal kind is free of its debt because they’ll claw them all down anyways.

[makiema]

Possibility of an Eren vs the Devil final showdown

Okay so I saw @marley-warriors-of-demon-blood's post and I pondered over it for a few days. I finally had the time to write it all down. What I have to say draws a lot from the original post. I'd just like to mention some more hints that I picked up while doing my research along these lines.

First off, I'll elaborate on the recurring mentions of "devil" we get throughout the anime and the manga (also talk a bit about Paths) and secondly, on Isayama's subtle inclusions of numerous other Judeo-Christian references. All of it directly hints at a dramatic ending that may involve Eren, the protagonist, and the main antagonist- the Devil.

1. The Devil : We have had an eerie account of direct or indirect references to the Devil.

• One of the earliest comes from Bertholdt in Season 2 Ep 36 when we first hear him addressing Eldians as "spawns of the Devil"

• The next time we literally get to see the Devil is in Season 3 Ep 43 when Historia revisits her past and the book she reads show us the picture of the Devil and we also see Ymir Fritz for the very first time.

She's present in the story under the alias of Christa, who Freida points out to be a kind girl, always thinking about others.

However, this unsuspecting nature also makes her dangerously gullible and thus, the Devil tricks her into consuming the fruit which'd vest her with incredible powers that could be used to do some potential good work but also wreak havoc on Earth. The illustration was already a foreshadowing of the immediate future event whereby Rod Reiss would try to beguile Historia and get her to eat Eren but she'd see through the ploy and stand up against him. But, that's a different topic and I don't want to digress from my primary point. However this illustration carried an even darker foreboding as we'd realize in the course of the manga.

• The next implication comes from Floch, quite shockingly, during the Serum bowl, also in Season 3. We find him referring to Erwin as the "devil" out of nowhere, that too twice.

It was horrifying yes, but could it be a darker message for events yet to unfold? Surely Isayama wouldn't drag in the word "devil" out of nowhere. Also, another thing I want to point out here is Levi's decision of finally using the serum on Armin. No, not the usual why (because by now it's clear that he wanted Erwin to rest) but whether or not this action of his, that earned him hard opprobrium from almost half the fandom, had some underlying meaning for us. Maybe more than the shock factor, the serum bowl was allegorical of future events- that the Devil, like Erwin here, is not dead yet and has been playing the strings since eons ago; that the character who is following in Levi's footsteps, i.e., Eren will have to make a difficult choice (which is why Isayama had been stressing on how he'll hurt the fans in the conclusion) and bring an end to the Devil who is still at large. Choosing Armin over Erwin seems to be an absurd decision from a logical pov and Levi's action maybe more than just "letting him rest". Isayama loves foreshadowing. Killing off such an important character could very well be an indication of something more than what's visible on the surface. Perhaps, it was symbolical of how, in the near future, the actual devil, who shares the same caliber as the Commander in plotting, will be forced to rest by Eren, who was trained by Levi to make difficult choices by himself.

• After this , Eren Kruger mentions how "anyone can be the God or the 'Devil' " in Episode 58, while also explaining how everything is connected by PATHS.

• The final and the clearest reference to the Devil is found in Wily Tybur's speech where he informs us of his devilry and we also come across Ymir Fritz, the girl who fell into his trap, and apparently consumed "the source of all organic matter".

There couldn't have been a more prominent Biblical allusion than this one. Now, endowed with such power, Ymir Fritz sets off with beneficial work but, as per the Curse of Ymir, she dies in a few years and we learn that her power is eventually divided into Nine Titans.

• The Devil and PATHS : Only, in chapter 115, do we realize that she hasn't died or at least her spirit hasn't (I'll elaborate on this later). She's STILL very much functional in PATHS - this another universe or another place (whatever term you deem fit for it). When I say functional, I mean how she has to tend to and help her subjects respawn as per the contract with the Devil.

However, notice the rather dark shading on her face? Those are similar to Isayama's signature stress lines that indicate Ymir Fritz is in pain or at least, she doesn't look like she's willingly up for kneading soil to help her subjects reincarnate. Now, if Ymir Fritz from Tybur's tale is still active, how can we rule out the possibility that the devil is active too? PATHS connects the future and the past. Eren Kruger can send words of advice to the future via PATHS, every shifter who's endowed with powers of the past has access to PATHS. In short, PATHS could be the place of any probability. PATHS is the place that warps time, history and even reality. If Ymir Fritz has indeed digested 'the source of all organic matter on Earth', then PATHS, where Ymir Fritz is struck, could be what supports this source or more clearly, it is what nourishes the root of the Titan Power. We know that Ymir Fritz obtained the source from the Devil and now, if PATHS is like nourishment to the source and is sort of a massive energy center (where even the concept of time is lost) it might very well be the Devil's residence or the physical manifestation of the Devil's will. The Devil, as part of a greater ploy, intended to do away with mankind and wreak havoc and that's why duped Ymir Fritz, a naive young girl, into consuming something that'd bind her and her progenitors to his evil will forever by genetic alterations, making it susceptible to his wilful morphing. With this, the main plot that revolves around slavery can finally reach an end. And breaking that tie to the Titan DNA, by destroying the Devil or PATHS (which helps the Devil to enslave Eldians/Subjects of Ymir no matter the era) could resolve the main issue and pave the way to freedom. If Eren does that, it'd be poetic given that Eren Kruger said that the Attack Titan and it's owner has always chased freedom. It's only fair that the Attack Titan (the embodiment of freedom) destroys PATHS (the embodiment that allows slavery). It all sets out beautifully and maybe this is the reason why Isayama even ensured that we get to see PATHS animated as early as in Season 2 Ep 10. Thus, we get a sneak peek of it in Ymir's memory.

It just gives more corroboration to my hunch that PATHS is THAT important and can possibly be the abode of the Devil and hence, be crucial in the endgame. Also, isn't it ironic how Ymir says "I saw freedom spread out before me" in this scene? Or could Isayama be hinting at a possible conclusion that Eren would finally achieve freedom once he is also in PATHS dimension and destroys it? That this scene would be included so early in the anime but not carry some deeper meaning just doesn't settle well.

2. Other Judeo-Christian references : The manga is brimming with those but I'd just point out to a few as some interpretations may seem too far off and I have the habit of snowballing every minute detail.

• Violets : These flowers keep popping up time and again and is even there in the very beginning of the show. Eren wakes up crying from his 'dream-vision' and we find those violets right beside him.

We again see these flowers very briefly under Armin when Eren consciously transforms for the very time in Season 1 Episode 10. This was not in the manga but Isayama wanted this to be animated. He wouldn't have stressed on the importance of including the violets if he didn't have a motif.

Violets have strong religious connotations in Christianity. They blossomed when Gabriel told Mary of her son's impending birth. Now, Gabriel is the Angel who communicates with humankind and thus stems the potential meaning associated with violets - connections. The symbolism is a very important one as it could be a allegory to how PATHS connects the future to the present, connects all the Subjects Of Ymir. Isayama even canonically included the violets in PATHS dimension in Chapter 115, when Zeke meets Ymir Fritz.

Isayama's emphasis to add violets in the anime and also later, to draw them in PATHS couldn't be for naught. The flowers and what they stand for must be crucial in the final resolution. Also, just as violets blossomed when the birth of the Saviour was prophesized, here in the the SnK universe, violets pop up when Eren is in the frame in the very beginning and when he first reveals his power, indicating he'd be the eventual saviour. If Eren is an allusion to Christ it also justifies what Isayama said : that he wants to 'hurt' the readers. We all know about Christ's sacrifice and perhaps Eren is also going to do something similar which will leave the readers hurting.

• Allusions to literary classics : There are a lot of allusions to Dante's Inferno and even to Milton's Paradise Lost, both of which borrow heavily from mythology and the Bible. But, I'd discuss the ones that I found the most suggestive-

1. Nine : The power of the Devil that Ymir Fritz inherited was split into Nine Titans. In Inferno, we get the Nine Circles of Hell that will eventually lead the poet to Satan. And like we have discussed before, the Devil has striking semblances to Satan. Satan lies below the Nine Circles of Hell and the Nine Titan Powers combined is equivalent to the power the Devil possessed. Uncanny similarity, eh?

2. Ymir and Virgil : Like @marley-warriors-of-demon-blood mentioned, Ymir Fritz is currently caught in a Limbo. She was just a naive little girl and hence, what ensued from her making a deal with the devil wasn't technically her fault. In Inferno, Virgil is distraught similarly- fated to remain trapped in Limbo forever. Now, like I said earlier, PATHS is connected to everything. And Limbo, the first circle of Hell, is also connected to the later circles. I hypothesized in a previous post how I think Ymir Fritz and Eren will meet next in the manga. (with Eren being decapitated and everything) Virgil was the one that guided Dante in his journey in Inferno and Ymir Fritz, currently just a lost spirit in another dimension, may become Eren's guide. She can advise the holder of the two most powerful Titans (the Attack and the Founding) on ways to resolve Eldia's problem by killing it's source, i.e., the Devil, considering she's really a girl with good intentions. This would also resolve her character arc properly. She'd get a stance in the story and not just be someone who was used by the Devil for his conspiracy. After all there's no one more suited for the task than Eren. I'm probably taking it too far but I do think Ymir will have a similar role like Dante. Both are caught in the Limbo, both are not at fault, and both are destined to meet the protagonist.

3. The Crystal : Annie enclosing herself in impenetrable crystal, which outwardly looks very much like ice, could be an allusion to Satan again. In Inferno, he's trapped in ice at the centre of the Earth. Annie is being held captive 'underground'. A very similar process is applied for Satan. He's held underground too and he's enclosed in hard, impenetrable ice, akin to Annie's crystal.

4. Paradis : The name itself could be suggestive of Paradise, i.e., the Garden of Eden, which is mentioned in the Bible as well as in Paradise Lost. The place is described as magical. The 'Paradis' in Isayama's story is not far from being extraordinary and is peppered with rare resources as Kiyomi points out in Chapter 107.

It has "the forest of giant trees", a plethora of resources, and is teeming with diversity. It's equivalent to a biodiversity hotspot, a very rare place on Earth. It has an aura of supernaturality and extravagance, much like the Paradise of Milton. Also, the whole Satan luring Eve with the apple thing (and the Devil's likewise conniving) is also mentioned in Paradise Lost.

So, in conclusion, with this many underlying religious motifs it's highly possible that the Devil is the ultimate villain, like Satan is in Christianity, and Eren's final confrontation is going to be with him- the one who is the root cause of all evil. Even the final exhibition gave a lot of importance to the Devil tricking Ymir Fritz scene. It definitely has much more significance than is apparent.

One of the key themes in SnK has been gray morality. All the characters have their own reasons to justify their commiting the most horrible atrocities they inevitably had to, as per orders. Marley is not exactly on the wrong for torturing and ghettoing Eldians. They fear power that can actually trample on the whole world. Eldia is, of course, not at fault. Their genetic make up may spell impending danger but that doesn't make them any less human. They're cursed alright but that doesn't automatically strip them off their humanity. They have as much right to live as Marleyans. In fact, as we have seen Eren reinforcing from time to time, "Nobody has the right to take that away from us".

Here, Eren also expressed his denial of any plan that even remotely suggested using this probability of turning into a Titan as a weapon to fight. Thus, we can trust that what Eren aims will cause the eradication of this possibility altogether. He will make it so that such a cruel way of fighting doesn't exist ; that nobody will have to be forced to turn into a Titan and die no matter the cause. And the only possible way to do away with this is to kill it's source : the source being the Devil or his instrument, the PATHS.

But, even if nobody is at fault, one cannot veil the truth that Titans exist or rather, the Titan DNA and the inadvertent possibility of an Eldian turning into a Titan exists. It still looms in the SnK universe like 'the grim reminder' we have heard over and over again in the anime. The reminder of humanity being caged and the humility of living under constant fear of Titans popping up suddenly called for invariable Fighting since the very beginning and had also inspired the chase for Freedom. So, how will Isayama bring the main plot/theme revolving Fighting for Freedom to a close? Of course, the answer is by ending slavery in all forms, including Eldians being a slave to the Devil via their fundamental genetic constitution. The Devil is the one responsible for making them Titans, for making the world see them as dreadful enemies. He is the one infringing on their right to freedom and right to live. Thus, Eren WILL face off with the Devil, the cause of all slavery in their world, and finally bring Freedom to humankind. After all, hasn't Eren's character always been all for freedom and for detesting and aiming to do away with every possible form of slavery? If the Devil's very existence is the cause of Eldians being a slave to devilish power, it's only fair that the one character, who has reasserted the importance of Freedom more noticeably than any other throughout the story, is the one that brings the curtain down on the Devil and all his ploys of enslavement and wreckage, consequently freeing his men.

[whumpster-fire]

Oh, dear god... so, speaking of personal gnoll canon stuff, the Sedlec Ossuary house dissociating into skeletons and walking away is lifted directly from Khyrla’s nightmares, and that gif in particular would give her a fucking panic attack.

Gnolls in my setting are in general not fans of undead, partly for practical reasons (a carcass that’s been reanimated isn’t safe to eat even if you have a gnoll’s immune system, and undead are dangerous, hard to control, and most of the methods of animating them in my setting involve some nasty magic) and religious ones (they mostly follow nature deities who do not like the return of bodies to nature being disrupted like that, nor do they appreciate the magical equivalent of unshielded nuclear reactors walking around). But they don’t have the visceral aversion to dead, rotting things that humans tend to, and even a dead thing moving is weird and freaky and unappetizing but not as wrong to them.

Khyrla is an exception to this. She is fucking terrified of undead, because she’s been exposed to not just the mindless skeletal servitors your average grave-robbing necromancer creates, but the kind of undead that a literal demon cult creates, and the way they use them, and the role they have in their society. Those are worse.

CW: Horror elements, demons, undeath, murder, description of psychological abuse of a child.

The demon lord of undeath is, of course, Orcus. Orcus is the patron of many mortal necromancers, and can teach them / give them the power to command and animate undead servitors or even become undead themselves, but he likes to keep a “back door” so he can turn them against their masters if they work against his interests / if it’s funny. Orcus keeps this knowledge secret from other demon lords, and Yeenoghu fucking hates that guy. Yeenoghu does not have nearly the same mastery of undeath that Orcus does, so what Yeenoghu’s priests have the power to create are bargain basement bootleg undead that are animated by binding a demonic spirit to them... which doesn’t make them any less dangerous than standard undead.

The undead that Khyrla has seen the most of, because she was forced to live among them, are Witherlings. Gnolls who die in the cult of Yeenoghu, or as its prisoners, are either eaten, reanimated, or both: their remains left to ripen, then devoured and stripped to the bone in a ritual that binds a disgruntled minor demon to them. These monstrosities are used for labor, they’re sent ahead as the vanguard of attacks, and they’re used to guard prisoners and still-living slaves.

Khyrla has watched these things slaughter her people, her family. She’s seen her family killed, hung up on stakes to rot, then butchered and turned into these fucking things. A witherling isn’t really recognizable: it’s mostly skeletonized, with only little bits of badly decomposed, dessicated flesh and skin and patches of scraggly fur that sloughs off if a breeze catches it wrong. They’re not smart, but they’re not mindless. They’re powered by malevolent, sadistic entities that hate being ordered to watch prisoners or do anything that isn’t killing or maiming, and they relish the fear of anything weaker than them. They also have an uncanny ability to mimic the voices of the people their bodies were in life, and dredge up little fragments of residual memory.

They used to menace her, and the other dwindling number of survivors of her clan. They threatened her, and taunted her in the voices of her dead loved ones, sometimes pretending to show affection, sometimes telling her to join them, sometimes screaming and begging for help.

Anger doesn’t help. Defiance doesn’t help. Telling them they’re not real doesn’t help. If they’re called out, they just take the opportunity to confess, and gloat, and taunt their victim by describing how yes, the deceased is dead, and their soul is being tortured in the Abyss for all eternity.

Undead don’t tire. They don’t need to sleep. But demons get bored. So they can keep entertaining themselves all day, and all night, and they find ruining the sleep of others hilarious. And like any bully, when they identify an easy target, like, say, a child, that quickly becomes their favorite victim.

Khyrla’s usually okay fighting human skeletons, or elves, dwarves, etc. By which I mean not even remotely okay it’s still a huge trigger but at least she can stay in “fight” mode. But a vaguely humanoid skeleton with a carnivore-like skull? Oh my god she would pressed-into-a-corner-hyperventilating-and-sobbing level freaked out by that and them being non-hostile would probably make it worse.

"but magic could absolutely make stuff like this possible" i'm imagining a Necromancer that enchants dinosaur skeletons into mobile houses. like, the homes just stand up and walk around. Alternatively, multiple skeletons merge together into a single home, like a Non-bricky version of the Stakataka Pokemon. when its time to move, or the homeowner needs some help, they seperate to lend a hand.

I’m imagining a building that looks like the Sedlec Ossuary inside and also outside, and it just collapses into a giant collection of animated animal and people skeletons when the owner/necromancer wants to move— or while the house is where they want it, only a few skeletons at a time peel out of the structure to help with chores or gardening or cooking, or when the necromancer wants some company to play Mario Kart.

[dragonshoard]

Everything Is Worse AU... pretty much. For my OCs. Again, super indulgent

Ok, second world of Lillian and Adelaide (if anyone here remembers my Hazbin Hotel ocs lol) but they’re both born and live in their home worlds. 

This world is... very different. Their parents are Charlie and Alastor but they’re essentially separated from birth and raised by one parent (Lillian with Alastor and Adelaide with Charlie per agreement). Alastor and Charlie are mostly rivals (with a fairly strong alliance) in this verse and don’t really “love” each other. Charlie has premonitions/future visions in this world, so she is the one who actually proposes the marriage. 

Alastor is the equivalent of a vestigial arm from the Old World before Christianity usurped/banished the pagan gods to a smaller, desolate area (you could think of this as Tartarus) where their influence was limited. If he had chosen any other path he would have been one of them (and then been promptly thrown in a hole to rot which was why he didn’t advance on that path). 

To be clear, the archangels are the equivalent of a majority of pagan gods in this world minus the older, more powerful Gods/Goddesses.

Lillian is raised in Alastor’s image and was supposed to be his heir and legacy once he is destroyed. 

Adelaide is meant to follow her mother’s footsteps and take on more angelic qualities until she eventually ascends - which her mother has already done so by the time Adelaide is born 5 years after Lillian. 

This... doesn’t really happen, for either of them. 

Lillian doesn’t follow Alastor’s vision and actually ends up going down a much different/darker route, becoming the first fertility spirit/god to be made in centuries. Their antlers are pure white and, in their full-powered form, they have a near black color palette with long black hair and black robes (their skin remains pure white but black tattoos run along the entirety of their body). Their powers mostly lie in potions and sigils versus raw power or fighting skills. 

Drained of power, Lillian reverts back to red hair with the grayish spotting on their skin. 

Do I... need to mention that Lillian despises any likeness to Alastor? No? Ok xD

Adelaide becomes a master with the blade, particularly the long sword, and physical combat. They want to be worthy of their mother’s love and trust. Their fighting and faith gains her wings and she is eventually accepted as a created archangel alongside her mother in the eyes of God. 

Lillian and Adelaide are aware of both their parentage and have a fairly good relationship with one another until everything goes to crap. 

Lillian has multiple children who are elementals and general “forces of nature”. Adelaide isn’t the most dedicated aunt (because part of her screams danger and unnatural) but she tries to spend time with them. 

Lillian, once found out for what they are, is chained and thrown into the lowest pit of Hell (Tartarus) to be held there until they wither away from lack of faith or otherwise. 

Their children sustain them, because the kids rarely enter Hell or Heaven (for obvious reasons) and haven’t gone down the path to become Gods and Goddesses themselves and are seen as extensions of Lillian, the “Mother of Monsters” on Earth despite being mostly demons themselves.

Yes, I see the parallel to Lilith, the mother of succubi. Why do you think Charlie named them Lillian?

Adelaide visits Lillian as often as she can before she ascends.

[bhuvaneshwariarun]

felling titles, let in the sun of systemic paradigms

Standing in between transcendent sky of eternal knowledge, endless love, inextricable unity, effective power unto blameless atonement beyond Trotskyist homogeneity in blooming identity of  beauty and beauty scrolling joy and joy and sea glass earth of mundane steps, trite preoccupations, urgent superficiality, made cruelties called blind fate and deliberately twisted atwitch intentionality, is the glory of cursed man – man, with his imperfect mind beating chatoyant withdrawals and interjections beneath chiaroscuro gleams of interlocking rainbow colours and internecine brilliances, of streaming shadows and shattering stars, of dying twilight or never setting suns – hapless, uncertain, vulnerable with a semblance of offered confidence, simple lines of conviction and a stray courage blind because baseless, battered by invisible hostilities from his own peoples and caught in invisible nets of intangible destinies tearing him to shreds with blades of treacherous festivities, redacted to consumable forms, sprawling nature stripping him of  imperial considerations and kingly adventures incognito, his own demonic instincts and larimar contentment and cameo jubilation, robbing him of brave happiness and strident accomplishments.

An alloy of god and beast, an amalgamation of the bloody misery of the abject base and the divine exhilaration concomitant with the most supreme, man belongs to neither hell nor heaven, he speaks neither Lucifer’s freedom nor despotic God’s aggrandized pettiness wellusing framed rules, moving closed and clamped down circular prisons of rewards and punishments, unspiritual, spewing hatred and scorn, danger and fear on clueless and ignorant innocents. Apparently, he has the power to choose matter or soul, yet not forever, yet neither simultaneously together, to play the body in lieu of the spirit, but never both as complements and inseparable companions of each other. Despite his faceted vacant impotency, amorphous incapacities, lifelong failures and irrelevant competencies and victories too tiny to crow about, he is still the golden promise, the evanescent silver bridge capable of fulfilling egotistical God with the loving greatness of his surrendered soul invaluable in its sacred chastity, infallible, of enriching dying earth with the life breath of theological immortality.

Man is not who he is; knows not that he is not who he essentially is, because what he perceives as his fond self is a misleading measly miniature of what in truth his borderless individuality covertly is, his boundless personality overtly can be and his present and aware body, mind and emotions crave to become. Toggling persistently between the valley of darkness and the pinnacles of effulgence, obviously he stays immutable in the latter’s bliss.

It is the human animal aspect of his stations that are the perennial hover of dualities and doubts – never of absolutes, but only of equivalent and unpainted indifference and indistiguishable ennui of right and wrong, good and evil, day and night, joy and sorrow, pain and relief shake him, bewilder him, obfuscate him every minute of his humanoid life, crippling him with choices thrust down his throat without sound reasons backing them and fortifying foundations clearing them to be the most widely pertinent and deeply viable pathways to adopt. To be taught by a wise and noble teacher the precisely harmonious and vast stance to make his own when he is entrenched in his humanness, is the precious blessing bestowed on a fortunate man – be it from other spiritually mature people or from time tested codified scriptures or just sheer vicissitudes of events and contexts that as combined forces inundate him with the intuitive sense of unflinching sight and its consequences of unshakeable decisions every second of the rest of his life, when a person tilts and tips over from the commonplace obscurity of his quotidian humanity to the inside out comprehension of the whole of existence itself, he becomes invincible as only complete spiritualization of his body mind life and soul can make of him.

Whatsoever be the pristine and selfless sources of such enlightenment, the one thread running through all their irradiating grandeur is the education that leads the student to be so pure and transparent through incomparable sincerity of single mindedness that discards the clutter and garbage of what helps not in the lofty transformation and the humble surrender of the less to the more, of the needy to the surfeit, all of which stretch the density of an ego-wrought rock and stone of man’s being to one of welcome receptivity, willing acceptance and absorption of all that pours from the euphoric goodness and flooding beauty emanating from the crescendo of finality that divine fulfillment is, as not amnesiac trance but as only porous and penetrative, as attentive and responsive sentient ecstasy and delight can be.

And, once thus exactly mystically and mysteriously perfect, what is left for him is to only serve his earth of all life and all matter, all of uncommunicative nature and relating affections, and his own highest truth and watch abundant loveliness steeped in the heights of knowledge forever billow through well-etched evolution as manifestation.