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smokingasters · 11 months

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PP Novels Resources (for my fellow deranged fans)

As a deranged PP fan, who was starving for dopamine I discovered some novel sources for the characters we all love! All novels/summary is in Russian (can be easily translated to English through Google Translation of the website. Use a VPN if the sites do not load)

If ya'll love the OG cast (Season 1), this is for you! I'm merely linking to the websites for your reading pleasure. I will try to link the ones that are complete, more under the cut.

*All due thanks to the dedicated translators who keep the fandom going* Psycho-Pass Zero

(Tumblr: Novel Translation *pending but I recommend reading this before the radio drama for plot coherence*) (Live Journal: Radio Drama Translation *complete*)

Content warning: Plastination case + Makishima is enough warning Timeline: Prequel to the Psycho-Pass S1 Kogami and Sasayama's bromance/outlines the gruesome murders in the Specimen case/follows the story of Touma Kozaburo and his obsession with Touko. Baby Kogami is so precious. Mitsuru Sasayama is the man, the legend. *sobs* Masaoka's whiskey persists + Ginoza the worrier.

Psycho-Pass Asylum: About A Girl (Live Journal: Detailed Summary *complete*) (Suggested Supplement: Yayoi/Shion Tidbits from PP Novel + Aoyanagi and Kozuki disaster)

Content warning: brutality against women, !pregnancy, !cultism, !infanticide. I'm not kidding when I mean it's brutal. Timeline: Post S1 with some flashbacks. Yayoi and Shion's relationship is the main focus. They investigate a case where pregnant minors are being sacrificed by a cult. Entirely from Yayoi's perspective, has many details about her past and how she and Shion feel about Division 1. I would encourage you to read this if you want a feminine/female perspective of the PP verse. Underlying themes of creativity, sex, romance, and hope + vital issues with the Sybil System. I added the supplement because it covers a bit more about Yayoi and Shion + explores the canon romantic relationships, I believe it is a good study of how PP handles canon relationships.

Psycho-Pass Asylum: Restaurant de Campagne Kagari Shuusei

(Live Journal: Detailed Summary *complete*)

Content warning: None, really. This one is quite wholesome as PP can be except for Sybil's shenanigans. Timeline: Prequel to S1 (Flashback) Kagari and Div 1 + 2 investigate a series of gastronomic malfunctions in Sybil's food preparation system caused by a criminal called 'Harlequin'. It involves a "natural food" supply company called Gusto and a restaurant owner. The novel explores Kagari's interest in cuisines and the impact of food in the PP world. Kagari's perspective is quite refreshing and light, compared to the complexity in other novels.

Psycho-Pass Asylum: Separation Ginoza Nobuchika (Live Journal: Detailed Summary *complete*)

Content warning: animal!cruelty, child!abuse, dogs. This one is a tearjerker. Timeline: Prequel to S1 + post S1 Inspector Ginoza, Kogami, and Sasayama investigate a case of rehabilitated animals/pets that are increasing the stress levels of Okutama, a remote place in the mountains. These pets were reintroduced and have gone feral. A doctor named Miyake was responsible for the reintroduction. Ginoza's calm yet poetic and wistful perspective is quite grounding. There's a sense of loss through this story, the theme of separation, and dogs being man's best friends. Any puns that made you think of Kogami are valid.

Psycho-Pass Asylum: Mungungwha Choe-Gu-Sung

(Live Journal: Detailed Summary *partial translation*)

Content warning: !torture, !mutilation, !castration, graphic, mentions of NK-orea. It's quite disturbing and angsty. MAJOR tearjerker. Timeline: Pre-S1 + follows the plot of S1. This follows the story of Choe-Gu Sung, Makishma's accomplice, and his entry and activities in Japan. Explores family life with his younger sister Suseon and his friend Guynthae. It covers a major portion of his backstory in N-K and his eventual friendship with Makishima. If you felt nothing for this guy in S1, believe me, you will be sobbing through this one. He deserved a better ending ftw.

That's all. If I find anything else, I'll add it in another post. Enjoy delving into the world of Psycho-Pass in-depth, and don't forget the words said by a certain Enforcer:

When it's all over, you can cry as much as you like.

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arkus-rhapsode · 5 days

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So... What is a Cartoon Network Show? (A Discussion)

Hey everyone, Arkus back again and I'm doing something that I alluded to a while ago, but I was working on a project involving Cartoon Network. Now for those unaware, I don't consider myself to be a part of the larger animation community like say a Cartoonshi or an Alpha Jay Show. I approach this topic as simply someone who grew up on Cartoon Network and has always had a level of reverence for the channel and undoubtedly had an impact on my formative opinions on the value of animation that I still have to this day.

So when I heard the announcement for Jellystone's Crisis on Infinite Mirths special it got me wondering-wait what is a Cartoon Network show? Now that might seem like an easy answer: "Its a show that was on Cartoon Network," but as I delved deeper into the question there appeared a great amount of context that seemed to go all over the map. I'm sure that there are people more versed in the content that may see this as common sense knowledge. So this is post for people like me-the average enjoyers of animation who want to understand more and have greater context about a channel they may have a soft spot for and want to be better informed when the question is asked, "what is a Cartoon Network show?"

(Yes I did make a spreadsheet on this one. This wasn't a task I took lightly)

So before we really get into the weeds of everything, I do want to make sure we're all on the same page: Cartoon Network is a television channel which is aired in multiple countries around the world which is overseen by the parent company of The Cartoon Network Inc. Which itself is owned by the mega conglomerate that is Warner Bros Discovery. The Cartoon Network Inc. Owns various production companies to make original content the primary ones being Cartoon Network Studios, Hanna-Barbera Europe, and Williams Street. The network itself is broken up into several blocks such as Cartoonito (An early morning block aimed at pre school children) and Adult Swim (An evening block aimed at 18+ individuals). With (At the time I am writing this) the 6 AM to 5PM being aimed at kids 6-12 years old and being considered "Cartoon Network" hours.

So with all the terminology out of the way, lets address the obvious answer of "a Cartoon Network show is a show that aired on Cartoon Network" I would say that interpretation is a bit reductive. Sorta like calling every game that's been on a Nintendo console a "Nintendo game." While not necessarily wrong, it does conflate the idea that the third party games are the same as the first party ones, which also makes a lot of misinformation very possible. Cartoon Network like Nickelodeon, Disney and many other channels can have original programming and acquired programming. Original programming being shows made for and existing solely on this network while acquired programming may be shows or movies that a company is pay broadcasting rights for. You see this a lot in foreign programming. Obviously the various anime that air on Toonami are not creations for Cartoon Network nor produced by them.

However, I think there is some interesting things that would be considered acquired programming on Cartoon Network. Because now we have to talk about why Cartoon Network exists in the first place and that's Hanna-Barbera.

Without Hanna-Barbera there would be no Cartoon Network. Plain and simple. The channel was founded with the intent of housing the animated library of Hanna-Barbera (Along with classic Luney Toons shorts from the 40s) when Ted Turner successfully acquired the studio. Now the thing to remember is Cartoon Network was made in the early 90s, while Hanna-Barbera shorts had existed since the 50s in various forms of syndication. Usually on ABC.

As such these shows like Yogi Bear, Huckleberry Hound, Quick Draw McGraw, Scooby-Doo, Tom & Jerry etc. Wouldn't be considered original programming for the network. But it would be a division of Hanna-Barbera that would become what we know today as Cartoon Network Studios, which would begin creating shorts for "What a Cartoon!" Which would in turn become the seeds for Cartoon Network's first original programming.

Speaking of acquired programming, I'm sure if you're of a certain age group you probably remember Warner Bros other network that contained original animation-The WB. And probably more famous its animation block, Kids WB.

Now the reason for the creation of The WB is itself a massive business interests and experiments in network television and policies of the Federal Communications Commission, so I simply want to get into its well known kids programming block, Kids WB that actually served as an outlet for shows created by Warner Bros Animation. Such as

Animaniacs

Pinky and the Brain

Freakazoid!

The Sylvester & Tweety Mysteries

Superman: The Animated Series

Road Rovers

Waynehead

The New Batman Adventures

Histeria

Batman Beyond

Detention

¡Mucha Lucha!

What's New, Scooby-Doo?

Ozzy & Drix

Coconut Fred's Fruit Salad Island

Loonatics Unleashed

Shaggy & Scooby-Doo Get a Clue!

Now, you may be seeing some of those names and wondering, "Wait wasn't that on Cartoon Network though?" Which yes, many of these shows would come to Cartoon Network especially in the wake of the WB's own tumultuous history that would eventually see it become one half of what we know todays as The CW. However, many of these shows weren't made to be aired on Cartoon Network, but rather to air on the The WB, which while both were owned by the greater Warner Media parent company, these were acquired programming. I can personally attest to reruns on the Cartoon Network being my exposure to shows like Freakazoid and Superman the animated series and The WB in turn actually had aired some programming from Cartoon Network such as Samurai Jack and Powerpuff Girls. And because these properties are all owned by the same parent company it actually makes the water more muddy on what is "Cartoon Network show." Made even more complicated by the fact that Hanna-Barbera the production company as we know it would be absorbed into Warner Bros Animation in 2001.

We are not talking simply about getting Pokemon because some broadcasting money was exchanged to air in America, we're actually talking about programming that the channel itself was founded on rerunning and playing reruns made by a sister network in the bigger Warner Television umbrella.

As such, while I don't think the "If it aired on Cartoon Network, its a cartoon Network show" is an interpretation I agree with, I can see where there's a shared level of DNA in some of the programs that makes it harder to separate the two.

This actually leads us to another potential answer for what is a Cartoon Network show, "Its a show made by Cartoon Network Studios."

Now as previously mentioned, Turner would acquire Hanna-Barbera and at the time Hanna-Barbera was still making new shows by the time Cartoon Network was started. Such as The New Adventures of Captain Planet, 2 Stupid Dogs, and SWAT Kats: The Radical Squadron. But these shows would actually end up debuting and airing on TBS, another Turner/Warner Television Arm. But now we return to that newly formed division in Hanna-Barbera studios known as Cartoon Network Studios. This studio was primarily made for making original programing for What a Cartoon! which would lead to the creation of some of the earliest Cartoon Cartoons.

Johnny Bravo

Cow and Chicken

I Am Weasel

Power Puff Girls

And of course the big one, Dexter's Laboratory.

In fact, when you look back on it, Dexter's Lab is structured similarly to an old school Hanna-Barbera show. Where you'd have say the Huckleberry Hound Show, but you'd have various segments one being the Huckleberry Hound segment, but then having a segment focusing on Hockey Wolf, and a segment with Pixie, Dixie and Mr Jinks. In the case of Dexter's Lab, an episode could contain a Dexter segment then go into Dial M for Monkey or The Justice Friends.

However, these weren't really considered "Cartoon Network Studios" as we in the early 2000s probably remember it. As these productions were still made by Hanna-Barbera for the first few seasons with Cartoon Network Studios being a studio in name only at the time. Probably why you may remember older Dexter episodes ending with the Hanna-Barbera logo then followed up by the Cartoon Network Studios logo in later seasons.

Now if we went strictly by Cartoon Network Studios being what makes a Cartoon Network show (Including the previous five shows mentioned) and originally aired on Cartoon Network then that leaves us with:

Now some eagle eyed viewers may have noticed that this list has some noticeable absences. Such as Courage the Cowardly Dog, Codename Kids Next Door, The Amazing World of Gumball, Teen Titans, and one of my favorite Cartoons of all time, Ed Edd n Eddy. And well the simple answer is that they weren't made by Cartoon Network Studios. Ed Edd n Eddy was made by a.k.a Cartoon and Funbag Animation Studios. Kids Next Door like Sheep in the Big City was made by Curious Pictures. And Courage the Cowardly Dog was made by Stretch Films (Though both Courage and Kids Next Door would have their pilots developed in Hanna-Barbera).

Gumball was made by Hanna-Barbera Europe which is a production company under the Cartoon Network Inc parent, but is again technically not made by CN Studios. Teen Titans is another product of Warner Bros Animation same with Teen Titans Go. Kinda funny that a show that for a time basically controlled the channel wasn't even made by CN Studios. Even the first ever original exclusive show made for the Cartoon Network, The Moxy Show, wouldn't count under this definition as it was made by Colossal Pictures.

There's also the fact that some shows made by Cartoon Network Studios are exclusive to Adult Swim such as Primal and some to the pre-school block of Cartoonito. Now these may actually be more rare than you would first think as really only Jessica's Big Little World was made by CN Studios for Cartoonito, while Adult swim actually has its own interesting background.

You see, Cartoon Network's earliest adult animation was the animated parody talk show, Space Ghost Coast to Coast. Which utilized the classic Hanna-Barbera character as a surrealist spoof of late night talk shows. These would be produced not under the banner of Hanna-Barbera or Cartoon Network Studios, but actually under the name Ghost Planet Industries. This production arm would eventually become The Cartoon Network Inc in house production company for adult animation known as Williams Street. So most shows you might watch on Adult Swim these days are by Williams Street. However, with the fifth season of Samurai Jack, you being to notice that Cartoon Network Studios became more comfortable producing shows that would air in the evening time slot of Adult Swim.

(Also this is a complete side tangent, I didn't want to include failed pilots within this list as it would feel like unnecessary bloat, but I wanted to highlight Korgoth of Barbaria made by Aaron Springer with animation made by Genndy Tartakovsky, which was sadly never picked due to the production cost, would be repackaged as a special on Adult Swim. And this was a co production with Cartoon Network. Like wow. Like wow! I know we have Primal on the list, but its kinda just a bit of trivia I like)

So while they're made by CN Studios, they were not shows accessible to CN's usual demographic time slot.

And that's not even beginning to scratch co-productions Cartoon Network Studios has been involved with over the years. Such as the Star Wars Clone Wars series made by Genndy Tartakovsky or transformers Animated which obviously the Star Wars and Transformers IP isn't owned by Warner Bros. Same with Mixels. But then there's shows such as Villainous and Jorel's Brothers which are actually originally properties made with the Latin American Branches of Cartoon Network. Villainous itself relishes in so many Cartoon Network cameos.

And then there's the CN Real shows which... Yeah I think its not Gatekeeping of me to say they don't count.

And of course there are shows that while made by Cartoon Network Studios would actually end up either being web exclusive or go straight to HBO Max like Get' Em Tommy, Tig n' Seek, and The Fungies! There's also the many, many shorts, pilots, and pilot movies produced by Cartoon Network Studios like Welcome to My Life, Party Wagon, and Fire Breather.

It's a lot. And I get why some people really want to simply it. But it's also why I think simply saying a "Cartoon Network show is a show made by the Studio" you're leaving out several shows, some of which icons of the network. And some CN Studios shows just never had a chance to be part of the Network in the same way. This isn't a question that can be easily simplified like that.

So maybe the answer is "A Cartoon Network shows is a Cartoon Cartoon?" Yeah, afterall Ed, Edd n Eddy are considered Cartoon Cartoons even if they weren't made by CN Studios. Heck, look at competitor Nickelodeon who dubs all their various animated works produced "Nicktoons." Surely, Cartoon Network can do the same, right? Well you see, unlike Nicktoons which became an overall term for all their original programming (and honestly much easier to do research on), Cartoon Cartoons specifically referred to a programming block which then became the collective brand name of the shows that aired between 1996-2009 (Ending with Ed Edd n Eddy). But even then some CN Originals made during that time weren't recognized as Cartoon Cartoons like Samurai Jack. Nor were shows like The Moxy Show recognized retroactively.

The Cartoon Cartoons were:

Dexter's Laboratory

Johnny Bravo

Cow and Chicken

I Am Weasel

The Powerpuff Girls

Ed, Edd n Eddy

Mike, Lu & Og

Courage the Cowardly Dog

Sheep in the Big City

Time Squad

Grim & Evil (Eventually Split into The Grim Adventures of Billy & Mandy and Evil Con Carne)

Whatever Happened to... Robot Jones?

Codename: Kids Next Door

So really the term Cartoon Cartoons is honestly an exclusive club for a specific set of shows on a specific programming block. That even itself doesn't cover every Cartoon Network show even for a specific era as there are absences from even that. So while Cartoon Cartoons are Cartoon Network shows, not every Cartoon Network Show is a Cartoon Cartoon.

Well then maybe a Cartoon Network show is a show that had to originally aired on Cartoon Network and was exclusive to only it?

With this definition we're abled to include many of the CN Studios shows everyone is popularly aware of while being able to include shows made outside of CN Studios like various Cartoon Cartoons, Warner Bros Animation shows and Hanna-Barbera Europe.

That said, this would exclude things like the shows from The WB and Hanna-Barbera back catalogue, and the Looney Tunes shorts. While Boomerang has become the home for all the classic Hanna-Barbera programing, you can still see the reverence that CN has for its roots from cameos in CN Originals and CN City to new iterations of these shows airing on Cartoon Network like the Real Adventures of Johnny Quest, The Looney Tunes Show, and Scooby-Doo Mystery Incorporated.

Speaking of Boomerang, while also another channel owned by WBD Television, many of the Cartoon Network shows have migrated over to. Thus not really making them all that exclusive anymore As well, this definition would also include CN Real programs which... yeah umm not sure about that. No matter what Cartoon Network is for Cartoons.

So even this isn't quite a perfect definition. Neither would be using the HBO Max section labeled Cartoon Network because its obviously and incomplete record that has erased so many shows from its catalogue.

So if all these don't work, then what does? What is a Cartoon Network show? Well... Maybe it's not something that fits in with an objective empirical definition. It may sound corny, but Cartoon Network shows always felt like a family to me. In a way that made this sort of recognizable brand between many of its shows even if all of them were very different in their themes, styles, and humor. I think that's why CN City is so in the minds of people, because you took all these varying characters and made a world where none feel out of place. And it wasn't just Cartoon Network characters, you had the classic Looney Tunes and even goddamn Captain Planet roaming around with all these younger shows.

There's even been recent efforts to enforce this cohesion. As the CMYK/Redraw Your World era. Mixing together this color coding with all these various characters and designs to make them all "fit" together so to speak.

Obviously, Im being a bit flowery here. Im sure Cartoon Network and Warner Bros legal team could probably give you an extensive copyright list which they hold and what can be used, but I still think there is value in this being an answer that you can come up with yourself.

And to me, Cartoon Network represents one of the most important channels in animated television. At its highest and even at its lowest. Cartoon Network was the place of creating cartoons, a place where in the short existence of creator driven network television animation, so many legends were born. This was a channel that really brought out so much creativity from talented people that were inspired by the classic animated shows of the golden age who are inspiring new creators even to this day. That shouldn't be forgotten. That shouldn't be erased. Whether unfitted or seasonal rot, this family of cartoons deserves to be remembered.

This is just me, but this is what I would consider Cartoon Network shows. Shows that were made for CN regardless of being CN Studios, Hanna-Barbera Europe, or Warner Bros Animation. The WB, TBS, Adult Swim stuff? That's more off in its own little corner. Cousins of CN almost.

And I guess I turn the question to you, So... What is A Cartoon Network show?

Well that got a bit heavier at the end. But I hope you enjoyed this. I didn't want it to be a big think piece like some of my more recent discussion post. And I didn't just want it to be me making a list without some thoughtful context. If you enjoyed this please give a like or a reblog, I've been trying to do more fun projects on Tumblr recently that go out of my usual postings.

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ancicntforged · 11 months

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An eye for an eye makes the world go blind.

🔴Indie Multi-Muse Blog. 🔴Semi-Selective 🔴Featuring Muses from the Cthulhu Mythos, Honkai Series and many more. 🔴Plenty o' memes, edits, musings and shitposts. 🔴Crossover, AU & OC Friendly. 🔴Mun is 25. 🔴Written by Joy Boy.

「Home || Rules || Muses || Permanent Starter Call || Promo」

Mobile Links: Rules

Glossary of Terms often used on the Blog:

Each of the phrases will have a link that leads to a page on the wiki.

Vacosian: Vacosians are a near-extinct natural born species of Warriors that made their home in the Ultimate Void, on planet Voidal. A majority of the race was exterminated by the God of Destruction Cerveze, however a handful managed to survive, rendering the race close to extinction. They play a cental role in the Cyverse metaseries, where it is revealed that Ruby and Blair are Vacosians who were sent to Remnant. The best way to describe a Vacosian is to think of them as Outer Gods in humanoid forms. Sometimes they have tails and horns too, but it depends from individual to individual.

Dracontine: Dracontines are a natural born species of highly adaptive warriors that were known among the earliest race to have draconic roots, if not, the earliest known trace that had direct ancestry from Primordial Dragons, before the subspecies division of draconic races had occurred. The Dracontines have been relatively under the radar for a good while after the Draconomachy, in which the total population of the Dracontines took a steep decline. However, at present time, the Dracontine race seem to sit very comfortably, with replenished populations, both in Universe 1 and 12, each residing in their own version of Planet Dracorex on both Universes.

Super Vacosian: Super Vacosian, occasionally known as Ascended Warrior, is a legendary transformation unique to the Vacosian race of both the first and 12th universes. It is the signature transformation of the Vacosians relocated to Remnant, all of whom have been able to achieve the transformation, but was famously first awakened by Ruby Rose during her battle with the evil Fall Maiden, Cinder Fall.

Explanation: It's why some muses have multiple FCs. On that note, they're not shapeshifters, but rather think of it like Super Saiyan, just changing hair & eye colors.

Universal Government: The Universal Government is an universal regime which has ruled Universe 12 for over 500'000 years, since it was founded by an alliance of 200 different planets. It has since vastly grown in influence and now spans across more than 9'000'000 of the universe’s civilized planets.

God-Key: God Key (or Grand Key/Divine Key when translated) are ten tools/weapons created by Azathoth, that when brought together, would allow entrance into her domain and ████, while granting each of the 10 wielders ██████.

Remnant Dragon Balls: The Remnant Dragon Balls are wish orbs created by the Guardian of Remnant, Kami and were later enhanced upon request by said creator after Ruby asked her for an upgrade. These balls are mainly used on Remnant and were the first type of Dragon Balls used in the metaseries. They have played a major role and impact in the series, being used by a variety of characters, including main protagonist Ruby.

Cosmology: As previously mentioned, the Cyverse is a combination of several other verses (Cthulhu Mythos, RWBY, Dragon Ball Metaseries & the SCP Loredom) with my own unique twist to them, which combines them rather well if I dare say so myself. The whole thing started as a RP Blog on tumblr, known as phantxmthief, and has gathered over 23'500 followers as of this writing. Furthermore, people seem to really love the characters in it and love to know more about the Cyverse’s primary protagonist’s life; Which is Ruby Rose and some others peeps, but without further ado, here we go!

Divine Hierarchy of Universe 12 Chart

#pinned #dont rb

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openshanklygates · 6 months

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Never Ashamed

Whumpril 2024 April 3, 2024 SHAME Alex Shelley/Chris Sabin Main Verse

Two hundred and eighteen days.

Alex Shelley had been the Impact World Champion for two hundred and eighteen days. For most people that would be a title reign to be proud of. He had faced off against and beaten some of the best in the world. Hiroshi Tanahashi, Josh Alexander, even Jonathan Gresham had stepped up to the plate and all had been sent back to the back of the line. He had led the Impact roster all the way into the new era of TNA. They were all honorable moments.

So losing to a cheat and a bully like Moose brought him so much shame.

The sun was rising against the Las Vegas skyline, but Alex had yet to go to sleep. His mind raced with the events of the night before. What if he had been just a little more aggressive? What if he had put just a little more of himself into the match? Would the championship still be sitting next to the hotel room television, reflecting the hotel room bed where he and Chris Sabin currently laid, his partner pressed into his side snoring peacefully.

Chris.

In his loss, Alex had almost forgotten to congratulate Chris on his historic win. It was officially the longest reign that Chris had ever had, his tenth as X-Division Champion. El Hijo del Vikingo was no joke for such a young talent and Kushida, well, Alex felt like it would be cheating to say anything more about this best friend. Alex was certain that Chris would have preferred meeting up with some of the other roster members for drinks and a laugh. instead, Chris had stayed behind to hold Alex until he fell asleep.

"You could do so much better than me," Alex murmured to his sleeping companion, pressing a kiss to the top of Chris's head. He attempted to get up, but Chris snuggled in closer and tossed a leg over both of Alex's to trap him there.

"Shuttup," Chris tiredly murmured, burying his head in the crook of Alex's neck, "'stoo early for this."

Alex gave a small laugh, "Go back to sleep. I'm just gonna-"

"You are gonna do nothing but sleep," Chris protested, raising his head to scowl at Alex. It would have been much more intimidating if he didn't have to squint at Alex to properly see him. "I don't wanna get up. I don't wanna have you get up. I think I earned it. Ch-"

Chris cut himself off, closing his eyes before Alex spoke up, "No! No, you're right! Champ's privilege. You earned it. You did so good."

"Yeah, but you-"

"Let you down, that much I know," Alex admitted, "I should-"

"Shut up and kiss me," Chris nuzzled the back of Alex's neck, "we are gonna lay in this bed til you go to sleep."

"I don't need sl-"

"I said we are gonna lay here til you get some sleep," Chris groaned a little more forcefully. He tightened his grip on Alex, who sank further into the mattress. He may have felt shame, but at least he knew Chris was here to love him through it.

#kays whumpril 2024 #whumpril 2024 #impact imagine #tna imagine #character: alex shelley #character: chris sabin #motor city machine guns

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eretzyisrael · 1 year

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How WWII Nazi propaganda led to the Arab war with Israel

Six years of relentless anti-Jewish propaganda, beamed to the Arab world day and night during WWII, led to the Arab war against Israel i 1948, German political scientist Matthias Kuntzel claims in his important book, Nazis, Islamic Antisemitism and the Middle East (Routledge, 2023). Review in JNS News by Lyn Julius:

A member of the Handschar SS division reading the ‘Islam and Judaism’ pamphlet, supposedly written by the Paslestinian wartime Mufti

Arab antisemitism is not a response to the creation of Israel, it is the driving force behind the Arab-Israeli conflict. Too many people reverse cause and effect. They blame the antisemitism suffered by world Jewry on the existence of Israel.

This is the central thesis in Matthias Küntzel’s book Nazis, Islamic Antisemitism and the Middle East, newly published in an English translation.

Küntzel, a German political scientist and historian, holds that the 1948 Arab-Israeli war was an aftershock of World War II and a direct result of antisemitic Nazi propaganda. In effect, the Nazi war against the Jews became the Arab war against Israel. This issue is worth revisiting in the light of new studies—notably by Professor Jeffrey Herf—into the impact of Nazi propaganda on the Arab world, as well as work that explores the role played by the Grand Mufti of Jerusalem Haj Amin Al-Husseini.

Küntzel covered some of this territory in his previous eye-opening book Jihad and Jew-Hatred. In that work, he explained how the Germans financed both the Muslim Brotherhood in Egypt and the Mufti’s activities during the 1930s. From small beginnings, by the end of World War II, the Muslim Brotherhood had a million men under arms. After the war, ideologue Sayid Qutb provided the intellectual underpinnings for the Muslim Brotherhood’s antisemitism in his book The Struggle Against the Jews.

Antisemitism was at the core of the Muslim Brotherhood’s reactionary mass movement against modernity. The agents of this modernity, the Brotherhood believed, were the Jews. As a result, the war against Israel marked the end of what Küntzel calls Islam’s liberal phase, a time when Arab elites tried to reap the benefits of modernity. The end of this phase found expression in the mass exodus of Jews from the Arab world.

According to Küntzel, barrages of antisemitic propaganda were broadcast day and night over the entire six years of World War II from the Zeesen station in Germany. It had a considerable effect on an impressionable and largely illiterate Arab world, which continues today. As the great Middle East expert Bernard Lewis wrote, “Since 1945, certain Arab countries have been the only places in the world where hardcore, Nazi-style antisemitism is publicly endorsed and propagated.”

It is hard to gauge the extent to which Nazi propaganda translated into actual antisemitic violence during World War II. When the Nazis were winning, they and their Arab allies were preparing for the battles to follow. Nazi propaganda is often cited as one of the main causes behind the 1941 massacre of Iraqi Jews known as the Farhud. But even when the Allies reversed the tide of the war in Nov. 1942, antisemitic propaganda could have been a factor behind violence against Jews in North Africa.

Küntzel has come under fire from those who believe that Islam has always been antisemitic. The Quran does contain anti-Jewish verses, but Küntzel argues that it was the Mufti who fused those verses with European myths of Jewish power and conspiracy.

In 1937, a pamphlet called Islam and Judaism began to circulate in the Muslim world. It was the first attempt to use religion in order to spread antisemitism. It is believed to have been written by the Mufti himself, who was the main purveyor of ideological Islamic antisemitism. For example, the Mufti had already patented the myth that the Jews aim to destroy the Al-Aqsa mosque and Muslims need to defend the shrine at all costs.

Islamized antisemitism was repeatedly mobilized to block compromise and normalization between Arabs and Jews, Küntzel claims. The Mufti himself terrorized the moderate Palestinian Arab majority into adopting extremist views. For example, members of the moderate Nashashibi clan and their supporters were murdered during the Arab revolt of 1936-39. Other opponents of the Mufti were killed between 1946 and 1948.

But war with Israel was not inevitable. Küntzel claims that it was only in 1947, at a meeting of the Arab League, that Egypt accepted responsibility for the struggle in Palestine. Arab elites were loath to go to war, but the mass hysteria generated by Muslim Brotherhood propaganda and the Mufti’s incitement proved irresistible.

Not all Muslims are antisemitic, just as not all Christians are antisemitic. Nonetheless, Küntzel writes, pro-Hitler sentiments are alive and well among Arabs and Muslims in Europe and the Middle East.

Last month, we received a stark reminder that such sentiments are not only rampant among the rank and file, but in the Palestinian leadership. Addressing the Fatah Revolutionary Council, Palestinian Authority chief Mahmoud Abbas made blatantly antisemitic remarks,exonerating Hitler of antisemitism. This undermines the widespread Western belief that Israel is to blame for the lack of peace.

Küntzel’s book is an important one. It is a clear-sighted and timely vindication of the idea that, as Küntzel puts it, it is not “Jewish settlement blocs, but Palestinian ideological blocs, that present the biggest obstacle to a peace settlement.”

Read article in full

The post How WWII Nazi propaganda led to the Arab war with Israel appeared first on Point of No Return.

#Antisemitism #Books #Holocaust in Arab and Muslim lands #Islamism

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dubhdove156 · 2 years

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I'm currently in the process of writing a book about my experience on the "otherside", and my ensuing philosophy and outlook when I returned.

I'll attach here some select quotes from what is, for the moment, a disjointed brainstorming session.

"The most fascinating book to me then, and now as an adult with a better understanding of the context and history behind it, was Genesis. It’s a creation myth: a bastard child that mirrors its mother, the Babylonian Enuma Elish. It follows many of the tropes that various other creation myths of the Fertile Crescent brought forth.

In reading the first few verses, it is notable to me that God’s creation is an act of turning ultimate simplicity into ultimate complexity; of division. Every act of creation is an act of seperating one into two, from the skies and the oceans, to the lands and the seas, to the days and the nights, to sun and the stars, to the fish and birds, etc. Every act of creation is one of an inherent binary, to define or create one thing, first its opposite must be defined. It follows then that if creation is an act of division, then destruction is an act of unity.

Another point of note in Genesis is the story of the serpent tempting Eve. To eat of the Tree of the Knowledge of Good and Evil is to become aware of the intrinsic binary; the division needed to create. What is most notable to me as an adult interpreting this book in a new light, is that it isn’t stated, not once, that the serpent lied to or deceived Eve. Instead, God confirmed the serpent’s testimony by not only cursing the serpent against Woman, but also by banishing mankind from the Garden in an effort to prevent them from eating of the Tree of Life as well; so that they could not gain everlasting life upon their newfound ability to create, and truly become like Him.

It is my theory, that if you were to read Genesis from the perspective of those who spoke it; nomadic Semites, it’s clear that civilization was the Original Sin. At the time, the division between peoples was largely between the nomadic and the settled. Invasions and battles were commonplace between this dichotomy in the Agricultural Revolution. From a nomad’s perspective, Genesis reads clearly as a warning against civilization. Once men begin to create the walls of their cities, and have to work in fields for the fruit that should’ve been given freely, suddenly man turns on man, Cain kills Abel.

Civilization is, in essence, mankind’s Magnum Opus. It is a reflection of our collective egos, our fear of suffering and need to escape the natural order of the world and the suffering that is inherent to division, and thus creation.

Once the Amoritic peoples settled in Babylon, and Babylon went from being a lowly Sumerian city-state to being its own proper kingdom, a particular man of note came into power: King Hammurabi. With King Hammurabi in power, an interesting text was publicized and largely popularized. I believe that the king himself commissioned its release, though that is up for debate in the anthropological community. It was titled the Enuma Elish, and I for one, believe it to be the most impactful piece of literature ever produced, and we see its stark effects to this very day. If you have not read it, I highly recommend that you do. In summary, it was the origin for the trope that consumed the world; child killing parent, and the deification of the child. In this story, a god named Marduk, or if given his proper title, Bel-Marduk, defeated the primordial gods Tiamat and Apsu. He was then granted kingship among the gods. This story is reflected well in Greek mythology, with Zeus defeating Cronos, and being hailed among the gods.

Many interesting things happened in Babylon’s culture with the release of this text, as well as in the wider Mesopotamian and Mediterranean regions. In Babylon, Bel-Marduk superceded the fertility goddess Ishtar as the patron god of the city. The city went from relying on the archetypal feminine intuition of priests and priestesses, who interpreted signs of the highly unstable gods, to being run by the archetypal logic of men and kings.

The release of the Enuma Elish, which demonized the unpredictable forces of nature as “chaos” and deified the secondary gods as harbingers of “order”, made a major shift in society, from matriarchy to patriarchy. In essence, we began vilifying the natural order of the world and deifying our own egos, our own ideas of how and why the world should operate; thus, civilization.

I think the original cities reflected our egos well, with large, ornate walls to defend and protect people from outside influence. The cultures within reflected that which people could collectively agree upon, and which objectively worthless material had arbitrary value – silk, gold, gems: useless outside of their walls, but suddenly priceless. Suddenly, we as a species went from worshipping primary constructs to deifying secondary and tertiary constructs. We went from praising the primordial fundamentals of nature to looking towards gods of constructs such as masonry, shepherding, etc. A notable god of this sort was Yahweh, a god of metallurgy. With the release of a single text, we lost sight of what holds true objective value, and the question of value became human-centric; what has value to us and us alone? Despite the divinity of life, we separated ourselves from the world, and placed value in our own creations.

As a separate thought, per this rough draft, Yahweh being synchratized with El in Canaan by Yahwehists, is of extreme note. I think there is substantial symbolism there. Yahweh, a god of metallurgy; of war and suffering. What is it that a metallurgist does? He places impure material into a crucible, then heats it into dividing purities from impurities, and by repeating this cycle, he turns a simple stone into strong and resiliant bronze. A god of metallurgy, is in essence, a god of alchemical transmutation, and a god of value in a Bronze Age society.

I think this deification of Yahweh by the Hebrews reflects the essence of existence well; and even reflects the Hindu constructs of Samsara and Moksha. Life itself is growth and change; matter in motion. Suffering is the aforementioned fire to the crucible; the catalyst. Put into metaphorical terms, Yahweh is the alchemist and we are his material, and throughout the aeons, throughout repeated cycles of suffering, repeated separation and unification, life and death, a purified, powerful, and resiliant product is produced; the philosopher’s stone. In this sense, think of the fundamental law of alchemy, which is etched into Baphomet’s forearms, “Solve et Coagula”, Solution and Coagulation."

"I had this thought some time ago, and this draft seems the perfect spot to preserve it.

If God is pure white light, Satan is the material; the prism through which the light divides into infinite variation. Satan is everything that makes you, you; and them, them. Satan is the timespace between you and every blade of grass.

In many cases, I would define our post-modern idea of Satan as simply timespace. In Western Mysticism, Satan is defined as the Self, the ego. Personally, I see that as just a symptom of Satan’s greater role.

In Greece, Cronos was demonized, and in Rome, it was Saturn who was vilified and first created the idea of a Satan or devil that is inherently separate to God. Prior to Roman Catholicism, the Jewish idea of Satan was not separate to God, but rather seen as any number of things that opposed God’s order. There was no singular, defined Devil.

Cronos and Saturn in their respective mythologies were gods of time. On this basis, I see our modern idea of Satan being a deciever, Bel’ial being the Demon of Lies, as timespace being illusory. Timespace is the essence of the cycle we find ourselves in, the underlying substance of suffering.

Satan is the essence of the infinite diversity and awe-inspiring variation we find ourselves in. He is what makes me separate from the very keys I type on; the space between every word, sentence, and paragraph.

Satan is the personification and demonization of complexity, while God is the personification and deification of simplicity. I for one, as a pantheist, consider these highly abstract concepts of “God” and “Satan” as essentially two sides of the same coin. They are two faces of the same head. I worship in my own reverence the All, or the equalization of division and unification, life and death, fear and love, matter and spirit. When I am asked what it means to be a pantheistic Satanist, my response is always the same: it means to see the Self in the All, and the All in the Self. In other words, I consider myself being separate from you, or the very technology that I filter my thoughts through, as being inherently illusory and worthless. The truth is that there is nothing that separates me from the stars over my head aside from my personal perception of spacetime.

You can consider it in this sense – the Universe, or whatever you wish to call it is, objectively, a massive soup of information. We as individuals can do our best to translate this soup with the tools we’ve been granted; our senses and perception that have been evolved specifically for the means of maintaining division and individuality. But what is in front of us; what we see, feel, hear, are all constructs of our mind – our best attempt at understanding this incomprehensible soup. But at the end of the day, at the end of the cycle, we are not separate from said soup, and we never were. It is a dream-state that we find ourselves in, a false belief that we perpetuate that I am not simply the same universal and mathematical information as a simple stone or dose of water.

This soup is also entirely undefined. It’s us who divides and defines everything, our own minds and egos acting as filters, that tell us a rock is separate from a stream, and that the inanimate and animate are not the same thing. We have a term for everything, and the further we get into definition, the more complex the language becomes."

"I have personally been heavily drawn to Western Mystical practices such as Hermeticism and Kabbalah, solely because these practices put my ideas into consumable terms. But Western and Eastern practices are the same essence, passed through the filter of culture. The fundamentals; the truisms, lessons, goals are the same. They are only different in form and practice. Judaism and Hinduism carry far more commonality than expected once one can see past literal dogmatism."

"In my current form of spirituality, I have divided Satan into two aspects, and consider his essence multifaceted. I have divided him between masculine and feminine archetypes, and work with each in accordance to my needs and introspection.

I have termed Satan as both the primary Daemon of the Dead Sea Scrolls, Bel’ial, and the modernized thelemic concept of the divine feminine, Babalon. I see these as the quintessential dichotomy of existence; the ebb and flow, push and pull, fear and love, give and take. I have conceptualized these two archetypes as the basis of holding on and letting go, be it of material, people, or life. True fear is to hold on in desperation, true love is letting go in faith. Put simply, when your only options left are fight or flight, choose acceptance.

The Beast and the Harlot, Binah and Chokmah, Adam and Eve, Saturn and Venus, Space and Time, it does not matter what names you give to the essence of division, it matters only how you manage to unify them."

"I believe, in my misanthropy, that human intelligence and an increase in cognition is not the blessing of the “wise man”, rather, it is the curse of a foolish species. Due in large part to our complex and nuanced neurology, we seek in a very simple natural state, complexity and nuance. We seek to stuff every minute detail of our world into tiny, well-defined boxes, and when we are out of boxes, we only need to create more. We have, over the course of our cognitive dominion, found an immense number of tiny boxes of nuance and definition, of which was once an ultimately simple existence, and with which we have created our civilizations; definitions may vary, and so too do cultures.

We have taken this awe-inspiring limitless and incomprehensible plane that we find ourselves on, and limited it; made it consumable for our own cognitive pleasure. We have invented fluid, ever-evolving languages, maths, sciences, etc to aid ourselves in mastering a world that only ever wished to provide.

In our grandeur we have culturally deified figureheads such as Neil DeGrasse Tyson and Carl Sagan as genius men with the capacity to reign in on what is beyond the layman, but they are in their own right, extremely limited. They have tried only to further the fruitless aims of mankind; of distinguishing the truth from the lie, of once more dividing what was always whole.

I care little for people in this current state of my life, let alone for secondary and tertiary constructs such as morality and money. Humanity has become largely enslaved by cultures; the boxes with which they are accustomed to agree with by means of influence and social pressures. There is no such division between Good and Evil, Rich and Poor – only an illusion, a prison of our own design."

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labbaik-ya-hussain-as · 30 days

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21,480,525 people marked Arbaeen in Karbala and yet the mainstream media is silent. Why?

‎Understanding the media's deafening silence and censorship of the Arbaeen Pilgrimage.

‎Typically, one of the primary factors that captures media attention is the scale of participation in public events. The larger the crowd, the greater the news coverage. But this principle seems to vanish when it comes to the annual Arbaeen pilgrimage - arguably the world’s largest peaceful gathering, with over 20 million participants.

‎If today's world comes to know the wonders of Arbaeen and its impacts, then you will see the people entering Islam in throngs, embracing the Shia School of Thought.

‎وَرَأَيۡتَ ٱلنَّاسَ يَدۡخُلُونَ فِي دِينِ ٱللَّهِ أَفۡوَاجࣰا

‎'And you see the people entering into the religion of Allah in multitudes'

‎[Surah Nasr - verse 2]

‎This might be one of the reasons why news about Arbaeen is so conspicuously censored.

‎Consider the contrast:

‎when protests or demonstrations involving a mere few hundred or thousand of people occur in global cities, news outlets are quick to provide extensive coverage. Reporters and journalists rush to cover events as varied as animal conservation efforts or minor local demonstrations.

Yet, when millions of pilgrims from across different faiths and nationalities converge for Arbaeen in Karbala, to commemorate the martyrdom of an infallible Imam (AS) and to reflect on his principles of justice, sacrifice, and coexistence, the mainstream media is eerily absent.

Why is it that a small protest in London or Paris makes headlines, but the world’s largest human gathering - where women, men, and children walk peacefully together - is largely ignored?

‎Arbaeen is more than just a religious pilgrimage. It’s a great spiritual journey, a form of jihad (struggle), and a powerful social movement centered around the legacy of an infallible Imam. There is a complete, divinely guided human figure at the core of this gathering. This unparalleled historical phenomenon is precisely why the news surrounding Arbaeen is often suppressed, especially in Western media.

In today’s world, dominated by consumerism and Western secularism, there is a growing crisis of spirituality and justice. As more people from diverse cultures and faiths seek balance and meaning in their lives, many are turning to Islam. This trend is causing increasing concern among non-Muslim governments, particularly in the West, where Islamophobic campaigns attempt to paint the entire Muslim community with the brush of extremism.

These same campaigns tend to spotlight radical ideologies, such as those of takfiri groups - movements often funded and fuelled by Western interests - and use them to generalise and distort the image of Islam as a whole.

‎In this context, Arbaeen emerges as a powerful counter-narrative. It showcases the true values of Islam: peace, sacrifice, justice, and co-existence. The millions who walk side by side during Arbaeen reflect the very opposite of the divisive images propagated by Islamophobia, demonstrating a message of unity and shared humanity that transcends all boundaries.

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intoxicatingimmediacy · 1 year

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'Blindspotting' Co-Creator Rafael Casal on Pushing Boundaries in Season 2 and the Show's Future

[...] Have you always known that this is a show where you really can just throw in things that would be completely unexpected, but they also just work?

CASAL: I think we figured it out, along the way. We knew that with the movie, the verse at the end was the big earn, and we got there. Every time you make a show a little bit less traditional, you lose some people. That’s just the nature of TV. Some people like their art down the middle. And if you want to appeal to just those people, there’s that show. But there are also a lot of shows like that. I’m really excited to make one of those shows. I would love to make a big mass hit show that goes on for 10 seasons and does all that. But some of the most impactful shows that have stuck with me the longest are not those shows. We knew, going into it, that Blindspotting was the type of thing where, if someone was gonna let us do a weird, artsy show, we wanted to take full advantage of the fact, and that’s what they’re letting us do. We actually are being afforded the creative freedom. As long as it’s always grounded in the point of the show, and it has to do with the prison industrial complex and the effects that it has on a parent, and we can always tie it back to that in an intuitive way, it totally works.

The Western episode works because it’s about a child’s imagination, freeing his father who’s been absent. Fizzly, just symbolically, is there because Sean doesn’t have a protector. He’s pulling away from his mother, and he also thinks he’s grown, but he’s not. He’s still a kid. So, a monster is perfect, and a sweet monster at that. In the third episode, movement is used to explain the history of the N word to a kid from a biracial Black and white parent. We can’t do it with words. We just can’t. We don’t have the time. That’d be a five-hour special, and we still wouldn’t get into all of it. Dance can get us there because it’s about an emotion being evoked. Whether or not people, 20 years from now, go back and watch any part of this show, there are pieces of it that I’m excited to see in other people’s work. I’m excited because our show feels like it’s in conversation with a lot of my contemporary TV artist friends. It’s always exciting to me when they’re like, “You did this, in this episode. I wish I could do something like that in this show that I’m working on.” And I’m like, “You can.”

That whole dance segment really was truly beautiful and emotional to watch.

CASAL: What’s really tricky about our show is that it’s not like we had something to reference for that piece. The only dancers that we know who’ve done anything close to it are our choreographers. We saw them do something along the lines of trying to capture something as complicated as that in their dance show. There’s Misty Copeland doing it with contemporary ballet. There are people in the hip-hop theater world that have tried to not only do this subject, but have tried to tackle complicated things through movement. That’s what dance is, since the beginning of time. People who know the world of dance, know that movement is about expressing the thing that we can’t articulate, that can only be expressed through the body. It’s another element of the show that’s divisive with the audience. Some people are like, “Why the fuck are they dancing?” For other people, movement has played a huge part in their lives and they’re like, “Oh, my God, no one’s ever given me this in a show before,” and that’s really exciting.

Art presents people with a thing that they have to contend with, and it invites a new audience into a space that they’re not used to. Between Season 1 and Season 2, what we really had to do was just tune out the minority of people who were like, “I don’t get the dance thing,” and be like, “That’s okay. You’ll get there.” If you take a kid to a dance performance and they don’t get it the first time, and then you take them too a dance class, they’ll wanna go back to that show and they’ll idolize the dancers, and they’ll wanna go to school for dance. There’s not a lot of dance on television, and we have a deep love for movement, so for us, it was great. The prison industrial complex is reflected through movement on this show. When language fails, that’s our convention. We’re gonna use it when we think it’s important. So for us, that episode had no other way to end. They had to tell him, but he wasn’t gonna understand it. But the writers’ room doesn’t have the words. There were parents in the room that didn’t have the words. It had to be a movement thing because we don’t know how else to do it.

I love that this is a show where you can offset a moment like that by doing scenes in a strip club.

CASAL: Pole dancers aren’t sex workers, in that way. We wanted to actually hire people who dance in those clubs because they know how to do it. We’re not mimicking it. It’s not the bougie gentrified version. These are professional stage dancers, who dance in these venues for these audiences, and these are the moves that happen. Seeing it in its authenticity was really important to us. We hired a lot of the dancers that dance at the club we shot it. We were like, “This is your home turf. Why would we bring people into your house? You do it, and we’ll shoot it as beautifully as possible.” And they were so great about it. When you’re on your fifth take and you’re like, “We need you to get back up there,” and they’re like, “Sure, no problem,” these are tremendous athletes. The skill and strength it takes to be as good as they are, for as long as they are, I was completely floored.

[...] Is there a plan for how many seasons you want to do this?

CASAL: I think every season is the last season, to us. We like to close the door, but keep a window open. That feels like what you should do with every piece of art. If you make a movie, end it and complete the story, but also make people want more. If the timing is right and we have a great idea and the network wants it, and all those things line up, we’ll do more. Or that’s it, and it’s beautiful and contained. I’ve loved shows that go for 10 seasons, and Fleabag was great with two seasons. Could I have watched another season of Fleabag? Yes. It was genius. But also, it was genius to stop. I’m always torn about it. You make art when everything lines up well, and you’re excited and everyone’s excited to do it. The only way I’ll ever know if that’s right, is when that time comes or doesn’t come. But for now, we tried to bring a nice resolution to the end of Season 2 that felt satisfying for the audience, and also, there’s a nice little window at the end, that brings it back to the film and brings it back to the larger world. Should we want to come back, there’s a great place to start.

#rafael casal #blindspotting

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theblackbookofarkera · 1 month

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Asuramatri

Asuramatri, a celestial body of enigma and wonder, is chronicled in the ancient Pundashur epic, "Uralvatu." This distant orb, cloaked in an expanse of obsidian stone, harbors beneath its surface an intricate network of tunnels, wrought from glass that captures the spectrum of a thousand rainbows. It was within these prismatic depths that the ashanimar dwelled, a race of ethereal songsmiths whose melodies were said to weave the very fabric of reality.

The ashanimar, artisans of harmony and verse, held a sacred vow of neutrality, their voices silent in the cacophony of the Oblivion War. Their art was not a weapon to be wielded in cosmic strife, but a testament to the beauty of existence, untouched by the discord of the universe.

Yet, it was this very impartiality that sealed the fate of Asuramatri. Deemed a threat in their refusal to partake in the war, the orb was targeted by a colossal star hammer, a weapon of unfathomable power. With a single, cataclysmic blow, the hammer descended, its impact echoing through the cosmos, fracturing the world of the ashanimar into a million shards of silence.

The destruction of Asuramatri stands as a somber reminder of the price of neutrality in an age of absolute division, its legacy preserved in the haunting verses of "Uralvatu," a eulogy for a world lost to the annals of time and the echoes of its last, lingering song.

#conworld #worldbuilding #low fantasy #world building #arkera #creative writing #dark fantasy #fantasy world

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ragesin · 7 months

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❝ it’ll be all right because we’re together. ❞ ( genshin verse )

► UNPROMPTED

It's tranquil, peaceful. Grounded senses laid open to the world around him — the slight breezy currents fluttering against his skin, sweeping through his hair and clothes. Rustling of the undergrowth and leaves. The hints of wood, grass, a light graze of floral intermingled with scent of the bubbling creek. The air was almost disgustingly fresh, filled to the brim with a cloying sweetness that should rot teeth. Everything's clear in his mind, from the nighttime sounds of the sleeping forest they resided beside to the waves of ambient energy flowing free all around.

Soft even breaths, the faint, slowing rate of a single heart beating echoing against eardrums. Hallmarks of a losing fight against the pull to the realm of sleep. It's a wordless melody interrupted by a drowsy yawn fruitlessly half stifled, a hand faltering in its rhythmic movements, confirming the state of his adventuring companion.

Eyes opened, half hidden between the tanned cheek smooshed into a folded arm and a mess of flaxen bangs, piercing in the low light of the flickering campfire as they blinked up in silent question. A reassuring curve of the lips framed by silver strands, luminescent under the glow of the moon, was given in return to nothing asked. Emerald hues blinked back at cerulean, unmistakably smitten soft. Those dainty fingers of hers resume combing through his wild hair while he's occupied with recovering from the smile ( how something that simple still made hearts skip a beat was beyond him ), scraping his scalp with firm but tender strokes as pleasant shivers danced up and down his spine, and wow. It never ceased to amaze how Elizabeth wielded a knack for that, making nerves buckle under the weighty force of satisfied bliss bearing down on them and forcing tension wound in muscles to dissipate. Subtle warmth enveloped him in a soothing embrace. Safe, not yet like the cresting sun peaking at blistering light. He's a boneless wreck. The tide of lethargy pulled at him with laughable ease with her assistance. Tingling content weighed heavily upon hooded lids, deep set rumble vibrating in his chest. He hoped it would never cease... Hell, as if. Like all good things it did end sooner rather than later.

❝ it’ll be all right because we’re together. ❞

As her hand slipped from gold locks, that sigh parted her lips as she drifted off with that endearing smile in place, feather light syllables wrapped in her refreshing touch, spaces between heartfelt and overflowing with care so inexplicably Elizabeth. It'd make anyone bearing some semblance of a soul melt at the sincerity packed away the words thoughtlessly, freely given away. It could end the wars if men knew how to look at it.

A feeling emerged from the yawning emptiness situated in the hollow caverns of his chest. It's like when he was a fledgling, transfixed in odd fascination as fissures crawled along the wall after it weathered a hit, foundation shifting and crumbling, a web of deep cracks scarring the surface. It's the same now. Detached, Meliodas observed as the same happened inside of him.

She's right. They're together. Hearts ached, jagged and wretched, stiffening relaxed muscles to a paralyzing and stringent degree. That's the problem, isn't it ?

Illusion of normalcy splintered, fragmented. A heaviness settled into the pit of his stomach. It twisted, writhed like a den of hissing vipers, poison seeping into blood vessels. The horror stared back through the lucent haze of moonlight with invisible unblinking eyes, looming, consuming, cutting through the dark, all gnashing teeth grinding bones.

( i love you, it growls sickeningly soft from the depths of his cursed soul. i love you, elizabeth. forever and always )

It'll be alright — a repeated falsehood without end the demon told himself every time, moment to moment, desperately willing it to be true so that one day perhaps he could lose himself within the lie and believe it. One spoken with such maddening intensity that for a brief window of time even he'd forgot the woes latent and ripe with unseen tragedy entwined between them.

Her lingering words of comfort served as both the sweetest knife and the most horrific pleasure. Dulled blade sawing through dried blood and digging into worn, perfect flesh; a reminder he / she / they were alive, bound by their precious connection and shackles. An age-old agonizing cathedral of constant wounds, comprised of festering gore that never fully closed, pried open just a little more each time it began to heal. He always let her: tear him apart, break him to pieces, and stitch him back together good as new ( because that's what she's always been good at, fixing, while his world encompassed little aside from violence, atrocities, and destruction ). They could do this song and dance together for eternity. He deserved it, Meliodas supposed. For selfishly holding on to what's his his HIS with a vice grip until they both bleed out, rivulets dripping from the punctures beneath his nails, a sea of crimson blooming beneath each flourishing step taken. His memories, his promise guided his quest, devotion cruel enough to push his soul to move forward and fulfill it no matter how he stumbled. The man's but a living corpse daring to thread fingers with hers, a corruption burying himself flush against her smooth neck and deliriously intoxicating scent, begging through perforated lungs filled with stagnant air and iron painted lips for it all to end / for more please give him more / for her to love him despite wary suspicion of falsified emotion the curse instilled into her soul each repetition.

He wanted to tear out his hair until scarlet flowed and let the tears well up. To rage out against the injustices that befall her time and again, doomed the second they met. To scream as hearts squeeze and squeeze so tight he's certain they're going to burst.

Meliodas remained an image of chilling stillness, curled upon the bed of grass, temple pressed into the crook of an arm with soundless breathing wavering every so often. He didn't know how long he stayed like that, resting like the dead.

When was the last instance time truly imposed impassable consequences outside of the bounds of a three day grace ?

It's a simple motion when he finally moved, the moon having crossed some distance in the blanket of stars above. Wordlessly, he reached to hold her sleep-slackened hand. Calloused fingertips pressed, traced, caressed lines crisscrossed along her palm. Some strokes were firm, as though seeking to engrave his memory upon her flesh via mindless shapes. Others ghosted a fleeting imprint of hopeless longing, phantom touches questioning whether he'd ever been present at all. The intimate brushes of skin did not betray the tremors roiling beneath the surface.

Love. The core of every action. It's love that coaxed his fortified guard to statter to dust and expose his vulnerabilities. Love made him look at her with reverence and fondness in equal strokes despite himself all those years ago. Love's what loosened his sinful tongue to sing her name like a prayer and present himself at her altar, offering flesh while pleading forgiveness. Love allowed the memories and centuries of pain caked onto his skin to be washed away into sweet scintillating oblivion.

They're together. Who cared if Meliodas already knew what awaited him at the end of their written path, the steep cliff she unfailingly pushed him down with each loss tearing the earth and sky out from underneath his shaky feet ? It was of no import that whenever he awakened from this sweet dream the cold reality would unerringly slam him with a force thrice harder for his fool damned indulgence and forgetting to brace himself. She couldn't ever be allowed to know this fate.

Gaze cut to the new presence in their midst, assessing the form standing over him, green clashing against gold. A grin bloomed to life, filled with beaming mirth he couldn't really bring himself to muster inside and stretched across his face from ear to ear. His free hand shifted, index finger raised to his lips, a reticent and wholly unnecessary gesture to keep quiet. The narrowed eye roll from the adeptus was a well deserved one.

The demon and yaksha made an unlikely duo, a companionship unexpected ( and close. are they close ? something in his chest nudges in the direction of the affirmative ) after coming to these lands and yet it's welcomed all the same. He really really liked the guy, harsh and biting as his demeanor may outwardly seem. Weirdly enough, their conflicting personalities meshed better than he initially presumed might ever happen upon their first encounter. In any case, the demon's glad someone else had the strength and capability to protect Elizabeth in areas he may falter.

Retracting his hand from Elizabeth's, Meliodas languidly propped himself up despite the numbing exhaustion and yawned, using it to make even more of a tangled mess of his hair as he ran it through the mused locks, dislodging accumulated small blades of green. As he did, Xiao took a seat next to Elizabeth on her other side, taking up the mantle of guard duty for the remainder of the night.

A part of him — a dark wisp curled in a dark corner of his mind — demanded this emptying vessel of his to reach right out and close his hands around that slim, delicate throat. An animosity misplaced but it still screeched, begging to throttle the other man, dig in powerful claws, crush the windpipe and reduce pristine snowy skin to red pulp. This intruder, you invader, it snarled, an ugly blackness, you don't belong. But, the part in control mused, wasn't that Meliodas ? Is he himself not the foreign entity in this equation ? The odd piece out not meant to fit into the picture ? He could see it. Crystal clear in the depth of the ardor pooled in her blue irises when set upon Xiao. The adeptus had known this Elizabeth far longer than he. It burned obvious and bright in the ease with which he slotted himself to her side — like it was where Xiao belonged.

It's that final thought that spurred his body to stand up, a breathless heave chasing his step and perfectly concealed irritation / affection bittersweet on the tongue. Unsaid exchange passed between the two men, drops slipping through the tenuous cracks of the taciturn lull before Meliodas ignored the dagger of his own design slipped between his ribs that chafed and maimed and turned on his heel, walking off into the dead of night away from the light of his life and the pangs of envious rancor / painstaking relief toward his friend. They'll be fine until morning. He'll return to camp when the sun greeted a new day over the horizon. Elizabeth would not even notice his absence.

( wrong. something is wrong wrong wrong. everything is fine. this is right. she can't be elizabeth. she's been alive too long. your elizabeth. not your elizabeth. your hearts sing a lie when you touch. it's the only truth that matters in this damn world )

It'll be alright. They're together. Whether they wished for it or not.

@triskeleyes

#triskeleyes #⁺✧⠀⠀`⠀reply⠀﹕⠀❪ wrath claws at your chest. ❫#⁺✧⠀⠀`⠀ic⠀﹕⠀❪ and yet、you kept going. ❫#⁺✧⠀⠀`⠀verse⠀﹕⠀❪ division impact. ❫#⁺✧⠀⠀`⠀triskeleyes⠀﹕⠀❪ wrap your name tight around my ribs、this one love saved for you. ❫#( *points knife @* i put my whole ass into this one for you mia #pathetic little meow meow full of despair and yearning #maybe they're in fontaine. maybe not. i haven't played it or sumeru yet #i mentioned it before but he's very conflicted about his companions while they're dealing with eli's problem #he ultimately thinks it's for the best and to not insert himself between them #but it still stings something fierce so he has to force himself to step back #plus lmao he's cottoned onto the fact something's wrong w/ his understanding of eli's situation even if he doesn't want to acknowledge it )#minor gore tw #( <- mostly for the moments he mentally spirals )

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theperennialpilgrim · 4 months

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Kankharevata (Thag 1.3) (Thag 3) | Shégan Issari

See this:

the discernment

of the Tathagatas,

like a fire ablaze in the night,

giving light, giving eyes,

to those who come,

subduing their doubt.

"Single Verses: (1.3)" (Thag 3), translated from the Pali by Thanissaro Bhikkhu.

Thag 1.3, attributed to Kankharevata is contemplative transmission on the luminous wisdom of the Tathāgatas—enlightened beings in Buddhism, most notably the Siddhartha Gautama himself. This verse captures the essence of the Buddha's wisdom as a transformative force, depicted as a beacon that illuminates the path to complete liberation and dispels the darkness of ignorance, separation, and division.

The imagery of discernment as a "fire ablaze in the night" is rich with symbolic resonance. Fire, in many spiritual traditions, represents purification, transformation, and enlightenment. Here, it illustrates the penetrating and illuminating nature of the Tathāgata’s wisdom, which burns away the obscurities that cloud human perception, much like a fire that renders visible the hidden aspects of the physical world in the darkness of night. The reference to giving "light" and "eyes" suggests the enlightening impact of this wisdom, enabling followers to behold the true and unfettered nature of reality, which is otherwise obscured by forces of ignorance and delusion.

The phrase "subduing their doubt" emphasizes the role of the Tathāgata's teachings in overcoming the uncertainties and skepticisms that hinder spiritual progress. Doubt, in the Buddhist context, is one of the five hindrances that impede the development of concentration and insight. By subduing doubt, the teachings of the Tathāgatas facilitate a firmer, unshakeable confidence in the Dhamma, leading practitioners towards a deeper, experiential understanding of spiritual truths.

The Tathāgata, from both exoteric and esoteric perspectives, conceptually embodies the ultimate realization of the Gautama’s Way. Exoterically, the Tathāgata could be understood as a historical figure, Siddhartha Gautama, whose teachings guide overcoming suffering through ethical living, meditation, and wisdom. Esoterically, the Tathāgata represents a transcendent reality—an embodiment of the Dharma itself, timeless and present in all ages, signifying the universal potential for enlightenment inherent in all beings. This dual understanding enriches the concept, making it both a personal guide and a cosmic principle, accessible through inward contemplation and outward reverence.

The term Tathāgata, suggesting "one who has truly gone" or "one who has become authentic," deepens our appreciation of the Buddha's unique spiritual status, as well as that of his arahant disciples. This epithet not only personalizes the enlightened experience but also universalizes it, indicating that such a state is accessible to other realized beings within the Buddhist tradition. The rich tapestry of interpretations from the Pali commentaries highlights different facets of enlightenment, showing the complexity of Kankharevata’s imagery of light and vision.

The departure from ordinary understanding and existence that enlightenment entails is underscored by the Buddha's use of the term Tathāgata when referring to himself, coupled with doctrinal clarifications that neither the five aggregates nor any other phenomenal reality can fully account for the nature of Tathāgata. This interpretative richness also addresses the metaphysical nuances of the Tathāgata's existence, particularly in relation to post-mortem states, where traditional views on existence and non-existence fail to encapsulate the enlightened state of witnessing.

Historically, the term Tathāgata is most frequently associated with Siddhartha Gautama, the historical Buddha. Literally translated as "one who has thus gone" or "one who has thus come," it carries connotations of one who has arrived at a profound truth or departed from the realm of suffering.

Philosophically, the Tathāgata challenges conventional notions of existence and non-existence. From an ontological perspective, the Buddha often used the term to point towards the ineffability of an enlightened being’s state. The famous tetralemma regarding the Tathāgata — whether he exists after death, does not exist, both, or neither — serves to dismantle rigid ontological categories. This suggests that the state of a Tathāgata transcends ordinary understanding and existence, living in a reality where usual dualities (existence and non-existence, coming and going) do not apply. This interpretation invites a deeper metaphysical inquiry into the nature of reality and existence as understood within Buddhist thought.

In esoteric Buddhist contexts, the Tathāgata is seen not merely as an individual who attained enlightenment but as a symbol of the enlightenment potential inherent in all beings. This is closely linked with the Mahayana doctrine of Buddha-nature, which posits that all sentient beings possess an intrinsic, latent capacity for enlightenment, akin to a seed that inherently contains the potential to become a tree. The Tathāgata, in this view, is both a personal attainment and a universal principle, embodying the ultimate truth of inherent Buddhahood.

From a psychological viewpoint, the Tathāgata can be understood as representing the highest potential of human consciousness. This includes the integration and transcendence of the psychological aggregates (skandhas) that compose personality and identity. In existential terms, the Tathāgata exemplifies the liberation from existential suffering, the realization of no-self (anattā), and the transcendence of the cycle of birth and rebirth (samsāra). This perspective focuses on the transformational impact of Tathāgata’s realization in the practical and existential domains of human life.

Comparatively, the Tathāgata could be juxtaposed with similar figures in other spiritual traditions who embody the ultimate truth or reality, such as the concept of Christ in Christianity as the Logos, or the Brahman in Hindu philosophy. This approach fosters an integrative understanding, highlighting the universal themes of enlightenment, transcendence, and ultimate reality across different religious and philosophical traditions.

Kankharevata’s verse, therefore, does more than describe a mere moment of clarity; it encapsulates the entire soteriological aim of Buddhist Philosophy—to illuminate the mind through the profound wisdom of the Tathāgata, who transcends and transforms the perception of conventional realities. This fire of discernment that blazes through the night does not just dispel darkness but radically alters the landscape of understanding and experience, guiding beings toward a liberation that is as inclusive as the definition of the Tathāgata itself—open to all who truly seek to "go" or "become" thus. This verse from the Theragāthā, in its elegant and symbolic brevity, captures the essence of Buddhist enlightenment—inviting deep reflection on the nature of existence and the transformative power of true wisdom.

#Buddhist Philosophy #Insight Meditation #Dhamma #Enlightenment #Spiritual Wisdom #Theravada Buddhism #Buddhist Teachings #Mindfulness #Impermanence #Non-Self

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ocean-blue-whump · 1 year

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Buying More Time

Happens after THIS

Dax Del Mar Masterlist

Tagging @ashintheairlikesnow @outofangband - let me know if you want to be added/removed!

TW: pet whump, BBU, discussion of Romantics (not graphic), Dennison is fairly creepy and possessive, this is just a WRU salespitch kind of

***

Dennison flops down at his desk, lacing his hands behind his head. Rough day at work. He went to check his boy out in the morning. 479 was as beautiful as ever, with those confused, doe-like silver eyes and his messy black hair. All he wanted to do was take advantage of the sweet little thing, but it’s too early for that. Unfortunately, 479 is just a patient in the clinic, not a trainee. At least, not yet. The rest of the day was filled with a bunch of Romantics, all eager and docile, but none as sweet as his 479.

All day, he was dealing with those trainees, and all day, he was thinking about this exact moment. What to say, what to do, what words to use to really sell this. He flips open 479’s file and finds the number of his owner, one Levi Katz. That bastard didn’t know just how valuable his boy really is. Dennison let 479 slip through his fingers once. He won’t let it happen again. He picks up his phone and dials the number, placing it to his ear.

It rings for a few moments, but eventually, someone picks up. “Hello?” Levi answers. “Who is this?”

Dennison smiles his widest even though the man can’t see him. “Hello, Mr. Katz. My name is Handler Patrick Dennison with WRU Romantics Division. How are you?”

Levi sighs, his voice scratchy through the phone. He sounds old, much older than Dennison. A shame, really. 479 would do better with someone young. Someone to match his…stamina. “I’m fine, Handler Dennison. How’s Hermes?”

“Oh, 588479 is recovering nicely. I’m sure the staff at the clinic will be calling you to give a more thorough medical update on the pet’s condition. I’m not very well versed on that sort of thing.” He forces a chuckle, knowing it sounds real enough to build rapport. “What I’m calling about, Mr. Katz, is more about after 479 is released from medical care. I’m a Senior Handler here, which means I have quite a lot of experience evaluating Romantics. I went in recently to evaluate how this injury of his will impact his ability to function as a Romantic. We here at WRU take our finished products very seriously, and if anything less than perfect was delivered back to your care, we simply could not stand for that.” Dennison leans forward, shuffling some papers on his desk to make it seem more convincing. “Now, when I evaluated 479—Hermes—it was clear to me that he is in desperate need of a refresher course. Just the basics, he won’t be gone long. Positions, pleasure skills, obedience.”

Levi pauses, but eventually, he says, “Okay. I trust your decision, Handler. Do what you need to do. Make sure Hermes is allowed to continue his reading. It’s important he maintains that skill.”

“Oh, oh, Mr. Katz, of course. 479 is very unique in that regard. Here at WRU, pet customisation is of the utmost importance.” Here it is. Time to move in for the kill. Dennison takes a deep breath, knowing he has to sell this hard to really get his boy to stay a little while longer. “Customisation is the other thing I’d like to discuss. WRU has made a lot of changes to our Romantic curriculum since 479 was trained. We are now proud to offer several new packages and add ons to enhance your pet. I took the liberty of selecting a few options if you’d like to hear them?”

“How much is this going to cost?” Levi asks. “I’ve already spent a fortune on Hermes. Training, medicine, jewelry, it adds up.”

Dennison laughs. “I completely understand that, Mr. Katz. Having the best of the best can be a costly venture. But to be honest with you, 479 was an absolute doll to train. A true pleasure. I would consider it an honor to have him again. Because of that, I’m willing to offer you a discount. Twenty percent off all services. It’s the biggest discount we offer owners, Mr. Katz.”

“Yeah, okay,” Levi grumbles. “Let’s hear it.”

“Wonderful.” The twenty percent off worked like a charm, Dennison knew it would. “I’m more than happy to send a full packet of options over your way, but I would hate to waste your very valuable time, Mr. Katz. I’ve come up with the additional services that I think would be best suited to 479 and to your needs. I won’t bore you with technical terms. He’ll benefit greatly from our Romantic-specific general enhancement package, which reinforces and builds on Romantic skills. I also would recommend our dictation add on. I know you like having 479 read to you. This is a small add on, but it’ll really add eloquence to his speech. Our speech trainers here can make him sound like he’s telling a story instead of just reading words off a page. This will all take about a month, but that timeline isn’t set in stone. I’d need your permission to evaluate him.”

“Can you…” Levi sighs, Dennison can imagine the old bastard pinching his nose and missing his Romantic. “Can you train him to beg better? Like…he’s sweet when he begs, but he doesn’t know a lot of different ways to do it? And I’d like a refresher on his classical ballet training. Just to be safe in case his illness damaged his skills.”

Oh, this is perfect. Absolutely perfect. Dennison wasn’t expecting this much, if anything, he wasn’t sure Levi would go for this at all. But two more add ons? He’ll get so much more time with 479 and he’ll get a nice bonus at the end of the year. “Of course, Mr. Katz. Begging and classical ballet, in addition to the Romantic-specific general enhancement package and the dictation package.”

“Yes, that’s fine. Have your people send the bill to my house.”

“Same place we sent your pet, or have you moved since, Mr. Katz?” Dennison says, typing up the order request to get it approved.

“Same address you have on file. Will you be his primary handler, or will his training go to someone else?”

Dennison grins, imagining how wonderful it will be to have his boy under his desk again. “That’s right. I’m emailing you consent forms right now to continue training your pet, and if you sign those tonight, I’ll evaluate your pet tomorrow morning and give you a call right after.”

“Sounds perfect, Handler Dennison. Thank you for calling me and notifying me of my options. That’s what makes WRU worth the price, you know. Good customer service. Have a good night.”

Dennison hangs up and sets the phone down. Customer service. It makes him laugh a little bit. Levi doesn’t know just how much worth his delectable little pet has, and he gave him up without a struggle. Dennison will get at least two months, maybe more with 479 cuddling up to him, eating out of his fucking hand.

He hasn’t been able to stop thinking about 479. It’s affected everything, relationships, work, sex life. No other trainee has come even close to that perfection, that desirability. Having 479 back in his care will either kick his addiction to the pet or make it so much worse, but Dennison doesn’t care.

For the time being, 479 is back and Dennison can’t wait to get his hands on him.

#588479 #dax del mar #handler dennison #levi katz #bbu #box boy universe #pet whump #wru #blue's words

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