#Endnote

[radioaktiv]

27.08.24 - tirsdag

Jeg klarte å miste toget i dag, så jeg kom litt for sent til første time. Der gjennomgikk bibliotekaren hvordan man kunne hente kilder og legge dem inn i EndNote. Kildekompasset forblir viktig!

[dr-afsaeed]

How to import documents into EndNote Mac

How to import documents into EndNote Mac 1. Download and install the cracked version of EndNote20 for Mac, which can be downloaded from the link on the site (Software). 2. Open the endnote software and double-click the “EndNote 20” shortcut on the computer desktop to open the software. 3. Search and download Chinese literature in the research field, mainly on academic websites such as PubMed,…

[trungles]

Cross-posting an essay I wrote for my Patreon since the post is free and open to the public.

Hello everyone! I hope you're relaxing as best you can this holiday season. I recently went to see Miyazaki's latest Ghibli movie, The Boy and the Heron, and I had some thoughts about it. If you're into art historical allusions and gently cranky opinions, please enjoy. I've attached a downloadable PDF in the Patreon post if you'd prefer to read it that way. Apologies for the formatting of the endnotes! Patreon's text posting does not allow for superscripts, which means all my notations are in awkward parentheses. Please note that this writing contains some mild spoilers for The Boy and the Heron.

Hayao Miyazaki’s 2023 feature animated film The Boy and the Heron reads as an extended meditation on grief and legacy. The Master of a grand tower seeks a descendant to carry on his maddening duty, balancing toy blocks of magical stone upon which the entire fabric of his little pocket of reality rests. The world’s foundations are frail and fleeting, and can pass away into the cold void of space should he neglect to maintain this task. The Master’s desire to pass the torch undergirds much of the film’s narrative.

(Isle of the Dead. Arnold Böcklin. 1880. Oil on Canvas. Kunstmuseum. Basel, Switzerland.)

Arnold Böcklin, a Swiss Symbolist(1) painter, was born on October 16 in 1827, the same year the Swiss Evangelical Reformed Church bought a plot of land in Florence from the Grand Duke of Tuscany, Leopold II, that had long been used for the burials of Protestants around Florence. It is colloquially known as The English Cemetery, so called because it was the resting place of many Anglophones and Protestants around Tuscany, and Böcklin frequented this cemetery—his workshop was adjacent and his infant daughter Maria was buried there. In 1880, he drew inspiration from the cemetery, a lone plot of Protestant land among a sea of Catholic graveyards, and began to paint what would be the first of six images entitled Isle of the Dead. An oil on canvas piece, it depicts a moody little island mausoleum crowned with a gently swaying grove of cypresses, a type of tree common in European cemeteries and some of which are referred to as arborvitae. A figure on a boat, presumably Charon, ferries a soul toward the island and away from the viewer.

(Photo of The English Cemetery in Florence. Samuli Lintula. 2006.)

The Isle of the Dead paintings varied slightly from version to version, with figures and names added and removed to suit the needs of the time or the commissioner. The painting was glowingly referenced and remained fairly popular throughout the late 19th and early 20th centuries. The painting used to be inescapable in much of European popular culture. Professor Okulicz-Kozaryn, a philologist (someone with a deep interest in the ways language and cultural canons evolve)(2) observed that the painting, like many other works in its time, was itself iterative and became widely reiterated and referenced among its contemporaries. It became something like Romantic kitsch in the eyes of modern art critics, overwrought and excessively Byronic. I imagine Miyazaki might also resent a work of that level of manufactured ubiquity, as Miyazaki famously held Disney animated films in contempt (3). Miyazaki’s films are popularly aspirational to young animators and cartoonists, but gestures at imitation typically fall well short, often reducing Miyazaki’s weighty films to kitschy images of saccharine vibes and a lazy indulgence in a sort of empty magical domestic coziness. Being trapped in a realm of rote sentiment by an uncritical, unthoughtful viewership is its own Isle of Death.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

The Boy and the Heron follows a familiar narrative arc to many of Miyazaki’s other films: a child must journey through a magical and quietly menacing world in order to rescue their loved ones. This arc is an echo of Satsuki’s journey to find Mei in My Neighbor Totoro (1988) and Chihiro’s journey to rescue her parents Spirited Away (2001). To better understand Miyazaki’s fixation with this particular character journey, it can be instructive to watch Lev Atamanov’s 1957 animated film, The Snow Queen (4)(5), a beautifully realized take on Hans Christian Andersen’s 1844 children’s story (6)(7). Mahito’s journey continues in this tradition, as the boy travels into a painted world to rescue his new stepmother from a mysterious tower.

Throughout the film, Miyazaki visually references Isle of the Dead. Transported to a surreal world, Mahito initially awakens on a little green island with a gated mausoleum crowned with cypress trees. He is accosted by hungry pelicans before being rescued by a fisherwoman named Kiriko. After a day of catching and gutting fish, Mahito wakes up under the fisherwoman’s dining table, surrounded by kokeshi—little wooden dolls—in the shapes of the old women who run Mahito’s family’s rural household. Mahito is told they must not be touched, as the kokeshi are wards set up for his protection. There is a popular urban legend associated with the kokeshi wherein they act as stand-ins for victims of infanticide, though there seems to be very little available writing to support this legend. Still, it’s a neat little trick that Miyazaki pulls, placing a stray reference to a local legend of unverifiable provenance that persists in the popular imagination, like the effect of fairy stories passed on through oral retellings, continually remolded each new iteration.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

Kiriko’s job in this strange landscape is to catch fish to nourish unborn spirits, the adorable floating warawara, before they can attempt to ascend on a journey into the world of the living. Their journey is thwarted by flocks of supernatural pelicans, who swarm the warawara and devour them. This seems to nod to the association of pelicans with death in mythologies around the world, especially in relationship to children (8). Miyazaki’s pelicans contemplate the passing of their generations as each successive generation seems to regress, their capacity to fulfill their roles steadily diminishing.

(Still from The Boy and the Heron, 2023. Studio Ghibli.)

As Mahito’s adventure continues, we find the landscapes changing away from Böcklin’s Isle of the Dead into more familiar Ghibli territories as we start to see spaces inspired by one of Studio Ghibli’s aesthetic mainstays, Naohisa Inoue and his explorations of the fantasy realms of Iblard. He might be most familiar to Ghibli enthusiasts as the background artists for the more fantastical elements of Whisper of the Heart (1995).

(Naohisa Inoue, for Iblard Jikan, 2007. Studio Ghibli.)

By the time we arrive at the climax of The Boy and the Heron, the fantasy island environment starts to resemble English takes on Italian gardens, the likes of which captivated illustrators and commercial artists of the early 20th century such as Maxfield Parrish. This appears to be a return to one of Böcklin’s later paintings, The Island of Life (1888), a somewhat tongue-in-cheek reaction to the overwhelming presence of Isle of the Dead in his life and career. The Island of Life depicts a little spot of land amid an ocean very like the one on which Isle of the Dead’s somber mausoleum is depicted, except this time the figures are lively and engaged with each other, the vegetation lush and colorful, replete with pink flowers and palm fronds.

(Island of Life. Arnold Böcklin. Oil on canvas. 1888. Kunstmuseum. Basel, Switzerland.)

In 2022, Russia’s State Hermitage Museum in Saint Petersburg acquired the sixth and final Isle of the Dead painting. In the last year of his life, Arnold Böcklin would paint this image in collaboration with his son Carlo Böcklin, himself an artist and an architect. Arnold Böcklin spent three years painting the same image three times over at the site of his infant daughter’s grave, trapped on the Isle of the Dead. By the time of his death in 1901 at age 74, Böcklin would be survived by only five of his fourteen children. That the final Isle of the Dead painting would be a collaboration between father and son seemed a little ironic considering Hayao Miyazaki’s reticence in passing on his own legacy. Like the old Master in The Boy and the Heron, Miyazaki finds himself with no true successors.

The Master of the Tower's beautiful islands of painted glass fade into nothing as Mahito, his only worthy descendant, departs to live his own life, fulfilling the thesis of Genzaburo Yoshino’s 1937 book How Do You Live?, published three years after Carlo Böcklin’s death. In evoking Yoshino and Böcklin’s works, Hayao Miyazaki’s The Boy and the Heron suggests that, like his character the Master, Miyazaki himself must make peace with the notion that he has no heirs to his legacy, and that those whom he wished to follow in his footsteps might be best served by finding their own paths.

(Isle of the Dead. Arnold and Carlo Böcklin. Oil on canvas. 1901. The State Hermitage Museum. Saint Petersburg, Russia.)

INFORMAL ENDNOTES

1 - Symbolists are sort of tough to nail down. They were started as a literary movement to 1 distinguish themselves from the Decadents, but their manifesto was so vague that critics and academics fight about it to this day. The long and the short of it is that the Symbolists made generous use of a lot of metaphorical imagery in their work. They borrow a lot of icons from antiquity, echo the moody aesthetics from the Romantics, maintained an emphasis on figurative imagery more so than the Surrealists, and were only slightly more technically married to the trappings of traditionalist academic painters than Modernists and Impressionists. They're extremely vibes-forward.

2 - Okulicz-Kozaryn, Radosław. Predilection of Modernism for Variations. Ciulionis' Serenity among Different Developments of the Theme of Toteninsel. ACTA Academiae Artium Vilnensis 59. 2010. The article is incredibly cranky and very funny to read in parts. Contains a lot of observations I found to be helpful in placing Isle of the Dead within its context.

3 - "From my perspective, even if they are lightweight in nature, the more popular and common films still must be filled with a purity of emotion. There are few barriers to entry into these films-they will invite anyone in but the barriers to exit must be high and purifying. Films must also not be produced out of idle nervousness or boredom, or be used to recognise, emphasise, or amplify vulgarity. And in that context, I must say that I hate Disney's works. The barrier to both the entry and exit of Disney films is too low and too wide. To me, they show nothing but contempt for the audience." from Miyazaki's own writing in his collection of essays, Starting Point, published in 2014 from VIZ Media.

4 - You can watch the movie here in its original Russian with English closed captions here.

5 If you want to learn more about the making of Atamanoy's The Snow Queen, Animation Obsessive wrote a neat little article about it. It's a good overview, though I have to gently disagree with some of its conclusions about the irony of Miyazaki hating Disney and loving Snow Queen, which draws inspiration from Bambi. Feature film animation as we know it hadonly been around a few decades by 1957, and I find it specious, particularly as a comic artistand author, to see someone conflating an entire form with the character of its content, especially in the relative infancy of the form. But that's just one hot take. The rest of the essay is lovely.

6 - Miyazaki loves this movie. He blurbed it in a Japanese re-release of it in 2007.

7 - Julia Alekseyeva interprets Princess Mononoke as an iteration of Atamanov's The Snow Queen, arguing that San, the wolf princess, is Miyazaki's homage to Atamanoy's little robber girl character.

8 - Hart, George. The Routledge Dictionary of Egyptian Gods And Goddesses. Routledge Dictionaries. Abingdon, United Kingdom: Routledge. 2005.

[kvetchinglyneurotic]

so it turns out that not only did historical james fitzjames say the "best walker in the service" thing (to john barrow jr) but he specifically said it in the context of. planning to walk to the pole in the middle of the arctic winter. james i do not think that is a good idea

(from may we be spared to meet on earth)

[vinelark]

Congrats on the conclusion of bbts!! I read it the whole way through in like two days and loved it! I'm so here for the Drama, but I appreciate that the conflict came more from the situation they found themselves in over questionable choices that they made. They were honest with each other and it's a nice take, and the cards still would have fallen the way they did if things were a little different, and they still had the strong connection needed to make everything right in the end.

Question: is there a translation for the Portuguese attached anywhere to the fic? I was hoping it would be in the end notes for the chapter and sadly my meager Spanish is not doing enough heavy lifting to make it, haha. Love your writing!

thank you! i’m so glad you enjoyed and that the flavor of misunderstanding worked for you. they’re so smart and young and trying their best and they got there in the end.

re: translation: i did not attach a translation to the fic! happy to share it here though. the bolded dialogue below is what i shared with @tigerjpg, who not only translated it but also guest stars in this scene as the unimpressed churro truck vendor.

◇

The smell of cinnamon and fried dough hangs in the air, warming it, and when they reach the window the employee is loading churros into a paper bag.

“The usual, right?” they ask. They’re young, short-haired, cheeks and neck flushed from the heat of the fryer inside the truck. Kon recognizes them from the last time he was here with Clark; they’d spoken rapid-fire Portuguese to Kon like they were testing to see if Superman being a polyglot was just a fluke, and seemed pleased when Kon answered in kind. (He didn’t tell them that he wasn’t actually like Superman in this regard—that Clark mastered language by learning at high speed, but he still learned, while Kon had his language settings pre-loaded before he opened his eyes. That Kon had overused certain phrases he picked up from TV his first few months, English still shaped strangely on his tongue as he tried to make the words feel like his. But at least having a few thousand Duolingo owls in his brain made for a good party trick sometimes.)

“Yes, please,” Kon says now as they set the bag on the counter. “Sorry if we kept you late.”

“Barely,” they tell him, waving away his concern with one hand and shaking open a second bag with the other. “Anyway, we get bonus overtime if one of you shows up, so you’re basically doing me a favor.”

Well, nice to know eating churros can count toward his good deed tally, if they really get a bonus when a super swings by. Speaking of— “Oh,” Kon says, rummaging through his thigh pouch. Clark always leaves a little tip in the jar. Kon usually carries an assortment of currencies—Robin’s idea for standard mission ancillary supplies—but, damn, he left that billfold at the Tower a few nights ago. All he has are a few US $20s and the Titans emergency card. He holds up the bills. “Can I give you these?”

The employee raises an eyebrow. “Your boyfriend already tipped.”

Kon blinks. He hadn’t seen Tim move, but there is indeed a fresh hundred-euro note in the tip jar. Kon and the employee both turn to Tim, who is very intently studying the chalkboard menu on the side of the truck.

“Did you just—have a hundred Euros on you?” Kon asks.

Tim shrugs. “Just in case.”

“In case what?”

Now Tim does look sideways at him. “In case a teenage superhero decides to take me on a spontaneous trans-Atlantic churro run, obviously.”

Kon feels like he should be boggling over the rich people-ness of it all, but he’s a bit distracted by the deepening flush on Tim’s cheeks. Also distracted by boyfriend, and hoping Tim doesn’t know a word of Portuguese, while at the same time kind of hoping he does.

“What’s his deal?” the employee asks Kon.

“He’s, uh, American,” Kon says.

They raise their other eyebrow.

“And rich,” Kon adds.

“Ah.”

[oldbookist]

fanfictions that have a bibliography >>>>>

[shoezuki]

Cut open my sternum and pull my little ribs around you

Sampo hears about what happened a few days later. 

He’d learned that maybe bothering Gepard daily wasn’t the best course of action, thanks to Seele calling him weird and saying the Captain would inevitably snap and have enough of his teasing. He’d laughed her off and delighted in how she became even more riled up, but she was on to something. Sampo still doesn’t quite know what he wants out of… whatever this, but he definitely, definitely doesn’t want Gepard to become truly sick of him. Not to mention many Silvermane Guards are starting to have more… severe reactions to his presence. 

So, he’s practicing some self restraint and learning how to keep himself away from the Front Lines, the Fort, anywhere Gepard will be. He plays with the kids in the Underworld, twisting metal into toys and puppets that dance around with them. Sometimes he tries to appeal to the kids playing in the Overworld, but more often than not they look at his hair and his clothes and his grin and wince with apprehension. Otherwise, he drinks with Seele and makes her lose her Shields in poker, or he flutters around Nat’s clinic until she sends him off to gather medicine, or he watches Luka’s cage matches and challenges him to an arm wrestle. When Luka can stomach being around him without recoiling at the slightest show of divinity, anyways. 

Sampo’s business is mostly enough to keep him entertained, sometimes it’s even enough to keep Gepard out of his mind. 

Read the full thing on ao3!!!!

[transsongtaewon]

The Colour of the Soul | Gen | 1.3k

When Yoojin meets his little brother for the first time, he learns to see warm colours. When Yoohyun leaves, they fade away.

[Link]

[vynegar]

vyn 5th birthday ssr, part five

a new resolution

same disclaimers from part one (note the extra one from usual, regarding story content)

youtube link to ShiroNaya’s video of the card story

links to previous parts: one two three four

more tot stuff here

do not repost

[PART FIVE]

[48:29]

Vyn didn’t want the situation to interfere with my work, so the next day I went to the law firm as usual. Online public opinion was worsening, and even his saving Zheng Yan was branded as insincere. The instigators hid behind their screens as they stirred up the masses, who were easily swayed by exaggerations or those were societally disadvantaged.

Some questioned Zheng Yan’s motives, asking why someone who truly wanted to end their life would start a livestream that was just asking for trouble. The opposition pointed out the imbalance in power dynamics; Zheng Yan’s extreme actions were simply out of desperation. He was at the end of his rope, and everyone could see his pain and despair.

[48:47] Near the Research Center

The endless altercations and continued smearing of Vyn’s name was heartrending to see. Once I was off work, I immediately rushed over to the research center to find Vyn.

MC: (It’s so quiet… I wonder why Vyn texted me to come here instead of going inside?)

In order to prevent any incidents, Vyn temporarily closed the research center, so the street that was typically brightly-lit was now empty and silent. One streetlamp feebly lit up a corner, a sharp contrast with the lively, bustling city streets in the distance.

Vyn: Over here.

The sight of Vyn’s warm smile dispelled most of my melancholy and confusion, and I walked up and took the hand Vyn reached out to me.

MC: Were you waiting a long time?

Vyn: No, you arrived just as I finished preparing.

MC: What are these…?

There were documents scattered haphazardly next to the flowerbed, and beside them was a shallow metal bowl. Vyn took a lighter out of his pocket and nimbly rolled the spark wheel. With a crisp click, sparks ignited then quickly extinguished.

Vyn: Just a little ceremony I have prepared.

The trees rustled in the night breeze, like background noise giving his words a sense of despondence.

Vyn: MC, I told you before about why I left Svart…

MC: Yeah.

That was when we visited Ferro Winery, and Vyn used his intoxication as an excuse to tell me about his past and his worries (1). Just like right now, that night was as quiet as if we were the only two people in the world.

MC: The Church interfered with you studying psychology. Eirik tried to resist them, but to no avail. You took the opportunity to abandon everything you didn’t care about and come to Stellis.

Vyn: Yes. I had not thought about that in a long time, until Zheng Yan appeared.

Vyn handed me an old newspaper. The bolded headline on it said: “Psychology student assists police in arresting a murderer. His true identity is…?” The contents of the article were largely consistent with what Vyn previously said, only with exaggerations to make Vyn’s performance seem prodigious. That was understandable, as a way to draw readers’ attention.

Vyn: Back then, my assistance to the police was kept highly confidential, but this article still showed up the next day as a front-page headline.

MC: Someone did this intentionally?

Vyn: Correct. Information can be leaked with unimaginable speed, even under the dual authority of both the police and the Haspran family.

I recalled that Zheng Yan had also alluded to this incident…

[flashback]

Zheng Yan: How shameless can you be?! I heard you used my case to make yourself the center of attention in Svart, and got everyone heaping praise on you and psychology. But who would’ve thought, behind all your fancy titles of “doctor” and “professor”, you’re nothing but filth!

[end flashback]

During the time, I hadn’t paid attention to the meaning behind his words. Now, I realized the irony in them.

MC: Was that also the work of Eirik’s political opponent?

Vyn: Yes…

Just as I expected, Vyn was finally filling in the gaps of what he didn’t elaborate on yesterday. It was because he had already previously been mired in controversy due to his father’s political disputes that made him so certain about Eirik’s call yesterday. He may have guessed it even earlier, once he sensed that there was someone in the shadows pulling the strings, only Vyn had still been holding out some hope.

MC: What happened next?

Vyn: Soon, news of the Haspran family heir’s study of and achievements in psychology spread throughout Svart. The Church was outraged, and pressured my father to explain and resolve the issue for them.

MC: Eirik wasn’t on your side?

Even though I knew the outcome, I couldn’t stop myself from asking. It wasn’t that I had any illusions about Duke Haspran… it was just a futile wish that Vyn hadn’t been completely isolated and abandoned back then.

Vyn: At the time, Father’s new policy reform was at a critical stage. The Church’s support was indispensable.

The words were so simple, yet they chilled my heart. If he needed the Church’s support, then he wouldn’t oppose them for Vyn’s sake… Zheng Yan kept claiming that Vyn made himself the center of attention, but what did that so-called “attention” actually get him?

Vyn: The only solution he could think of was a stalling tactic, and he asked me to temporarily give up on psychology. However, I was already determined to continue researching psychology, and I yearned to explore that in practice. I did not want to wait, and I felt I did not need to.

Vyn paused briefly, and the whole world felt suspended for that moment, even the moonlight dimming.

Vyn: I explained my passion to Father, but he felt that psychology research could be conducted at any time, while his new policy reform could not wait. In truth, neither of us was in the wrong. I should have known all along that our values were never aligned. The conflict finally became irreconcilable, and in the heat of an argument, my father threatened my right of inheritance.

At that point, Vyn looked slightly upward, avoiding my gaze. When he lowered his head again, I couldn’t see any hint of emotion in his face.

Vyn: I had no interest whatsoever in that, so the threat was meaningless. Therefore, I thought of a better solution.

MC: You decided to renounce your inheritance?

Vyn: Yes. That way, the Church could not use me to attack my father, and I could do whatever I wanted. It was a win-win situation.

Despite the satisfactory conclusion, Vyn still looked somewhat despondent. Was it a win-win, or actually a lose-lose…? They themselves might not even be certain.

“Click” – at the scraping of the spark wheel, an orange flame flickered at Vyn’s fingertips.

Vyn: As you can see, these years while I have been in Stellis, my father has always believed that I would change my mind someday. Consequently, he drew up legal documents to ensure that a majority of his assets and authority could be transferred to me.

I couldn’t tell if it was from the streetlamps or moonlight, but the stack of documents were luminous. Even without reading their contents, they seemed heavy.

Vyn: I have never had the heart to fully dispose of them, until now.

[54:23 illustration]

Without the slightest hesitation, he brought the documents to the lighter. Fire greedily leapt across the pages, and Vyn let go before they were fully consumed. The papers that symbolized the power revered and sought by countless people fell into the bowl like shooting stars, and soon only the faintest traces remained. Page after page, the words rapidly curled, shriveled, and burned, our apprehension disappearing along with it.

Vyn: Honestly, I should have done this long ago.

His cheeks were illuminated a rosy hue by the fire; his glasses reflected the dancing flames. Vyn’s face, however, was more carefree and relaxed than I had ever seen before.

Vyn: I loathe Svart, especially all those pretentious people. They see you, me, and Zheng Yan as nothing but pawns to control. From the very beginning when they leaked my assistance to the police, I was nothing more than a pawn in their game of political chess. No one cared if I genuinely loved studying psychology or if it was profitable… just like how no one is sincerely helping Zheng Yan. What he needs is treatment, not someone who sees him and even his mental illness as an opportunity to utilize.

I think I understood the ceremony Vyn was referring to. Being used, abandoned, and framed…that was not something he could be unaffected by. The meaning in burning these documents was miniscule compared to the trouble it would be to sort out the aftermath, but he needed to do this. People commonly use fire to declare the death of something, and Vyn needed fire to make this a true farewell.

MC: What do you plan to do next, Vyn?

Vyn: You mean “we”. From now on, no matter what we do, we will decide together.

Vyn held my hand. Perhaps warmed by the flames, his hand was hot.

Vyn: For Svart aristocrats, engaging with psychology is unacceptable in the eyes of the Church. We can expose this incident, just like what they did previously, and give them a taste of their own medicine.

MC: Alright. What do we need to do?

Vyn: First, I need to diagnose Zheng Yan and begin to treat him. Zheng Yan is an alter of James, which legally categorizes him as incapacitated due to mental illness. Therefore, he cannot be held legally accountable for any of his actions, including his testimony, which is also unlikely to be admitted in court. When he is able to attend court, I would like you to seek justice for him.

MC: Are you going to sue?

Vyn: Yes. Zheng Yan and I were both innocent people who were implicated in this. Of course, I could choose to quietly negotiate with the mastermind right now… I am sure that as long as I am willing to conceal Zheng Yan for him, he will choose to stop while he is ahead. However, I am tired of these temporary ceasefires. Eventually someone has to tear down their hypocritical masks. But this path is bound to be more difficult, and I…

The light crackle of burning paper seemed to finish his sentence.

MC: You’re ready, aren’t you? To walk this difficult, uncertain path. Then go give it your all.

As if caught in turbulence, the ashes leapt up then melted into the night without a trace.

MC: I can’t promise that we’ll win, or that the path ahead will be smooth sailing. But I believe in your decisions, which is why I became your companion.

With the moon bright above us, the last embers were about to extinguish.

Vyn: To be honest, I do not have any grand convictions. I am simply trying to become someone like that person mentioned in a book I read when I was younger. “I love the one who justifies people of the future and redeems those of the past.” (2)

Vyn smiled faintly, his silver hair swaying gently under the moonlight, looking pure and clear. He lowered his head and mouthed the remaining lines, as if in silent prayer –

“I love the one who justifies people of the future and redeems those of the past: for he wants to perish of those in the present.”

“I love the one whose soul is overfull, so that he forgets himself, and all things are in him: thus all things become his going under.”

“I love all those who are like heavy drops falling individually from the dark cloud that hangs over humanity: they herald the coming of the lightning, and as heralds they perish.”

[END PART FIVE]

(1) From Vyn’s Food for Thought SSR. This actually happens at the end of part 4 in the card story, before the scene where Vyn is “tipsy”.

(2) “Thus Spoke Zarathustra” Big Data Lab entry (under Works>Literature): These lines are all excerpts from Thus Spoke Zarathustra by Nietzsche (translated by 钱春绮Qian Chunqi), although it is not presented in the exact order it appears in the original.

[T/N] The excerpt is from end of passage four in the prologue of Thus Spoke Zarathustra: A Book for All and None (or Thus Spake Zarathustra depending on the translation), a book by the philosopher Friedrich Nietzsche. The lines do appear in this order, however there are lines in between that are omitted. The original is in German, so the quotes I’m using are from the English version translated by Adrian Del Caro and edited by Robert Pippin (2006). You can read the first part of the book, including the passage quoted by Vyn, here: https://assets.cambridge.org/052184/1712/excerpt/0521841712_excerpt.htm

Note that Vyn comments about the Svart coming-of-age ceremony in his Journey Forth With You SSR:

"It is a bit like Stellis' legend of rebirth from fire, only that the agent of rebirth in Svart is water."

[kindaorangey]

can we be fucking serious for one second. the true test of s3 will not be in seeing how much goddamn DM content there is in it, but in whether the writers follow through in keeping louis and claudia central to the narrative .

[francesderwent]

what is stranger things saying about the dichotomy of ordinary versus strange? it’s more complicated than you think

1x01 Hopper tries to tell Joyce that Will is probably with Lonnie, saying, "99 out of 100 times, kid goes missing, the kid is with a parent or relative." She answers, "What about the other time? You said 99 out of 100. What about the other time, the one?" Over the course of the season, her willingness to entertain unlikely options is proven correct (pro-strange)

1x02 In a flashback, Lonnie skips out on a baseball game with Will and Jonathan tells Will, “He's trying to force you to like normal things. And you shouldn't like things because people tell you you're supposed to. Okay? Especially not him.” (pro-strange)

1x04 Jonathan tells Nancy why he does photography: "I guess I'd rather observe people than, you know..." "Talk to them," she finishes. "I know, it's weird," he says. "No," she says. "No, it is. It's just, sometimes, people don't really say what they're really thinking. But you capture the right moment, it says more." (pro-strange; verging very slightly into anti-ordinary because Jonathan doesn't trust people to tell the truth from their own lips, he has to seek it out and capture it.)

1x05 The infamous Nancy and Jonathan scene, Nancy says why she thinks her parents got married, "I don't think my parents ever loved each other." "They must've married for some reasons," Jonathan answers. "My mom was young, my dad was older but he had a cushy job, money, came from a good family. So they bought a nice house at the end of the cul-de-sac and started their nuclear family." "Screw that," says Jonathan. "Yeah," Nancy agrees. "Screw that." (pro-strange, starting to creep into anti-ordinary)

1x05 Jonathan explaining what he saw in Nancy's photograph: "I saw this girl trying to be someone else, but for that moment, it was like you were alone, or you thought you were, and you know, you could just be yourself." "That is such bullshit," Nancy says, "I am not trying o be someone else just because I'm dating Steve and you don't like him." They fight, he says, "Does that mean I have to like [Steve]?" Nancy says, "No." "Jonathan says, "Listen, don't take it so personally, okay? I don't like most people. He's in the vast majority." Nancy says, "I was actually starting to think you were okay. I was thinking, Jonathan Byers, maybe he's not the pretentious creep everyone says he is." Jonathan answers, "I was just starting to think you were okay, I was thinking Nancy Wheeler, she's not just another suburban girl who thinks she's rebelling by doing exactly what every other suburban girl does, until that phase passes and they marry some boring one-time jock who now works sales, and live out a perfectly boring little life at the end of a cul-de-sac, exactly like their parents, who they thought were so depressing." (this is a clash of perspective; Nancy is vaguely, defensively pro-ordinary and Jonathan is pro-strange and pretty-anti-ordinary)

1x06 Eleven confesses that she opened the gate and she's the monster. Mike says, "No, El, you're not the monster. You saved me." (her powers and her difference make her a hero; pro-strange)

1x08 Steve, the boring, popular one-time jock, comes back to fight the demogorgon alongside Nancy and Jonathan. (pro-ordinary)

1x08 Mike tells Eleven that when it's all over she can have a real bed in his basement and his parents will be like her parents and Nancy will be like her sister. "I was thinking, I don't know, maybe we can go to the Snow Ball together. It's this cheesy school dance where you go in the gym and dance to music and stuff." (cheesy ordinary school stuff that Mike wouldn't have considered going to before is now a desirable ending. pro-ordinary)

so the main thrust of season 1 is strongly pro-strange. ordinary people are blind to the evil and suffering in the world, and blind to the strengths of people like El and Will. Joyce is contrasted to the perfect prim Mrs. Wheeler; where Mrs. Wheeler's comfort and advice is useless, Joyce sees the truth and saves her child. Nancy and Jonathan butt heads, but end up being an effective team. there's just a little bit of ambiguity introduced at the tail end of the season: Mike doesn't want to escape or rebel against his family, he wants to bring El into it, and wants them both to go to the Snow Ball - the epitome of ordinary - together. and ordinary, shallow Steve surprises everyone (including the writers, who'd planned to kill him off) by showing courage and selflessness when it counts.

2x01 Steve talks to Nancy about the future: "I'm just going to end up working for my dad anyway. Is that such a bad thing? There's insurance and benefits and all that adult stuff." (the scene is about Nancy's fear of following in her parents’ footsteps, and so it leans pro-strange)

2x01 Will tells Jonathan that treating him like he's fragile just makes him feel like more of a freak. "You're not a freak," Jonathan tells him. "Yeah, I am. I am," Will answers. "You know what, you're right," Jonathan says. "You are a freak, but what? Do you want to be normal? Do you wanna be just like everyone else? Being a freak is the best, I'm a freak." "Is that why you don't have any friends?" Will asks. "I have friends, Will." "Then why are you always hanging out with me?" "Because you're my best friend, right? And I would rather be best friends with Zombie Boy than with a boring nobody. You know what I mean? Okay, look, who would you rather be friends with? Bowie, or Kenny Rogers." Will grimaces. "Exactly, it's no contest," Jonathan says. "The thing is, nobody normal every accomplished anything meaningful in this world. Got it?" "Well," Will says thoughtfully, "some people like Kenny Rogers." Bob, passing by in the hallway, says "Kenny Rogers? I love Kenny Rogers!" (strongly pro-strange, strongly anti-ordinary)

2x02 Nancy and Steve fight about whether to tell Barb's parents the truth or keep on pretending everything's alright. Steve says, "It's hard, but let's just go to Tina's stupid party, wear our stupid costumes that we've been working on for a stupid amount of time, and just pretend like we're stupid teenagers, okay?" (this scene is ambiguous, leaning pro-strange, because they both use the language of "pretend"--ordinariness is all a performance, a lie)

2x02 Bob asks Joyce, "What if we were to move out of Hawkins together? I was thinking about what you said, we have all these memories here and you wish you had enough money to move. My parents are selling their house in Maine, there's a Radio Shack nearby I'm sure they'd take me on. We could just..." He sees Joyce's reaction, and says ruefully, "My turn to be silly now." "No, it's just so hard to explain," she says. "It's just this...this is not a normal family." "It could be," Bob says. (this scene is ambiguous, leaning pro-strange. Bob means well but Joyce doesn't see his hopes as possible or realistic given the complications of their life)

2x02 Nancy drunkenly accuses Steve in the bathroom, "You're bullshit. You're pretending like everything's okay, you know, like we didn't...like we didn't kill Barb. Like it's great. Like we're in love, and we're partying." Steve echoes, "Like we're in love?" Nancy says venomously, "It's bullshit." Steve asks, "You don't love me?" (the scene is mostly pro-strange, but with a little ambiguity injected because we can see how much this hurts Steve)

2x02 Will tells Mike about his episodes, Mike tells Will about feeling like he sees Eleven. "I don't know, sometimes I feel like I'm going crazy," Mike says. "Me, too," Will says. "Hey, well, if we're both going crazy, then we'll go crazy together, right?" Mike says. "Yeah, crazy together," Will agrees. (pro-strange)

2x03 Nancy and Jonathan discuss the burden of carrying on after loss. "Maybe things just can't go back to the way they were," Jonathan says. "Doesn't that make you mad?" Nancy asks. (ambiguous! "the way things were" being possibly gone forever is a loss, according to Nancy.)

2x05 Bob deciphers Will's drawings, saving Hopper's life. (pro-ordinary)

2x06 Murray tells Nancy, "Probably, like everyone, you're afraid of what would happen if you accepted yourself for who you really are, and retreated back to the safety of...name? Name!" "Steve," Jonathan supplies. "Steve!" exclaims Murray. "We like Steve, but we don't love Steve." "We - I do!" Nancy protests. (pro-strange and anti-ordinary; Steve's only desirable characteristic is that he's safe, he's being set up as another Mr. Wheeler, the husband in another loveless marriage)

Bob tells Joyce, "I thought stuff like this happened in comic books and movies, not in Hawkins and certainly not to people like you." "Or you," she says. He chuckles, jokes, "Bob Newby, superhero." She asks if he's cold, he tells her not to worry about him. "It's not as if you didn't warn me, this is not a normal family, isn't that what you said? Kind of makes my idea of moving to Maine seem a little less crazy, doesn't it." Joyce says, "Oh, it's not crazy." (still ambiguous; Bob's heart isn't in question but it's still unclear whether he can keep up with the world he's been thrown into. his plan is to flee it, but is that admirable?)

2x07 Kali tells El, "We will always be monsters to them. Let me guess, your policeman, he also stops you from using your gifts? What you can do it incredible, it makes you very special, Jane." (pro-strange, anti-ordinary)

2x07 El tells Kali that she has to go back because her friends are in danger. Kali says, "There's nothing for you back there. They cannot save you, Jane." El answers, "No, but I can save them." (pro-strange but with nuance! the strange and the special have something to offer the ordinary)

2x08 Bob gets Joyce, Hopper, Will, and Mike out of the lab, saves all their lives. Mike tells everyone that Bob was the original founder of Hawkins AV club, that their teacher Mr. Clark learned everything he knows from Bob. (strongly pro-ordinary! not only is Bob a hero, but he's shown to have been just like the boys, and even though he grew up and became the epitome of normal, his legacy helps other little nerds)

so season two is more complex than season one. on the one hand, Nancy finishes the arc she started in season one: rejects Steve and chooses Jonathan, rejects ordinary and chooses strange, precisely because she sees being with Steve as buying into the whole suburban destiny that she now knows is a lie. on the other hand, the two main heroes of the season are Bob - Mr. Ordinary - and El, who rejects her sister's anti-ordinary worldview and chooses to use her strange gifts in service of her ordinary friends.

3x03 Joyce tells Hopper that the magnets can't be a coincidence, and he says "I don't think it's a joke, I think that when I asked you out, I think you got scared. I think you got scared, and now, you're inventing things. You're inventing things to get worked up about so that you can push me away, because God forbid any of us move on! Because that, that would be too much, right Joyce?" (the strange happenings are seen as an excuse to stay away from ordinary vulnerabilities; the scene is vaguely pro-ordinary, filtered through angry hungover yelling)

3x03 Dustin tries to tell Steve that he should date Robin, Steve tells him she's not his type: "For your information, she's still in school. And she's weird. She's a weirdo. And she's hyper. I don't like that she's hyper. And she did drama. That's a bad look. And she's in band? No." Dustin says, "Now that you're out of high school, which means you're technically an adult, don't you think it's time you move on from primitive constructs such as popularity?" (pro-strange)

3x07 Steve confesses to Robin on the bathroom floor, "The point is, this girl, you know, the one that I like, it's somebody that I didn't even talk to in school. And I don't even know why. Maybe cause Tommy H would have made fun of me, or I wouldn't be...prom king? It's stupid. I mean, Dustin's right, it's all just a bunch of bullshit anyways. Because when I think about it, I should've been hanging out with this girl the whole time. First of all, she's hilarious. She's so funny. I feel like this summer I have laughed harder than I have laughed in a really long time. And she's smart. Way smarter than me. You now, she can crack, like, top secret Russian codes and, you know, she's honestly unlike anyone I've ever even met before." Robin tells him he's not thinking straight, he says he's thinking a lot more clearly than normal. She says, "Look, he doesn't even know this girl, and if he did know her, like, really know her, I don't think he'd even want to be her friend." "No, that's not true, no way is that true," Steve says. (pro-strange)

3x08 Joyce re-initiates her date with Hopper, calling it what it is this time. If the world doesn't end, they deserve to celebrate. They deserve to move on. (pro-ordinary)

season three takes a step back from the focus on these themes or any themes. as in s2, Joyce tries to have the courage to seek an ordinary happy ending again, and again, experiences loss. the only person still grappling is Steve, who's coming to see more deeply the parts of "normalcy" that deserve to be rejected.

4x01 Eddie's introduction speech: "We're the freaks because we like to play a fantasy game. But as long as you're into band or science or parties or a game where you toss balls into laundry baskets...it's forced conformity, that's what's killing the kids. That's the real monster." (pro strange, casually anti-ordinary)

4x01 Chrissy confesses to Eddie, "You know, you're not what I thought you'd be like." "Mean and scary?" he guesses. "Yeah." "Yeah, well, I actually kinda thought you'd be kinda mean and scary too." (this scene is pro-strange AND pro-ordinary! neither of them is what the other thought they'd be, underneath the "freak" and "queen of Hawkins High" facade)

4x07 One's manifesto: "Why would you cry for them, Eleven, after all they did to you? You think you need them but you don't, you don't. Oh, but I know you're just scared. I was scared once, too. I know what it's like to be different, to be alone in this world. Like you, I didn't fit in with the other children. Something was wrong with me. All the teachers and the doctors said I was...broken, they said. My parents thought a change of scenery, a fresh start in Hawkins might just cure me. It was absurd. As if the world would be any different here. But then, to my surprise our new home provided a discovery and a newfound sense of purpose. I found a nest of black widows living inside a vent. Most people fear spiders, they detest them, and yet I found them endlessly fascinating. More than that, I found a great comfort in them, a kinship. Like me, they are solitary creatures and deeply misunderstood. They are gods of our world, the most important of all predators. They immobilize and feed on the weak, bringing balance and order to an unstable ecosystem. But the human world was disrupting this harmony. You see, humans are a unique type of pest, multiplying and poisoning our world, all while enforcing a structure of their own - a deeply unnatural structure. Where others saw order, I saw a straitjacket, a cruel, oppressive world dictated by made-up rules. Seconds, minutes, hours, days, weeks, months, years, decades, each life a faded, lesser copy of the one before. Wake up, eat, work, sleep, reproduce and die. Everyone is just waiting, waiting for it all to be over, all while performing in a silly, terrible play, day after day. I could not do that. I could not close off my mind and join in the madness, I could not pretend. And I realized...I didn't have to. I could make my own rules. I could restore balance to a broken world. A predator, but for good....I could reach into others, into their minds, their memories. I became an explorer. I saw my parents for what they truly were. To the world, they presented themselves as good, normal people, but like everything else in this world it was all a lie, a terrible lie. They had done things, Eleven, such awful things. I showed them who they really were, I held up a mirror....To your papa, Eleven, you are just an animal, a monster, a lab rat to be tamed, but the truth is just the opposite. You are better than they are. Superior....If you come with me for the first time in your life you will be free. Imagine what we could do together. We could reshape the world, remake it however we see fit." (this is explicitly the villain’s perspective which it is clear we are not supposed to share, and so the scene circles back around to pro-ordinary. moreover El, our hero, rejects his proposal, and so we see that the heart of the strange doesn't have to be about superiority and resentment, and so it's also pro-strange)

4x08 Will's speech to Mike, about El and about himself: "These past few months she's been so lost without you. It's just, she's so different from other people, and when you're...when you're different, sometimes you feel like a mistake. But you make her feel like she's not a mistake at all, like she's better for being different. And that gives her the courage to fight on." (pro-strange & pro ordinary! ordinary Mike makes his strange loved ones feel like they belong; they fit together)

4x08 Steve's speech in the Winnebago while Fire and Rain plays: "It's silly, but I've actually...I always had this dream that I'd have this really, really big family. I'm talking like a full brood of Harringtons. Like, five, six kids?" "Six?" Nancy repeats. "Yeah, six little nuggets. Three girls, three boys. And every summer I figured all of us Harringtons we'd pack into something like this and just see the country. You know, the Rockies, Grand Canyon, maybe Yellowstone, end up in some beachside town in California, spend a week parked in the sand, learn how to surf or something." Nancy says, "That sounds nice." "Yeah?" Steve asks. "Yeah," she says, then shakes herself and adds, "Well, um, except for the six kid part, that sounds like a total nightmare." Steve gestures around the kid-filled RV and says wryly, "If only I had some practice!" Nancy smiles, and says, "All right, fair. That's fair." (strongly pro-ordinary! but at least a little ambiguous because Nancy tries to brush it off after.)

4x09 Max hides "in the light": the Snow Ball. its ordinary goodness is a haven against the darkness, which is invisible to Vecna who can only see the evil of the world. (pro-ordinary)

4x09 Jason tells Lucas, "I was wrong about you. I never should've let you in the door." Lucas answers, "And I never should have knocked. I thought I wanted to be like you. Popular. Normal. But it turns out, normal's just a raging psychopath." (pro-strange, anti-ordinary)

4x09 El tries to get through to Vecna: "I know what [Papa] did to you. You were different, like me. And he hurt you. He made you into this. He is the monster, Henry, not you. Not you!" "You're right," Vecna answers, "you and I, we are different. And Papa did hurt me, but he was no monster. He was just a man, an ordinary, mediocre man. That is why he sought greatness in others, in you, and me. But in the end, he could not control us, he could not shape us, he could not change us. Do you not see, Eleven? He did not make me into this. You did." (this scene is more ambiguous than his previous one--it's clear we ought to reject his extreme anti-ordinary views that make him want to destroy the world, but it's less clear what we are to make of the fact that El did reshape him)

4x09 Mike's speech to El: “I love you on your good days, I love you on your bad days. I love you with your powers, without your powers. I love you for exactly who you are. You're my superhero.” (like his conversation with Will, it's both pro-strange and pro-ordinary)

4x09 El uses her powers to restart Max's heart, focusing on their happy memories together rather than any anger - her power is more than violence, it can also be beauty. (pro-strange)

season four, things are coming to a head! the "normal" townspeople are shown to be afraid of what they don't understand, and prone to blaming the wrong person just because they're different - but if we look closely, Jason isn't evil, he's just misdirected. he does want to kill Eddie, but then again all our main characters want to kill Henry, and it just so happens that they're correct about who's to blame. Jason's biases are wrong, but his intent- Do not be overcome by evil, but overcome evil with good - is very much right and in line with the message of the show. Jonathan and Nancy's forays into anti-ordinary thinking are shown to be eerily similar to that of the monster haunting them - and moreover, Jonathan's solitary ways lead to him smoking so much pot that he can't even be there for the people he does care about. El remains committed to using her powers to help her friends; she doesn't want to be a monster just because she is different. and Steve finally reveals himself as the anti-Vecna, completing his transformation into the embodiment of ordinary. his prior classification as "babysitter", an unorthodox role for a teenage boy to choose, has been replaced by a sincere desire for the most orthodox of destinies for an adult man: fatherhood.

[magistralucis]

From Darkness Unto Thy Light [Obyron/Zahndrekh Fanfiction]

He is the very model of a modern Sautekh nemesor: Botanically inclined and philosophical in spite of war, In grace and fair appearances you'll see no better epicure, He'd love a recitation by his vargard about paramours. In crises he's undaunted by traditional sagacity, His speech is most compassionate in infinite capacity, Of Setekh diabolical he's teeming with a lot o' news: (It's thanks to him the bastard won't receive his undeserved dues.) He merits the inheritance the world of Gidrim occupies, His regal might and army shall command that noble enterprise, He honours his Obyron true, they'll be together evermore: He is the very model of a modern Sautekh nemesor.

-----

Written for Sehn during the Summer Fest Gift Exchange 2024! 💖✨ A retelling of Obyron and Zahndrekh's beginnings at Yama, up to Zahndrekh's rule of Gidrim. Heavy spoilers for Severed ahead.

Minor content warnings for violence, PTSD, and Setekh. Obyron POV. Multichapter, pre-biotransference. SFW.

(EDIT: Now accompanied by this amazing art by the wonderful @eleooooooo!)

[Originally published 10/08/2024 - AO3 link here.]

[woolandcoffee]

You know. For the last couple of years, I keep hearing that eventually, the legal profession will probably largely need to incorporate generative AI to help streamline research and writing, and that this will be a good thing that will save us a lot of time.

Well, I just got sent a two-pager written by an attorney who says he ran it (again, a two-pager of notes, basically) through some AI bit of software or other to "clean up" the citations. Except that what it really seems like this thing did is just. Just take his citations out of a footnote format into an endnote format. That's all. And like. He says he used it to "clean up" the citations but, uh, the citations are just. They're just links. They're not even formatted into a proper citation, they're just fucking urls. Like. So what you're telling me is that this supposedly time-saving piece of software turned your footnotes into endnotes which you did not want, and didn't even format them into the standard legal citation style? Wow. What a paragon of efficiency.

[hit-with-rock]

you know you’ve been working too long on your thesis when your brain starts making up papers on the grenville orogeny to read in your dreams

[sinni-ok-sessi]

I am on record as an endnotes hater anyway, but I think there is a special place in editorial hell for a work with occasional footnotes and *two* sets of endnotes

[rathayibacter]

Hi there! Maybe a weird question, but nonetheless: I am (in probably the far far future) planning on making a ttrpg based on source material and posting it on itch.

As the creator of (breathes in) IMMORTAL Pop!bat 2: funK.O. (Definitive Edition), although maybe not in exactly the same boat, did you do anything in order not to step on Funko's toes? Do you know of any other similar projects and what they did? Essentially, do you have any advice for a newcomer to the scene who doesn't want their shit taken down?

Thanks!

this is a really interesting question, thanks for asking!

so with IP!b2:fK.O.(DE), i specifically didnt do anything to avoid potential issues with the Funko brand because nothing would be funnier to me than getting a cease and desist letter from them. hasn't happened yet! and in fact, i guess that's kinda my point. i really don't think you're at risk here, so let's talk about why.

first off, we're small fish! that's not always enough to keep you safe from IP lawyers, Disney did famously go after day cares and Nintendo after all manner of fan games, but even then those are particularly litigious corps, and small businesses and minorly viral video games are much, much more in the zeitgeist than indie ttrpgs. i do know that Tokyo Brain Pop got harassed over its name (here's a breakdown of how that went down), but that's the only modern example i can think of.

second off, we've got a long and storied history of fair-use boundary pushing in the hobby that can serve as really solid templates for what you can get away with. in terms of physical components, IP!b2:fK.O.(DE) has good company in games like Dread or Mobile Frame Zero: Rapid Attack, both of which are played with a specific brand-name toy and tell you as much. in terms of theme, there's endless examples of both highly inspired original games that name-drop their source material (games like Dice Souls, Apocalypse Keys, Masks: A New Generation, MONSTER GUTS, Stand Up!, and Despair Dilemma all wear their inspirations on their sleeves), to the hosts of "The Unofficial ___ TTRPG" pdfs floating around every forum and fandom discord server on earth.

all this is to say, i doubt anything you do is gonna cross over the line, but if you're still worried it doesn't take more than a fresh coat of paint and a clever name to get you well within the safe zone. if you're using physical components, you can always genericise them with a wink and a nudge, though many games don't even bother to do that.

so make something cool, give it your own twist, and drop me a line whenever you're ready to share cuz id love to hear about it! good luck and godspeed.