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itsgerges · 1 year ago

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Can A Light Beam Its Speed 1.16 million km per second Be Found? (Revised)

Abstract

The paper provides 4 hypotheses with their explanations and proves – let's provide them in following

Paper hypotheses

Hypothesis No. (1)

The space is created from one energy and this energy is provided by a light beam moves by a speed 1.16 million km per second – the speed is registered in the created space proves the speed is a fact.

Hypothesis No. (2)

The Gravitational Waves Are Produced By The Planets Motions Energies And Not By The Sun Gravitational Field– Moreover- The Sun Does NOT Produce A Gravitational Field And It Has No Massive Gravity-

Hypothesis No. (3)

Mars original orbit was between Mercury and Venus and Pluto was The Mercury Moon (Pluto size was equal Mercury size) But these two planets had migrated from their original orbits as a result for a collision- the planets migration caused a risk for the solar system geometrical design- Uranus and Jupiter the Two planets worked to repair the solar system design– that caused Jupiter orbit to be the main orbit in the solar system design- Jupiter orbit proves the speed 1.16 million km per second is a fact.

Hypothesis No. (4)

The Sun Is a phenomenon created by the planets motions

The sun rays is created from the gravitational waves motions energies and the gravitational waves are produced by the planets motions energies-

Based on that

The Sun Is A Phenomenon Created By The Planets Motions

And

The Sun Is NOT Doing Nuclear Fusion To Produce Its Rays- instead- The Planets Motions Energies Total Is Used To Produce The Sun Rays

The Sun Is Created After All Planets Creation And Motion – means

The Planets Are Created And Moving In Their Orbits Around A Point Of Space Before The Sun Creation- And The Sun Is Created On This Point Of Space around which the planets revolve - And

No Planet moves by The Sun Gravity (Newton is Wrong) - And

The Sun Doesn't Produce A Gravitational Field (Einstein Is Wrong)

And

The Sun Is A Phenomenon Created By The Planets Motions– means-The Sun creation and death depends on a cycle – means – after this current sun death another sun will be created for the solar system.

The Hypotheses Explanation

The abstract provides the hypotheses explanation and the paper provides their proves and discussions- In following the hypotheses will be explained in details

NOTICE - The creatures and all matters on the Earth are created from the sun light energy and the sun light speed is 300000 km/s, because of that, the creature realization is limited to the speed 300000 km/s and can't realize the original speed (1.16 million km per second) that means the speed 300000 km/s is a limit for the creatures realization and not for the universe design.

Notice- this revised version adds only more proves for the paper first hypothesis-

Hypothesis No. (1)

The space is created from an energy and this energy is provided by a light beam moves by a speed 1.16 million km per second – the speed is registered in the created space which proves the speed is a fact

The Hypothesis Explanation

I- The Space Is Created By One Light Beam Energy- And This Light Beam Speed Is 1.16 million km per second

I-1 Preface (the main idea)

I-2 The Space Creation Method (the distances are one network)

I-3 Light Coherence between light (1.16 million km /s) and light (300000 km/s)

I-4 The Matter definition (based on my planet diameter equation)

I-5 The Planets Creation

I-6 Can The Time Machine Be A Fact?

The Hypothesis Proves

I-7 The Proves Logic Analysis

I-8 Planet Velocity Is A Function In A Speed = (1.16 million km /s)

I-9 Planets Orbits Are Defined By A Motion Its Speed = (1.16 million km /s)

I-10 Jupiter distances are defined by a motion by a speed = (1.16 million km /s)

I-11 The Solar System Geometrical Design Proves The Hypothesis

I-12 The Solar System Distances Analysis Prove The Hypothesis

I-13 Deep Analysis For The Planets Orbits

1-14 Light defines each planet orbital period

I-15 Can Planet Diameter Be Used As A Period Of Time

I-16 Mercury Orbit Analysis

I-1 Preface (The Main Idea)

The solar system (planets and distances) is created from one energy and this energy is provided by one light beam and this light beam moves by speed (1.16 million km/s)

The space is created before the planets creation-

Let's write the whole story in following

The light beam (1.16 million km per second) started its motion from Mercury orbit moves toward Pluto orbit– by that– we consider Mercury orbit is the origin point-

Now- we should notice- No planet is created yet- the motion from Mercury orbit to Pluto orbit defines the motion direction- and No planet is created before this motion end nor during this motion- the planets will be created after this motion is finished means when the light 1.16 million km per second reaches to Pluto (orbit)- after this event – the planets will be created –as I will explain later

Notice

The light (1.16 million km per second) creates the distances by its motion- means- the light moves from Mercury point to Venus point– the distance from Mercury to Venus was not found and is created only by the light motion through it for first time- means – before the light motion this distance was NOT found- It's found after the light moves through this distance for first time-

This is similar to the blood motion through the arteries, the blood creates these arteries and the blood moves through these arteries, but the blood created these arteries with its first motion and that needed energy- but – after the arteries creation the blood move through them without any energy is required- means- the first motion is the most important one because by it the arteries are created

Shortly- The space is created from the energy of this light beam its speed 1.16 million km per second – NOW- after the Space creation- the light beam energy is decreased because of the energy consumption in the space creation process- and the rest energy is one light beam its speed is (C=300000 km/s =the light known speed) – But - We understand that- it's the same one light beam- its speed was 1.16 million km /s before the space creation- and the light created the space and that caused to consume the light energy and that caused to decrease the light speed to be 300000 km/s

Shortly- the light beam started its motion from Mercury (orbit) with speed 1.16 million km /s and reaches to Pluto (orbit) with a speed 300000 km/s because of the energy consumption in the space creation process

Let's give example to explain this idea

Imagine we create A Sea Of Water- we use energy to create this sea of water- now we have some energy and we use this energy to create this sea of water- BUT- our energy is NOT spent completely But there's a small part still rest with us – this small part of energy is used to create one wave moves through this sea and this wave speed is 300000 km/s (I suppose the space is similar to the sea of water)

Now – the rest energy is found in one light beam its speed 300000 km/s and this light beam is found NOW in Pluto Orbit – and this light beam will be reflected from Pluto orbit toward the inner planets– means- the rest energy will move in the reflected direction to the original light motion direction.

This idea will be explained in details in the next point- shortly

The light beam (300000 km/s) will be reflected from Pluto toward the inner planets

AND the light 300000 km/s will meet the original light beam (1.16 million km per second) in the origin point (in fact – beside the origin point) and there's a coherence of light is done between the light beam (300000 km/s) and the light beam (1.16 million km per second) – this coherence of light is proved strongly- we have to ask (how can that be possible while the light beam 1.16 million km /s is consumed and the new light beam 300000 km/s is the rest energy? how this light beam (300000 km/s) can meet the original one (1.16 million km per second)? in points no. (I-3) and no.(I-6) I answer this question.

Notice (1) I suppose the rest energy is a light beam its speed is (C=300000 km/s) but this idea is for simplicity- the rest energy can be in any wave form its speed (C=300000 km/s) – no necessity to be in visible light beam form

It's simply energy moves by the known speed of light (C=300000 km/s)

Notice (2)

All Planets Orbits Are Defined Before Any Planet Creation-

The light used the distance from the sun to Pluto as one area and create one geometrical design for this area before any planet creation

Notice (3)

The planets are created from the rest energy its speed (300000 km/s) – means- the space is created by the light 1.16 million km per second and the energy is consumed in the space creation and the rest energy is one light beam its speed 300000 km/s (or one wave moves by the known speed of light C=300000 km/s) – the solar planets are created from this one wave its speed 300000 km/s and that means all planets orbit are created and defined before any planet creation

Notice (4)

The Sun Is Created After All Planets Creations And Motions

The sun is a phenomenon created by the planets motions energies total

The sun doesn't produce a gravitational field and doesn't have massive gravity

Logically – No planet moves by the sun gravity

(The Planet Moves With The Energy From Which The Planet Is Created – Newton is wrong- later we discuss the proves)

Notice (5)

The child (fetus) inside his mother is created by the blood motion- the blood motion creates arteries for this child and through these arteries the blood moves also but the arteries themselves are created by this same blood motion- Similar to that- the distances are created by the light motion energy and the light moves through these distances also but originally these distances themselves are created by the light motion energy- means the distances creation is done with the first time of the light motion through them - that required energy- but after the distances are created no more energy is required- the light (or planet) can pass simply through these distances

I-2 The Space Creation Method (the distances are one network)

Data

778.6 = 1.16 x 671

721 = 1.16 x 621

629 = 1.16 x 543

543 = 1.16 x 468

5906 = 1.16 x 5127

These numbers are distances in (million km)

778.6, 721, 671, 629, 551 are Jupiter distances to the sun, Mercury, Venus, Earth and Mars respectively- 5906 and 5127 Pluto distances to the sun and Jupiter respectively

468 = 936 /2 where (940 million km = the Earth orbital circumference)

Discussion

(1)

The previous data tells us how the light beam motion creates the distances-

Simply the light uses a distance as (a period of time) and travels through this period another distance- that can be understood clearly from Jupiter distances- let's look deeply as possible

The light beam (1.16 million km per second) uses the period 629 seconds to pass a new distance = 729 million km (Mercury Jupiter distance is 721 million km error 1%) – where 629 million km = Jupiter Earth distance

Also

The light beam (1.16 million km per second) uses the period 671 seconds to pas a new distance =778.6 million km (Jupiter orbital distance)

where 671 million km = Jupiter Venus distance

by this method the light creates the distances based on each other- and that makes all distances to be created depends on one another and that makes all distances in the solar system to be One Network where all distances are created based on the same One Geometrical Design

(2)

The data shows the creation method- and we understand that- the distance 551 million km (Jupiter Mars Distance) is created firstly and the light (1.16 mkm/s) used this distance as a period of time (551 sec) and the light travels during this period a distance =(639 million km where 629 million km is Jupiter Earth distance error 1.5%) and then the light uses the new distance (629 mkm) as a period of time (629 sec) and the light travels during this period a distance = (729 million km – where 721 million km = Mercury Jupiter distance – error 1%)

The data shows the method clearly and we understand the light original motion started from Mercury orbit to Pluto orbit because the distances are created based on one another in that direction of motion as explained clearly

(3)

New data NO. (1)

2723 sec x 2 x 300000 km/s = 1622 million km – where

2723 million km = Uranus Earth Distance

1622 million km = Uranus Neptune Distance

The data shows- the light beam its speed (C=300000 km/s) is in proportionality also with the created distances but this proportionally is found in Reflected Direction

Logically, The light can NOT move from Uranus to Neptune and after that the light returns to move from Uranus to the Earth- it's simply reflected direction

The distances are NOT created by the motion of this light beam (300000 km/s) – but the distances are created by the motion of the original light beam (1.16 million km per second) but the proportionality between the distances with the light (300000 km/s) is found because there's a proportionality between the original one (1.16 million km per second) and this light beam (300000 km/s) – AND

Because the light (300000 km/s) moves in the reflected direction of the original light beam (1.16 million km per second) that causes the proportionality between the distances and the light (300000 km/s) be in a reflected form

New data NO. (2)

2094 sec x 300000 km/s = 629 million km

2094 million km = Uranus Jupiter distance

629 million km = Earth Jupiter distance

The light (300000 km/s) moves in reflected direction- for that- the distance 2094 million km is used as a period of time to pass a new distance (629 mkm)

The data proves the idea clearly

Notice (1)

The proportionality between the light (1.16 million km/s) and the light (300000km/s) will be discussed in point no. (I-3)

Notice (2)

In Point (**) I prove the gravitational waves are produced by the planets motions energies- and I prove that – the planets motions energies move toward Pluto and this energy is reflected from Pluto toward Venus- this fact is proved by powerful data and proves- for that – I don't explain in details the light motion trajectory from Pluto toward the inner planets because this motion trajectory is studied in details in the hypothesis No. (2) of this discussion- understandable that- the planets motions energy trajectory is the same trajectory the light moves through it – means this trajectory is studied in details and powerful proves in point no. (**)

Notice (3)

Jupiter Distances Analysis shows that Jupiter orbit is the central orbit for the light (1.16 million km per second) based on which all planets orbits are defined.

But – this is not the first creation case –

The light (1.16 million km per second) created the planets orbits based on each other starting from Mercury orbit moves toward Pluto orbit – this is the fist creation case – and this fact is proved strongly in point no. (I-9*)

BUT

Mars had migrated from its original orbit (Mars original orbit was between Mercury and Venus) and Pluto had migrated also (Pluto Was The Mercury Moon revolves around Mercury and Pluto size was equal Mercury size)

The planets migration caused a serious risk for the solar system geometrical design- Uranus was the first planet tried to repair the solar system geometrical design and to save it- by that

Uranus created a vertical effect on Jupiter orbit to fix Jupiter in its orbit and prevent it to migrate with the migrant planets- and based on Jupiter orbit the other planets orbits are modified – that supported the solar system original design and saved it which causes to protect the geometrical design from the destruction.

As a result

That causes Jupiter orbit to be the most important orbit in the solar system- the paper third hypothesis explains the planets migration and Jupiter orbit analysis is done with the solar system design analysis (I-11*)

I-3 Light Coherence between light (1.16 million km /s) and light (300000 km/s)

(1)

The Coherence Of Light

The previous explanation told us that we have 2 light beams-

The original light beam its speed (1.16 million km per second) and it started its motion from Mercury orbit to Pluto orbit (where Mercury orbit is the light motion origin point) – and this light beam created all distances in the solar system and lost its energy in the space creation process and the rest energy is one light beam its speed is (C=300000 km/s)

The other light beam is the rest energy- its speed is (C=300000 km/s) and it moves in a reflected direction from Pluto toward Venus and Mercury-

Now – we have a coherence of light between these two light beams- the coherence is proved by powerful proves BUT firstly we have to ask (how can this coherence be occurred)? Because the original light (1.16 million km/s) is consumed and its energy is used already and the rest energy is this light its speed is (300000 km/s) - HOW can the light (1.16 million km/s) meet the light (300000 km/s)??

Imagine we have (116 dollars) and we spent all money except (30 dollars)- how can this (30 dollars) meet the original money (116 dollars)??

Let's write the answer

Suppose the light beam (300000 km/s) moves in the reflected direction (in the space) and also (in the time) – that can enable the light (300000 km/s) to meet the original one (1.16 million km/s) in the past and the coherence will be done there in the past- and we see the coherence results and effects on the solar system -

Means – the light (300000 km/s) moves into the past and found the original light (1.16 million km/s) in the past

Notice No. (1)

The original light beam (1.16 million km/s) can NOT move toward the future to meet the light (300000 km/s) because in the future the original light beam (1.16 million km/s) is NOT found –by that – the coherence can't be occurred in the future - But – the light (300000 km/s) can move into the past because this light beam (300000 km/s) was found in the past because it's a part of the original light beam (1.16 million km/s)

Notice no. (2)

I prove the coherence is done by powerful proves- that tells- this idea is a fact–means- there's a strong proof tells (in fact the light beam 300000 km/s moved into the past) and if we can use this feature practically we can get photos from the past events and by that we can have photos from the catastrophe which killed the dinosaurs and know much better about what had happened really in that time - This can be a real machine of time – the light motion into the past is a strong method to perform this invention.

Notice no. (3)

Why Can NOT We Move Into The Past As We Move Into The Future?

This question is answered in point no. (**)

(2)

The Light Coherence Proves

First Proof

The planets order is typical to the interference of Young –

In the double slits experiment, Young Interference is consisted of bright fringes and dark fringes - If we consider planet diameter is equivalent to bright fringe – we will see that- the planets order is typically to Young interference because

Jupiter (the greatest fringe) is in the middle and the fringes width is decreased gradually on both sides – typically to the planets order

Notice / I have proved that (Mars original orbit was between Mercury and Venus) if we restore Mars to its original orbit the order will be typical to the Young Interference

(I prove this fact in point no. **)

Second Proof

The planets velocities are defined based on the speed (1.16 million km per second) and the planets velocities analysis shows the speed (300000 km/s) is the planets motions limit- means- the planets velocities are defined based on both velocities (1.16 million km per second) and (300000 km/s) I prove this fact in point No. (**)

Third Proof

The light coherence defines the solar day period (24 hours) which is the solar system design cornerstone

(1.16 /0.3) x 2π = 24.3

By this equation the space and time are created- the equation tells–the space is created in curves (2π) and the time is created in units each unit is (24 hours)

Please note – the solar system geometrical design depends on the light motion in a solar day (24 hours = 86400 seconds)

The light (1.16 million km per second) moves in a solar day (86400 seconds) a distance = 100733 million km (= the planets orbital circumferences total)

Fourth Proof

The planets data prove there's a speed (1.16 million km per second) found in the solar system but the sun light beam moves by speed (300000 km/s) that tells the two speeds are facts and found in the solar system and the coherence between them is a logical result

The hypothesis proves discuss many powerful proves for this fact-

Notice- the coherence of light is a very important fact because it tells the light (300000 km/s) moved into the past and by that gives us a proof for the motion on the time axis- for that – many powerful proves support this fact.

I-4 The Matter definition (Based On My Planet Diameter Equation)

(1)

Let's remember my planet diameter equation

Planet Diameter Equation (v1/v2)= (s/r)= I

v = Planet Velocity

r = Planet Diameter

s= Planet Rotation Periods Number In Its Orbital Period

I= Planet Orbital Inclination (example, 1.8 degrees be produced as a rate 1.8)

v2, s, r and I are belonged to one planet and v1 is belonged to another planet

The planet (v1) is defined by test the minimum error

Earth Equation uses Neptune velocity

Mars Equation uses Pluto velocity

Jupiter Equation uses the Earth moon velocity

Saturn Equation uses Mars velocity

Uranus Equation uses Neptune velocity (As Earth)

Neptune Equation uses Saturn velocity

Pluto Equation uses the Earth moon velocity (As Jupiter)

(The Equation works from The Earth To Pluto) (the discussion explains the reason)

Example

Neptune Equation (89143 /49528) = 9.7/ 5.4 =1.8

89143 = Neptune rotation periods number in Neptune orbital period

49528 km = Neptune diameter

9.7 km/s = Saturn velocity

5.4 km/s = Neptune velocity

59800 days = Neptune orbital period (and Neptune rotation period =16.1 hours)

1.8 degrees = Neptune Orbital Inclination

(the equation is proved and discussed in details in point no. **)

(2)

Can We Define The Matter Nature Based On My Planet Diameter Equation?

The equation tells, the matter is created based on its motion! means Neptune diameter is 49528 km because Neptune velocity is 5.4 km/s!!

That tells the motion with velocity 5.4 km/s is defined before Neptune diameter is created! Can we understand such definition for the matter nature? let's try

(A)

The Matter Nature

The space and matter are created from the same original energy and they move with this original energy motion- BUT the matter has a distinguish picture and different velocity from the space picture and velocity (notice- The Gravitational Waves Prove That The Space Has A Motion)

If we suppose the space is similar to the sea of water, the matter be similar to a whirlpool or a vortex found on the sea page- means- the matter is a geometrical design has a distinguish picture from the space- as the whirlpool, it's created from the sea water but it has a distinguish picture from the sea waves picture

Means

The whirlpool is carried by the waves motion- and- the matter is carried by its original energy and moves with it- No Mass gravity is required for the matter motion- means- the matter is MOVABLE by nature.

Also

The whirlpool dimensions are defined by the water motion - for example- we have a whirlpool its diameter is (2 meters)- this diameter is defined by the sea water motion features (velocity, pressure and other motion features) by that- the water motion analysis explains how the whirlpool dimensions are created

Also- the whirlpool is created but the creation requirements are needed every day- means- even if this whirlpool is found since years it can be changed immediately if the water motion features are changed- means- the whirlpool creation process is NOT a historical one.

Also- the matter is similar to a creature muscle, the muscle is found based on the blood motion and without this motion the muscle can be changed or removed.

Shortly

The Original Energy Was Found In Motion By Itself (As Moving Light Beam)

From This Moving Energy The Planet Matter Is Created

The Created matter dimensions are defined by the features of this original energy motion (means the planet creation data is defined by the energy motion features)

After the planet creation- The Planet Moves With This Original Energy – means- the created planet moves a motion depending on the motion of this original energy because the planet moves with this original energy motion- and – the planet moves by this original energy motion (No mass gravity is required to cause the matter motion)

The planet creation data is in full harmony with its motion features- this fact is produced logically because the planet data is defined by the original energy motion features.

This explanation tells (Neptune diameter is 49528 km because Neptune velocity is 5.4 km/s)

Example For Explanation

We agreed that the space is similar to the sea of water and the planet (matter) is similar to a whirlpool found on the sea page- this picture explains the idea clearly- because

We see the whirlpool doesn't move by the sea water waves velocity but by another velocity and that shows a distinguish in form and motion between the whirlpool (the planet) and the sea waves (the space)- BUT- the whirlpool dimensions are defined based on the sea water motion features- and if the motion features are changed the whirlpool dimensions will be changed also- also the whirlpool moves by the sea water motion even with a different velocity relative to the sea waves velocity but the whirlpool motion still is caused by the sea water motion- based on this picture we can say (because the water motion velocity is 80 km/h that causes this whirlpool diameter to be 2 meters "for example') – this is perfectly our sentence – let's remember it

(because Neptune velocity is 5.4 km/s that causes Neptune diameter to be 49528 km)

This idea is proved by my planet diameter equation (my fourth equation) (point No.**)

(B)

Now The velocity is a motion in (A Defined Direction)

Means– the matter is created because it depends on a motion in a defined direction- as we have seen- Neptune diameter is 49528 km because Neptune velocity is 5.4 km/s but this velocity is a motion in defined direction- and that tells Neptune creation depends on a motion in the direction of the (x axis positive "+x ") (for example)

That tells, if this motion moves in (x axis negative "-x ") that will cause Neptune diameter to be changed or perished

Means- the matter creation needs a motion in A Defined Direction

Now let's ask our question

Why Can't The matter (creature) Moves Toward Its Past?

Because the matter depends on a motion in one defined direction- that causes the matter moves into (the future) always and can't move into (the past) let's discuss this question more deeply in point no (I-6)

Notice

No Planet Moves By The Sun Gravity (Newton is wrong) – logically because- the planet moves by its creation force- means- the planet creation and motion should be done by one force only (one energy only) because if two forces have effects on the same one planet- this planet will be broken- this fact is proved strongly with the gravitational waves source discussion (Point no.**)

I-5 The Planets Creation

I summarize the main idea in following and the idea proves and discussions are found in point no. (**)

(i)

We know, the solar system is created from energy of one light beam its speed is 1.16 million km per second- and – the light created the space (the planets orbits) firstly and the energy is consumed in the space creation- and for that- the rest energy is found in one light beam its speed is 300000 km/s - And

From this light beam 300000 km/s the solar planets are created

Shortly

before the solar planets creation

The solar system was one light beam (or one wave moves by speed of light (300000 km/s)- by that – the solar system is One Wave moves by speed of light (300000 km/s)

Now

The Solar System needs To Create A Stationary Point Its velocity Zero relative to the moving one wave (300000 km/s)

This is the basic information in the solar system design-

The solar system needs to create a stationary point relative to the wave motion- by that – two velocities will be found which are (v1= the wave its speed 300000 km/s) and (v2= Zero= the stationary point velocity relative to the wave motion)–these two velocities produce a relative motion with different velocity 300000 km/s– this relative motion is the solar system design cornerstone.

Shortly – the solar system needs to create A Stationary Point

Notice– The solar system is carried by the light beam motion, NO stationary point can be found here – it's similar to a ship on the sea water- Nothing can stop- because the motion is done forcedly by the sea water –

The stationary point will be similar to the whirlpool (vortex) on the sea page- BUT

The solar system needs to create this stationary point - Now – let's try to create this stationary point in following - The solar system uses two procedures to do that,

(ii)

The first procedure

The wave its velocity 300000 km/s revolves around a point in space (any point in space), the revolution motion creates 2 equal velocities on both sides of the revolution- the two velocities are equal in value and opposite in direction- their total be equal Zero-means- the revolution motion creates A Stationary Point in the center of the revolution.

The second procedure

The previous idea is correct- but –the velocity 300000 km/s is a huge one and to decrease it to Zero velocity this is a complex process– for that- the wave (300000 km/s) created small waves with low velocities to use them as steps to decrease the velocity to Zero- the small waves are The Planets- (The planet is a small wave moves by low velocity relative to the original wave its velocity 300000 km/s)

Why Are These Small Waves Required?

Because the velocity 300000 km/s is decreased to Zero by using these small waves and their low velocities- the low velocities are used as steps to decrease the unified wave velocity (300000 km/s) to be (Zero)- this process decreases the velocity gradually from 300000 km/s to Zero depending on these small waves velocities (the planets velocities)

Means- the planets are created for this process to decrease the wave velocity from 300000 km/s to Zero- and The Planet Is A Small Wave Moves By Low Velocity

Shortly – the solar system has one complete system of velocities, Starting from Zero to 300000 km/s where the planets velocities are the steps between the two velocities – let's prove that here

(iii)

300000 km = 7.1 x (205.8)^2 where

7.1 is Lorentz length contraction effect for speed 297000 km/s (99% of speed of light)

205.8 km/s = the 9 planets velocities total (176 km/s) + the Earth moon velocity

(The moon velocity =29.8 km/s = the Earth velocity because they revolve together)

Why does the data use the squared value (205.8)^2?

We know the answer- but - Let's remember it

The planets are geometrical points on the same light beam and move with its motion- for that- the planets velocities rates creates rates of time– for example- Mercury velocity = 1.6 the Earth velocity- that means – one hour of Mercury clock = 1.6 hours of the Earth clock- Why??

Because Mercury and the Earth are carried by the same one light beam- the light moves one motion and passes one distance in one period of time- by that Mercury and the Earth have to move this same motion and to pass this same distance in this same period of time- but the two planets velocities are different- for that- the planets use different rates of time based on their velocities rates and by that the planets move equal distances in the same period of time –

Now- the velocity (205.8 km/s) moves relative to the stationary point (Zero) and creates a rate of time (1 second = 205.8 seconds) –

(one second of the unified wave clock = 205.8 seconds of the stationary point clock)

But – the energy is reflected in the solar system (I prove that in point no.**),

The energy reflection reflects the players – means

(one second of the stationary point clock = 205.8 seconds of the unified wave clock)

The stationary point will be THE SUN – by that

(one second of the sun clock = 205.8 seconds of the unified wave clock) – means

(one second of the sun clock = 205.8 seconds of any planet clock) –

Now during one second of the sun clock, the wave clock needs 205.8 seconds while the wave moves by a velocity 205.8 km/s- means –

During one second of the sun clock, the wave moves 42253 km = 300000 km /7.1

That creates the different velocity 300000 km/s between the sun motion and the wave motion-

Notice 1

The wave (205.8 km/s) moves during 1461 seconds a distance = 300000 km, and we know the Earth cycle (1461 days = 365 +365 +365 +366)

That tells, the speed of light (300000 km/s) is performed by the rate of time and that causes to create the Earth cycle-

Notice 2

Planet velocity is created by the rate of time- means- if no rate of time can be used – No planet velocity can be created – instead- all motions will be only by speed of light (300000 km/s)- the planet can create a small velocity because it can use rate of time

We realize that clearly because

The planets motions depend on the light motion- by that – the motion is done by One Motor only which moves by speed of light (300000 km/s), the planets can only move by speed of light or create a rate of time for their smaller velocities - No more options are provided.

Notice 3

We understand that, the planets are geometrical points on the same light beam, means

The planets are similar to carriages in one train and the light motion is the train engine means the planets are carried on the light beam and move with this light motion

I-6 Can The Time Machine Be A Fact?

To answer this question we need to review basics facts we have studied – let's do that in following

(1)

The solar system is created from one energy and this energy is provided by one light beam

(2)

The light moves simply and freely in any direction (for space) and (for time)- means- the light can move into the future (as matter does) or into the past (which the matter can Not do)

(3)

We know, the solar system is created from one light beam, and this light moves by a speed (1.16 million km per second) - And

We know, the light (1.16 million km per second) created the planets orbits firstly before any planet creation and the energy is consumed in the space creation and because of the energy consumption the light speed is decreased from (1.16 million km per second) to the known speed of light 300000 km/s – also

We know, the light (1.16 million km per second) started its motion from Mercury orbit moves toward Pluto- that means- the light (1.16 million km per second) started from Mercury orbit with speed (1.16 million km per second) and the light created all planets orbits till Pluto orbit- before any planet creation- and by that- the light lost its energy and the light beam in Pluto orbit reduced its speed to be 300000 km/s as a result for the energy consumption in the space creation process

(4)

Also we know the energy is reflected from Pluto toward Venus (the inner planets)

By that the light beam (300000 km/s) moves in the reflected direction to the original light beam (its speed 1.16 million km per second)

And – we know-

The light beam (300000 km/s) reaches to the original point (Mercury Orbit) from which the light (1.16 million km per second) started its motion

And we know that

A coherence of light is done between the original light beam (1.16 million km per second) and the light beam (300000 km/s)

BUT we don't know how such coherence can be occurred? Let's analyze that deeply in following

(5)

The produced light beam (300000 km/s) moves in (the reflected direction) to the direction of the original light beam (1.16 million km per second) (In Space) and reaches to Mercury orbit (the origin point)

But– logically – the produced light beam (300000 km/s) can NOT find the original light beam (1.16 million km per second) there because the original light beam is consumed already in the space creation process and the rest energy is this produced light beam (300000 km/s) – based on that –

How Can This Coherence Be Occurred? Means-

How can the produced light beam (300000 km/s) meet the original light beam (1.16 million km per second)? The answer is

The produced light beam (300000 km/s) moves (in the reflected direction) to the motion direction of the original light beam (1.16 million km per second) (In Space) and (In Time) Means- the produced light beam moves into (Its Own Past) and in the past this produced light beam (300000 km/s) was (A Part of the original light beam 1.16 million km per second) and because of that the produced light beam (300000 km/s) can meet the original light beam (1.16 million km per second),

And

The two light beams create a coherence (in the past) and we see the results of this coherence in our present time-

The idea is very important because – the coherence of the two light beams (1.16 mkm/s and 0.3 mkm/s) is proved strongly and with powerful proves and any explanation for this coherence will prove that the produced light beam (300000 km/s) must move Into The Past to enable this coherence occurrence- and that tells clearly- the travel through the time is possible and fact

BUT

Can the matter moves into its past as the light does? NO

Why?? Because

We know the light can move simply in any direction (+ x, + y, + z, + t) by that the light can move into the future and can move into the past BUT

The matter creation depends on A Motion In A Defined Direction-

let's remember this idea

Neptune diameter =49528 km because Neptune velocity is 5.4 km/s

(This Fact Is Proved By My Planet Diameter Equation)

Now, Neptune velocity is a motion in a defined direction

(for example a motion in +x direction)

The energy moves in this direction (+x direction) and because of this motion Neptune matter is created and Neptune diameter is defined- now if the energy moves in (opposite direction "–x direction") that will change Neptune diameter or cause to perish its matter at all

Means- as long as – Neptune is found- that means – the energy moves in one direction (and not two directions) – for that Neptune can move into the future but can NOT move into the past.

Notice

The matter can not move into the past but the light can do that-

Means- we have the time machine already- we need to know how to send the light into the past and by that we can have photos from the past events- and this will be The Time Machine

The Hypothesis Proves

I-7 The Proves Logic Analysis

I-8 Planet Velocity Is A Function In A Speed = (1.16 million km /s)

I-9 Planets Orbits Are Defined By A Motion Its Speed = (1.16 million km /s)

I-10 Jupiter distances are defined by a motion by a speed = (1.16 million km /s)

I-11 The Solar System Geometrical Design Proves The Hypothesis

I-12 The Solar System Distances Analysis Prove The Hypothesis

I-13 Deep Analysis For The Planets Orbits

1-14 Light defines each planet orbital period

I-15 Can Planet Diameter Be Used As A Period Of Time?

I-16 Mercury Orbit Analysis

I-7 The Proves Logic Analysis

Why can we prove that, a light beam its speed 1.16 million km per second is found in the solar system? also, the theory tells this light beam energy is consumed and the rest energy is found in one light beam its speed 300000 km/s (the known speed of light), if this light energy is consumed, how can we prove its existence?

There are two major reasons, which are

The Planets Orbits Are Created Before Any Planet Creation- And These Orbits Are Created Based On One Motion- And This One Motion Is Done By A Speed 1.16 Million Km Per Second.

The Planets Matters Are Created Based On Their Orbits – means- the planet is similar to a tree and the orbit is similar to a ground and the tree is planted in the ground-

NOTICE

after the planet creation, the planet can migrate from its original orbit to any other orbit - as Mars and Pluto did and that will not cause to destroy the planet.

Shortly-

the planet matter and data is created based on this planet orbit- the orbit is defined before any planet creation and based on the orbit the planet matter and data is created (we remember- the space is similar to the sea of water and the planet matter is similar to a whirlpool found on this sea page- that tells the whirlpool is created based on its place in the sea of water)

Shortly- The Planet Matter Is Created Depends On This Planet Orbit

The speed 1.16 million km per second is registered in the planets orbits because the orbits are created from the energy of the light beam (1.16 million km per second), and the planet matter is created from this planet orbit (energy)

Shortly

The light beam (1.16 million km per second) is the source of energy for (everything) in the solar system-

All orbits are defined by its energy, all matters are created by its energy, and all motions are done by its motion-

Can we prove this light beam is a fact? YES we can

The analysis for any data or any motion will discover this light beam because it's the source of energy for everything

Shortly

the light beam (1.16 million km per second) is The Source Energy of the solar system

The mother of all children can be discovered by analysis these children data

A QUESTION

Can the solar system design uses a rate 1.16 and I can't understand that but wrongly consider this rate (1.16) as a speed of light 1.16 million km per second?

NO- this can't be possible – Because

The light beam (1.16 million km per second) behaves typically to the known light beam (300000 km/s) – as we will see in the data discussion

I-8 Planet Velocity Is A Function In A Speed = (1.16 million km /s)

DATA

My 5th equation (v1v2=322)- the planets velocities prove it–let's see that in following

322 = 47.4 km/s (Mercury velocities) x 6.8 km/s (Uranus velocities)

322 = 35 km/s (Venus velocity) x 4.7 km/s (Pluto velocity) x 2

322 = 29.8 km/s (the Earth velocity) x 5.4 km/s (Neptune velocities) x 2

322 = 24.1 km/s (Mars velocity) x 13.1 km/s (Jupiter velocity)

322 = (17.9 km/s)^2 (Ceres velocity) (Max error 2%)

DATA ANALYSIS

The previous data tells the planets velocities are defined by three features

(1st Feature)

The planets velocities are complementary one another –means - each planet velocity is complementary with another planet velocity– means– The planets velocities are defined in pairs and not in single planets.

(Notice, the inner planets orbital inclinations are defined by the rule (v1/v2), for example, Mercury orbital inclination 7 deg = Mercury velocity 47.4/ Uranus velocity 6.8 that proves the effect of the rule (v1v2=322) on the planet motion)

Ceres velocity tells the idea - Ceres is used as the main point - as a result the outer planets be complementary with the inner planets – for that the rule (v1v2=322) controls the planets velocities- that means- The planets velocities are created based on One Design- Ceres velocity is used as the main point for this design

(2nd Feature)

Why the constant is 322? because 1160000 seconds = 322 hours – means- there's speed of light = 1.16 million km /s - Shortly

Mercury (47.4 km/s) moves during 6.8 hours a distance = 1160000 km

Uranus (6.8 km/s) moves during 47.4 hours a distance = 1160000 km And

Venus (35 km/s) moves during 2 x 4.7 hours a distance = 1160000 km

Pluto (4.7 km/s) moves during 2 x 35 hours a distance = 1160000 km

Earth (29.8 km/s) moves during 2 x 5.4 hours a distance = 1160000 km

Neptune (5.4 km/s) moves during 2 x 29.8 hours a distance = 1160000 km And

Mars (24.1 km/s) moves during 13.1 hours a distance = 1160000 km

Jupiter (13.1 km/s) moves during 24.1 hours a distance = 1160000 km And

(Notice - Saturn (9.7 km/s) moves during 33.2 hours a distance = 1160000 km - (between 33.2 and Venus velocity 35 km/s the error 5%)) (Data Max error 2%)

The Data Proves, The Planets Velocities Are Functions In The Speed 1.16 Million Km Per Second. That proves the speed (1.16 million km per second) is A Fact

(notice the planets velocities are complementary one another also based on the known speed of light 300000 km/s, the paper provides this data)

(3rd Feature)

The planets velocities limit depend on the known speed of light 300000 km/s

Let's explain that in following

The 9 planets velocities total is 176 km/s (I add the Earth moon velocity 29.8 km/s)

The 10 planets velocities total is 205.8 km/s

300000 km = 7.1 x (205.8)^2

The speed 297000 km/s (99% speed of light) causes Lorentz length contraction effect with the rate 7.1

The velocity (205.8 km/s) moves during 205.8 seconds a distance 42253 km

Where 300000 = 7.1 x 42253 km BUT 42253 = (205.8)^2

The squared value (205.8)^2 is found because of the used rate of time

We have studied this equation in point (I-5**) -the data shows, the planets velocities are defined as parts of a complete system of velocities starts from (Zero = stationary point) and reaches to the speed of light 300000 km/s and between these two values the planets velocities are defined to support this same system- that tells- the planets velocities are defined with limit to the speed of light (300000 km/s) - The data proves the speed (1.16 million km per second) is a fact -and also the data proves the coherence is done between the light (1.16 million km per second) and the light (300000 km/s)

I-9 Planets Orbits Are Defined By A Motion Its Speed = (1.16 million km /s)

(1) Mercury Motion

During 310s light its speed (1.16 million km per second) travels 360 million km

During 310 s light known speed (300000 km/s) travels 93.1 million km

BUT

93.1 million km x 2π = 586 million (this value will be used by Venus as a period)

Where 360 million km = Mercury Orbital Circumference

(2) Venus Motion

During 586s light its speed (1.16 million km per second) travels 680 million km

During 586s light known speed (300000 km/s) travels 175.8 million km

BUT

175.8 million km x 2π = 1104 million (this value should be used by Earth as a period)

680 million km = Venus Orbital Circumference

(3) Earth Motion

During 810s light its speed (1.16 million km per second) travels 940 million km

During 810s light known speed (300000 km/s) travels 243 million km

243 million km x 2π = 1526 million (this value should be used by Jupiter as a period)

Where 940 million km = Earth Orbital Circumference

BUT

During 940s light its (1.16 million km per second) travels 1104 million km (error 1%)

That shows the direction reflection between the Earth and Venus because of the reflection of energy- I proved that in point no. (**)

Notice –

Jupiter is the next planet after the Earth based on the light motion design for that the Earth value (1526 million km) should be used by Jupiter because Mars is a migrant planet and Mars original orbit was between Mercury and Venus and the next planet for the Earth was Jupiter- the confusion in data is made by Mars migration effect

(More explanation is provided in the comment on the data)

(4) Mars Motion

(Mars Is Exceptional)

During 1235s light its speed (1.16 million km per second) travels 1433 million km

During 1235s light known speed (300000 km/s) travels 371 million km = 2π x 59 mkm Where 1433 mkm = Mars Orbital Circumference

(5) Jupiter Motion

During 4224s light its speed (1.16 million km per second) travels 4900 million km

During 4224s light known speed (300000 km/s) travels 1267 million km –

4900 mkm =Jupiter Orbital Circumference

1267 million km x 2π = 7960 million km (this value be used by Saturn as a period)

Notice

Mars is a migrant planet for that – the Earth value isn't used for Mars orbit- but it's used for Jupiter orbit- and because of the reflection between Venus and the Earth- the Earth produces the value directly (1526 million km) without using the light speed (1.16 million km per second) where

1526 million km = Jupiter Orbital Distance 778.6 million km x 2 (error 2%)

Notice

During 4224s light its speed (1.16 million km per second) travels 4900 million km

4900 million km = Jupiter orbital circumference while 4222.6 hours = Mercury day period- if (one hour of Mercury = One second of light clock) that will connect Jupiter with Mercury strongly- this is a fact because- the solar system depends on Mercury clock in its motion and the planets orbits are defined based on Jupiter orbit after the planets migration- that makes Mercury and Jupiter the two heads of the solar system unified motion.

(6) Saturn Motion

During 7960s light its speed (1.16 million km per second) travels 9007 million km

During 7960s light known speed (300000 km/s) travels 2388 million km

9007 mkm = Saturn Orbital Circumference

2388 million km x 2π =15004 million km (this value be used by Uranus as a period)

(7) Uranus Motion

During 15559s light its speed (1.16 million km per second) travels 18048 million km

During 15559s light known speed (300000 km/s) travels 4668 million km

18048 mkm = Uranus Orbital Circumference

4664 million km x 2π =29305 million km (this value be used by Pluto as a period)

Notice

The transported value from Saturn is 15004 but the used value is 15559 (error 3.5%)

(8) Neptune Motion

(Neptune is exceptional)

During 24348s light its speed (1.16 million km per second) travels 28244 million km

During 24348s light known speed (300000 km/s) travels 7305 million km

28244 mkm = Neptune Orbital Circumference

(9) Pluto Motion

During 31983s light its speed (1.16 million km per second) travels 37100 million km

During 31983s light known speed (300000 km/s) travels 9595 million km

37100 mkm = Pluto Orbital Circumference

(10) The Earth Moon Motion

During 639s light its speed (1.16 million km per second) travels 724 million km

During 639s light known speed (300000 km/s) travels 191.6 million km = 2π x 30.5 mkm – BUT

30.5 mkm = 88000 km x 346.6 days

The moon displacements total during 346.6 (solar days) = 30.5 mkm

346.6 solar days= The nodal year and 88000 km = The moon displacement daily

742 mkm = The distance is passed by Uranus in 30589 hours - The data tells, the moon orbit regression be done by effect of Uranus motion.

THE COMMENTS ON DATA

(1)

We should note that, the data follows the rule perfectly- as we see in Mercury and Saturn data – the confusion in data is found by the planets migration – let's prove that

680 mkm (Venus Orbital Circumference) x (1.16 mkm/s) ^2 = 940 mkm

28244 mkm (Neptune Orbital Circumference) x (1.16 mkm/s) ^2 = 37100 mkm

(Max error 2.5 %)

940 mkm = Earth Orbital Circumference

37100 mkm = Pluto Orbital Circumference

Clearly the confusion of data is done for the Earth and Jupiter (Mars migration effect) and for Pluto and Neptune and Uranus (Pluto migration effect)

Shortly

The light (1.16 million km per second) created the solar system distances based on one another as the chess board distances- perfectly the light created the distances based on one geometrical design and as one network- But – The planets migration caused confusion for the data- by that the planets orbits data is confused and no longer be seen as designed by the light motion- specially because the solar system design repair needed to make Jupiter orbit as the central orbit based on which all planets orbits are modified- by that– the discovery for the light motion effect on the solar system distances creation needed deep analysis in data to remove the confusion.

Notice

The Earth data produced the value (1526 mkm) and this distance is used by Jupiter as a distance (1526 mkm = 2 x 778.6 mkm Jupiter Orbital Distance) (error 2%)

And

Uranus data produced the value (29305 mkm) and this distance is used by Neptune as a distance (29305 mkm= 28244 mkm= Neptune Orbital Circumference) (error 4%)

The behaviors are typical tell that by the same effect the modifications of both planets data are done-

Notice

680 sec x 1.16 million km /sec = 789 mkm (Jupiter orbital distance 778.6 mkm error 1.3%) – the data shows – Jupiter is the mentioned planet after the Earth because Mars original orbit was between Mercury and Venus by that the light motion moved from the Earth to Jupiter directly- Mars is not seen in this motion-

(2)

The inner planets distances ( 93.1, 175.8, 243, 370.6) can be used as cycles periods

175.8 solar days =Mercury day period

243 solar days = Venus rotation period

370.6 solar days are near to 365.25 days (error 1.5%),

(93.1 days x 2π= 584 days =the period of periodical meeting of Earth and Venus)

This equality depends on the rate 1mkm = 1 day

That tells each planet creates its PREVIOUS NEIGHBOR CYCLE PERIOD

And the outer planets distances in blue color (1267, 2330 , 4664, 7305, 9595)

2330 = 2 x 1165 = 2π x 371

4664 = 4 x 1165 = 4π x 371

7305 = 2π x 1165 =2π2 x 371

9595 = 8 x 1165 = 8 π x 371 (error 3%)

This data cornerstone is the number (371), (the Earth year 365.25 days)

The data refers to the Earth year because of the Earth effect on the sun creation

NOTICE

The data proves each planet orbit is defined based on its neighbor – my first equation (Planet orbital distance equation) proves this fact –

In following I put my planet orbital distance equation for revision

Planet Orbital Distance Equation

(My First Equation)

The equation exceptions are,

Earth depends on Mercury Not Venus – and Mars depends on Venus Not Earth And Pluto depends on Uranus Not Neptune

Note, we don't use the forma (d=2d0) instead we use the forma (d2 = 4d0 (d-d0)) because it uses the distance between the 2 planets and that decreases the errors

Let's test the equation

(1) Venus Motion

(108.2)2 = 4 x 57.9 x (50.3)

d= 108.2 million km = Venus Orbital Distance

d0= 57.9 million km = Mercury Orbital Distance

50.3 million km = The Distance Between Venus And Mercury

Venus Depends On Mercury

(2) Earth Motion

(149.6)2 = 4 x 57.9 x (149.6-57.9) (error 2.8%)

d= 149.6 million km = Earth Orbital Distance

d0= 57.9 million km = Mercury Orbital Distance

Earth depends on Mercury and doesn't on Venus

(3) Mars Motion

(227.9)2 = 4 x 108.2 x (227.9-108.2)

d= 227.9 million km = Mars Orbital Distance

d0= 108.2 million km = Venus Orbital Distance

Mars depends on Venus and doesn't on Earth

(4) Ceres Motion

(415)2 = 4 x 227.9 x (415-227.9)

d= 415 million km = Ceres Orbital Distance

d0= 227.9 million km = Mars Orbital Distance

Ceres depends on Mars

(5) Jupiter Motion

(778.6)2 = 4 x 415 x (778.6- 415)

d= 778.6 million km = Jupiter Orbital Distance

d0= 415 million km = Ceres Orbital Distance

Jupiter depends on Ceres

(6) Saturn Motion

(1433.5)2 = 4 x 778.6 x (1433.5- 778.6)

d = 1433.5 million km = Saturn Orbital Distance

d0 = 778.6 million km = Jupiter Orbital Distance

Saturn depends on Jupiter

(7) Uranus Motion

(2872.5)2 = 4 x 1433.5 x (2872.5- 1433.5)

d= 2872.5 million km = Uranus Orbital Distance

d0 = 1433.5 million km = Saturn Orbital Distance Uranus depends on Saturn

(8) Neptune Motion (error 4%)

(4495.1)2 = 4 x 2872.5 x (4495.1- 2872.5)

d= 4495.1 million km = Neptune Orbital Distance

d0 = 2872.5 million km = Uranus Orbital Distance Neptune depends on Uranus

(9) Pluto Motion

(5906)2 = 4 x 2872.5 x (5906- 2872.5)

d= 5906 mkm = Pluto Orbital Distance

d0 = 4495.1mkm = Neptune Orbital Distance Pluto depends on Uranus

Notice the error is less 1% for all planets except (Earth 2.8%) and Neptune (4%)

The Equation Discussion

(a)

The Equation tells each planet orbital distance depends on its previous neighbor planet orbital distance – but – there are 3 exceptions which are –

Earth depends on Mercury not Venus –

Mars depends on Venus not Earth–

Pluto depends on Uranus not Neptune–

(b)

The equation shows – the distance from the sun to Pluto be distributed based on one geometrical design – means – the distances be created together as one group in one a network form – the distances be similar to the chess board distances- they are distributed geometrically and in one network based on one design -

Shortly

No Single Distance be Created independently or individually – We deal with one network of distances -

Means

By Using Mercury Orbital Distance (57.9 million km) (one data) We Can Conclude All Planets Orbital Distances (9 Data) By Using Mathematical Calculations Only

(c)

Kepler stated (Planet orbit defines its velocity) – this concept is used in my third equation (d1/d2) = (v2/v1)2 where d= Planet Orbital Distance and v = Planet Velocity

The concept tells– If we know a planet orbital distance, we can conclude its velocity by mathematical calculations only

Shortly

By Using my 1st equation (d2 = 4d0 (d-d0)) and kepler law and the One Data (Mercury orbital distance = 57.9 million km) we can conclude by mathematical calculations only All Planets Orbital Distances, Velocities And Periods (27 Data)

That proves the concept (Planet data be created based on exact equations)

Planet Orbits Are Defined By Very Accurate System

Each planet orbit is defined based on an angle, these angles are reflected also – let's prove that (I suppose –There's a right triangle by the three points The Sun, Mercury and Venus) - Now

Venus angle is (61 degrees) because Venus orbital distance (108.2 mkm) x cos (61) = Venus Mercury distance (50.3 mkm) -

Here we can replace Venus with any other planet in the same triangle to define this planet angle based on similar calculation – as a result

Earth angle is (51 degrees) because Earth orbital distance (149.6 mkm) x cos (51) = Earth Mercury distance (91.7 mkm)

Mars angle is (41.7 degrees) because Mars orbital distance (227.9mkm) x cos (41.7)= Mars Mercury distance (170 mkm)

Jupiter angle is (22.2 degrees) because Jupiter orbital distance (778.6 mkm) x cos (22.2)= Jupiter Mercury distance (721 mkm)

Similar to that – Saturn angle is 16.5, Uranus angle is 11.6 deg, Neptune angle is 9.2 deg and Pluto angle is 8 deg- these angles follow the same system – for example

Pluto angle is (8 degrees) because Pluto orbital distance (5906 mkm) x cos (8)= Pluto Mercury distance (5848 mkm)

NOTICE No. (1) The right angle and its triangle is (a hypothesis) – we Can prove it because (v1/v2) = (θ1/ θ2)

means – these angles are rated with their planets velocities – for example

(Neptune velocity 5.4/ Pluto velocity 4.7) = (9.2 deg /8 deg)

Shortly -the angles which are defined based on the sun perpendicularity on Mercury orbit – all of them- are the correct angles by which the planets orbits are defined – that because the planets velocities are rated with these angles and Kepler stated (Planet orbit defines its velocity)- means- the planets orbits are defined based on these angles and that causes the angles rates to be equal with the velocities rates - Shortly -That tells indeed the sun position is perpendicular on the (inner planets orbits) – in fact – the sun is perpendicular on the Earth moon orbit- and this perpendicularity has effect on all inner planets because of the small distances among them.

I-10 Jupiter distances are defined by a motion by a speed = (1.16 million km /s) Data

(1)

(1.16 million km /s) x 300 sec = 348 mkm (300 mkm = Earth orbital distance x 2)

(1.16 million km /s) x 348 sec = 470 mkm (470 x2 = Earth Orbital Circumference)

(1.16 million km /s) x 470 sec = 551 mkm (Mars Jupiter Distance)

(1.16 million km /s) x 551 sec = 629 mkm (Earth Jupiter Distance)

(1.16 million km /s) x 629 sec = 721 mkm (Mercury Jupiter Distance)

(2)

(1.16 million km /s) x 108.2 sec x 4 = 500 mkm (108.2 = Venus orbital Distance)

(1.16 million km /s) x 500 sec = 580 mkm

(1.16 million km /s) x 580 sec = 671 mkm (Venus Jupiter Distance)

(1.16 million km /s) x 671 sec = 778.6 mkm (Jupiter Orbital Distance)

(1.16 million km /s) x 778.6 sec x 2 = 1806 mkm

(1.16 million km /s) x 1806 sec = 2094 mkm (Jupiter Uranus Distance)

(1.16 million km /s) x 2094 sec = 4900 mkm/2 (Jupiter Orb. Circumference)

(3)

(1.16 million km /s) x 5127 sec = 5906 mkm (Pluto orbital Distance)

(1.16 million km /s) x 4437 sec = 5127 mkm (Pluto Jupiter Distance)

(1.16 million km /s) x 3825 sec = 4437 mkm (Mercury Neptune Distance)

(1.16 million km /s) x 3244 sec = 3825 mkm (=π x 1205 mkm Mars Saturn Distance)

(1.16 million km /s) x2872sec=3244mkm (=2x1622 mkm Uranus Neptune Distance)

(1.16 million km /s) x4900sec=2 x 2872 mkm (Uranus Orbital Distance)

(4)

(1.16)2 x 170 sec = 227.9 mkm (Mars Orbital Distance)

Where 170 mkm = Mercury mars Distance

(5)

(1.16 million km /s) x 1980 sec = 2296.8 mkm

(1.16 million km /s) x 2296.8 sec = 2644.6 mkm (Mars Uranus Distance)

(1.16 million km /s) x 2644.5 sec = 3033.5 mkm (Uranus Pluto Distance)

1980 million km = the orbital circumferences total of (Mercury + Venus + Earth)

(6)

(1.16 million km /s) x 3717 sec = 4310 mkm (Earth Neptune Distance)

(1.16 million km /s) x 4346 sec = 5040 mkm (Jupiter Pluto Distance)

3717 mkm = Jupiter Neptune Distance –

(Earth Neptune Distance 4345mkm "error 1%" and Jupiter Pluto dis. 5127 mkm error 1.7%)

Discussion - the data tells the idea clearly, it tells

The distances in the solar system is created together based on one design and by one motion- this one motion is the light motion (1.16 million km per second) and the light creates the distance and after that the light uses the created distance as a period of time to create another distance, and by that, the light created all distances in one network together based on one geometrical design and this creation of the distances is done before any planet creation- the data clearly and strongly proves the hypothesis.

NOTICE - The total distances in the solar system (the orbital and inner distances) are 45 distances, the previous data used almost 50% of these distances (because many distances are equal in the solar group – for example – (Saturn orbital distance = Mars orbital circumference)- this distances equality makes the previous data behave in place of around 50% of all distances- and no logic to suppose these all distances are rated by the way with the rate (1.16)!!

The logical explanation is my theory I have explained- the light (1.16 million km per second) creates the distances based on one another by using the distances as periods of time - Also this behaviors is typical to the behavior of the known speed of light (300000 km/s)– as we have seen before - During 2094 seconds the light (300000 km/s) moves 629 million km (=Jupiter Earth distance) where 2094 million km (= Jupiter Uranus distance)- Simply it's typical behaviors tells the fact that the speed 1.16 million km per second is real fact and used in the solar system design)

I-11 The Solar System Geometrical Design Proves The Hypothesis

Data (1)

(A) (1.16/0.3) x 2π = 24.3

(B) 1.16 million km per second x 86400 seconds = 100733 million km

(100733 million km = The Planets Orbital Circumferences Total)

Data (2)

(a) 4224 x 1.16 =4900

(b) 100733 = π x 32200

Discussion

Data (1)

Data no. (A) - (1.16/0.3) x 2π = 24.3

By this equation the space and time are created- because it shows the coherence of light between the light (1.16 million km per second) and the light (300000 km/s)

The equation tells – the space is created in curves (2π) and the time is created in units each unit = (24 hours)

Shortly- the time essential units are 2 units (the second and 24 hours) because of the rate of time (one second of light clock = 24 hours of planet clock) by that the period of the (one second) (for light motion) is comparable with (24 hours) for planet motion that means- the period (24 hours) is one unit can't be divided and it's similar to the second period which is a unit can't be divided

Data no.(B) 1.16 million km per second x 86400 seconds = 100733 million km

The data tells the light (1.16 million km per second) moves in solar day (24 hours= 86400 seconds) a distance = 100733 million km = The Planets Orbital Circumferences Total - that proves the solar planets orbits creation is done by the motion of this light beam (1.16 million km per second) - the data proves the solar system design depends on this light motion.

Data (2)

Data no. (a) 4224 x 1.16 =4900

The data tells, the light (1.16 million km per second) moves in 4224 seconds a distance = 4900 million km = Jupiter Orbital Circumference

But – Mercury day period is 4222.6 hours (4224 hours approximately)

If (one second of light clock = one hour of Mercury clock), that will make the period (4224 s) as Mercury day period – and – we know that Mercury day period is the main period in the solar system because the sun rate of time is created based on it as I explain in the second and fourth hypotheses of this paper-

Shortly- while Mercury is the solar system head- Mercury day period is the main period in the solar system and this period is used for Jupiter orbital circumference because all planets orbits are defined based on Jupiter orbit after the planets migration- this fact is discussed in the third hypothesis is details – let's summarize it

Mars original orbit was between Mercury and Venus, and Pluto was the Mercury moon, and Pluto size was equal Mercury size- But- Mars and Pluto had migrated from their orbits- the planets migration caused serious risk for the solar system geometrical design- And Uranus provides a vertical effect on Jupiter to fix it in its orbit and prevent Jupiter to migrate with the migrant planets- after Jupiter be fixed in its orbit all other planets redefined their orbits according to Jupiter orbit – by that – Jupiter orbit be the most important distance in the solar system-

Notice- later Uranus caused to create Saturn to support Jupiter role- Saturn creation is done after the Earth moon creation because the energy reflection caused this delaying

The data shows how the solar system design depends on Jupiter orbit

Data no. (b) 100733 = π x 32200

32200 million km = the different distance between Pluto orbital circumference and Jupiter orbital circumference

100733 million km = The Planets Orbital Circumferences Total

The data supports the same idea- Jupiter and Pluto orbits create the general design of the solar system- because Jupiter is the main orbit in it and Pluto the last orbit.

Data no. (c) 1.1318/0.3 = 5906 / (778.6 x 2) where

5906 million km = Pluto orbital distance

778.6 million km = Jupiter orbital distance

1.1318 million km = Jupiter motion distance per solar day

0.3 million km = speed of light 300000 km/s

The data shows the distribution of Jupiter and Pluto orbits are in proportionality with speed of light (300000 km/s) and speed of (1.16 million km per second)

BUT the data shows Jupiter velocity daily (1.1318 million km per day) in place of the speed of light (1.16 million km per second) Why??

Another question asks (Why do all Jupiter distances depend on the speed of light 1.16 million km per second?) as we have seen in the previous proof No. (1-10)?

The story told the facts, Uranus provided effect on Jupiter and as a result Jupiter orbit be used as the main orbit in the solar system- BUT- what's this effect Uranus provided on Jupiter? What had happened really?

Uranus sent a light beam its speed (1.16 million km per second) to Jupiter for that Uranus velocity and Jupiter velocity both depends on the speed (1.16 million km per second)

Jupiter should move a distance 1.16 million km per solar day (24h) BUT Mars effect created more problems and caused Jupiter to use (Mars rotation period 24.6h) in place of the solar day and decreased the velocity with 2.5%

Uranus moves a distance 1.16 million km (in TWO solar days- error 1.3%)

The solar system basic design depends on (two seconds and not one second) as I explained in details in the fourth hypothesis of this paper- now – the system design uses two seconds in place of one second because Uranus moves the required distance 1.16 million in two days

Shortly – the force which is sent from Uranus to Jupiter was a light beam its speed 1.16 million km per second and by this force Jupiter helped the solar system and supported the planets in their orbits to prevent more migration in the solar system

I-12 The Solar System Distances Analysis Prove The Hypothesis

DATA (No. I)

50% Of All Distances In The Solar System Are Equal One Another (WHY?)

(1)

Saturn Orbital Distance = Saturn Uranus Distance =1433 million km =

= Mars Orbital Circumference

= Pluto Neptune Distance (error 1.5%)

= Pluto eccentricity Distance (error 1.5%)

= Neptune Orbital Distance/π

= Uranus Orbital Distance /2

= Mercury Jupiter Distance x 2

(2)

Neptune Orbital Distance = Saturn Pluto Distance

Jupiter Pluto Distance = Uranus Neptune Circumference

Earth Neptune Distance = Mercury Saturn Circumference (0.5%)

(3)

Jupiter Mercury Distance = 2 Mercury Orbital Circumference

Jupiter Venus Distance = Venus Orbital Circumference (1.5%)

Jupiter Earth Distance = Earth Orbital Circumference (1.2%)

(Earth and Jupiter at 2 different sides from the sun)

(4)

Jupiter Mercury Distance = Mars Orbital Distance x π (0.6%)

Jupiter Uranus Distance = Venus Jupiter Circumference (0.8%)

Pluto Orbital Distance = Earth Orbital Circumference x 2π

DISCUSSION

The data tells these distances must be created based on each other because all of them are parts in one design and one network- the data tells – it's impossible for these distances to be created univocally nor independently – but they are created by one motion based on one design and for one result.

DATA (No. II)

(778.6/721)=(721/670)= (670/629)=(1433/1325)=(1284/1205)= (2872/2644)= 1.0725

These are distances measured in millions km – let's define them

778.6, 721, 670 and 629 are the distances between Jupiter and the sun, Mercury, Venus and the Earth respectively.

1433, 1325, 1284, 1025 are the distances between Saturn and the sun, Venus, the Earth and Mars respectively.

2872 and 2644 are the distances between Uranus and the sun and Mars respectively.

MORE DATA (No. I)

629 million km (The Earth Jupiter distance)= (1.0725)^2 x 551 million km (Jupiter Mars Distance)

4495.1 million km (Neptune Orbital Distance) =1.0725 x 2 x 2094 million km (Jupiter Uranus Distance)

5906 million km (Pluto Orbital Distance) = (1.0725)^2 x 5127 million km (Jupiter Pluto Distance)

5127 million km (Jupiter Pluto Distance)= (1.0725)^2 x 4437 million km (Mercury Neptune Distance)

2.574 million km (Earth motion distance daily) = 1.0725 x 2.4 million km (TheMoon Orbital Circumference)

DISCUSSION

These distances are rated each other with (1.0725) this rate is created by Lorentz length contraction effect (as I supposed and proved)- but – regardless this rate reason the question is – How can all these distances be effected by this rate together?

That can be possible only if (these distances are parts of one design and this design is effected by this rate as a result all distances be effected together)

The data proves the distances are created together based on one design and the distances are effected together by the same one effect – shortly- these distance can NOT be independent from one another but they are one group created based on one design.

I-13 Deep Analysis For The Planets Orbits

The Light Uses Each Planet Orbital Period To Move A Distance = This Planet Orbit + All Previous Planets Orbits Total

DATA

(1)

14 x 24 x (300000 km/s) = 100.8 million km = 2 x 50.4

(2)

35.76 x 24 x (300000 km/s) = 258 million km = 149.6 + 108.2

(3)

58.1 x 24 x (300000 km/s) = 418 million km = 149.6 + (2 x 108.2) + 58

(4)

109.3 x 24 x (300000 km/s) =787 million km = 58+ 108+149.6 +2 x228 (error 2%)

(5)

687 x 24 x (300000 km/s) = 4900 million km

(6)

687 x 24 x (300000 km/s) = 4900 million km

(7)

1710 x 24 x (300000 km/s) = 12312 million km = 28244/(1.16 x2)

(8)

4868 x 24 x (300000 km/s) = 17600 million km x 2

(9)

9517 x 24 x (300000 km/s) = 68522 million km = 2 x 18048 + 32400

(10)

14413 x 24 x (300000 km/s) = 103773 million km

DISCUSSION

The data shows the rule (Planet Orbital Period "days"/2π) x 24 x Speed Of Light (300000 km/s) = A Distance = This Planet Orbital Circumference + All Previous Planets Orbital Circumferences Total – let's prove this rule in following

(1) Pluto Data

90560 days (Pluto orbital period) /(2π) = 14413 days

14413 x 24 x 300000 km/s = 103773 million km

The planets orbital circumferences total is 100733 million km

Between 103773 mkm and 100733 mkm the error is (3%)

Pluto follows the rule perfectly- the light passes a distance = Pluto orbital circumference + all previous planets orbital circumferences = the planets orbital circumferences total

(2) Neptune Data

59800 days (Neptune orbital period) /(2π) = 9517 days

9517 x 24 x 300000 km/s = 68526 million km = (2 x 18048) + 32400

The distance 2 x 18048 million km = all planets orbital circumferences total before Neptune

32400 mkm = 1.16 mkm/s x 28244 seconds

28244 million km = Neptune orbital circumference

Neptune follows the rule perfectly but because of the energy reflection the speed (1.16 mkm/s) is used one additional time- clearly we see Neptune follows perfectly the rule

(3) Uranus Data

30589 days (Uranus orbital period) /(2π) = 4868 days

4868 x 24 x 300000 km/s = 17600 million km x 2

18048 million km (Uranus Orbital Circumference) (error 2.5%)

Uranus follows the rule perfectly because Uranus orbital circumference =18048 mkm and all previous planets orbital circumferences total is = 18048 mkm

(4) Saturn Data

10747 days (Saturn orbital period) /(2π) = 1710 days

1710 x 24 x 300000 km/s = 12312 million km

Jupiter orbit (4900) + Saturn orbit (9000) = 14000 million km

Light (1.16 million km/s) x 12312 seconds = 14282 million km

Means

The value (12312) equal (Jupiter orbital circumference)+Saturn orbital circumference

But the reflection of energy uses the speed of light (1.16) to have effect on the data

That tells Saturn follows the rule

Notice

12312 sec x 1.16 mkm/s = 14282 mkm = 28244 mkm/2

28244 mkm = Neptune orbital circumference – that tells the confusion in Saturn data is done by Neptune orbit effect

Notice

We see the speed of light (1.16 mkm/s) has effect on Saturn data by division (12312 = 14282/1.16) but in Neptune data we have seen the speed of light (1.16 mkm/s) has effect by multiplication (28244 x 1.16 = 32400)

That tells we have opposite positions between (Neptune and Saturn) and the light connects them together by one motion-

The data tells simply (A x 1.16 and B/1.16) this is effect of one light beam motion through both points.

(6) Jupiter Data

4331 days (Jupiter orbital period) /(2π) = 687 days

687 x 24 x 300000 km/s = 4900 million km

Jupiter orbital circumference = 4900 million km

The distance equal Jupiter orbital circumference only without the previous planets BUT - The inner planets orbital circumferences total be = 4900 million km

Let's prove that

360 (Mercury) + 680 (Venus) +940 (Earth) + 1433 (Mars) = 3413 million km

4900 million km – 3413 million km = 1433 million km

That tells – the data supposes the Earth moon orbital circumference around the sun = Mars orbital circumference = 1433 million km

By that 360 + 680 +940 + 1433 + 1433 = 4846 million km = Jupiter orbital circumference (4900 mkm) (error 1%)

(7)Mars Data

687 days (Mars orbital period) /(2π) = 109.3 days

109.3 x 24 x 300000 km/s = 787 million km = Jupiter orbital distance 778.6 million km (error 2%)

778.6 million km= 57.9 mkm + 108.2 mkm + 149.6 mkm + 227.9 mkm+ 227.9 mkm

Means- Mars Value (787 = 778 = the four inner planets orbital distances total + the Earth moon orbital distance to the sun (which is considered = Mars orbital distance)

Here the value provided the distances total and not the circumferences total

But Mars follows the rule perfectly because

The value (778) = the 5 planets orbital distances total

(8)Earth Data

365.25 days (Earth orbital period) /(2π) = 58.1 days

58.1 x 24 x 300000 km/s = 418 million km = 149.6 mkm (Earth orbital distance) + 2 x 108.2 mkm (Venus orbital distance) + 57.9 mkm (Mercury orbital distance)

The Earth follows the rule- the modification can be done by the moon effect on the earth motion.

(9)Venus Data

224.7 days (Earth orbital period) /(2π) = 35.76 days

35.76 x 24 x (300000 km/s)= 258 million km = 149.6 mkm (Earth orbital distance)+ 108.2 mkm (Venus orbital distance)

(10)Mercury Data

88 days (Earth orbital period) /(2π) = 14 days

14 x 24 x (300000 km/s) = 100.8 million km = 2 x 50.4

50.4 million km = Mercury Venus Distance

The Comment On The Data

(1)

We notice a deep interaction between Mars and Jupiter where Jupiter orbital period (4331 days /2π)= 687 days (Mars orbital period)

And Mars value (109.3 days) enables the light to pass a distance 778.6 mkm

109.3 x 24 x 300000 km/s = 778.6 million km (Jupiter orbital distance)

That shows deep interaction between Mars and Jupiter which is logical behavior because Mars is a migrant planet and Mars created an interaction with Jupiter to enable Mars to stay in its New orbit and prevent any more migration.

(2)

Mars orbital period 687 days = 88 (Mercury) + 224.7 (Venus) + 365.25 (Earth)

(error 1.5%)

Notice - 551 mkm (Mars Jupiter distance) = 57.9 mkm (Mercury orbital distance) + 108.2 mkm (Venus orbital distance) + 149.6 mkm (Earth orbital distance) + 227.9 mkm (Mars orbital distance) (error 1.5%)

(3)

The data shows very important fact

The data tells that (The Light Motion Is The Main Player Behind All Data)

Let's use the sea water as example

The sea water motion is the main player behind the sea waves, the ship sailing, the fish swimming and the cause for any motion in the sea - Different forms of motions in the sea we can discover but the motion reason and motor is the same one reason and motor – This is the useful result of this data- it's simply a major proof for my theory- the light motion is the reason behind all planets motions and data-

Notice - Why Is The Planets Data Analysis Method Important?

The planets data analysis makes some anatomy for the planets data, by that, we can know how this planet data is created and what geometrical reason caused to create this data- the planets data analysis also enable us to discover if a planet violates a rule used by the other planets- and it shows the geometrical reason behind this violation-

1-14 Light defines each planet orbital period

The light defines each planet orbital period based on this planet diameter

Data

142984 s x (0.3)^2 = 12868 = π x 4331 (error 5%)

120536 s x (0.3)^2 = 10747

51118 s x (0.3) = 30589/2

49528 s x (0.3)^2 = 4457

7510 s x (0.3) x 4π^2 = 88945 (= 90560 error 1.8%) (notice 7510 x 4π^2 =296483)

6792 s x (0.3)^2 = 611

7510 s x (0.3)^2 = 676 = 687 (error 1.5%)

12756 s x (0.3)^2 = 1148 = π x 365.25

12104 s x (0.3)^2 = 1089 = (π^2)/2 x 224.7

4879 s x (0.3)^2 = 439 = (π^2)/2 x 88

Notice

7070 s x (0.3)^2 = 637 = 687 / 1.0725

Where

(1)

The left side data is the planets diameters, in details

142984 km, 120536 km, 51118 km, 49528 km and 7510 km are the diameters of (Jupiter, Saturn, Uranus and Neptune respectively and 7510km =Pluto circumference)

And

6792 km, 12756 km, 12014 km and 4879 km are the diameters of (Mars, Earth, Venus and Mercury respectively) – all diameters are used as periods of time with the rate (1 km = 1 second) - The periods are used by light known speed (300000 km/s)

(2)

The right side is the planets orbital periods

12868 = π x 4331 (error 5%) (4331 days = Jupiter orbital period)

10747 days = Saturn orbital period

30589 days = Uranus orbital period

90560 days = Pluto orbital period

Notice

4457 million km = Neptune orbital distance

That shows Neptune produced its orbital distance in place of its orbital period based on the same rule proves that Neptune is found on the opposite direction to the other planets.

687 days = Mars orbital period (with 611 the error 12%)!

1148 days = π x 365.25 days (Earth Orbital Period)

1089 days = (π^2)/2 x 224.7 days (Venus Orbital Period)

439 = (π^2)/2 x 88 days (Mercury Orbital Period)

Notice

7070 s x (0.3)^2 = 637 = 687 / 1.0725

7070 km was Mars original diameter before its migration- and the rate 1.0725 is found by Lorentz length contraction effect.

The Comment On The Data

The data shows the following

Light Motion Connects Each Planet Diameter With Its Orbital Period

The equation modifications can NOT refute the theory because the modifications depend on geometrical constant as (π), or depend on the using of (C) or (C^2)- these values can't be considered new values nor change the rule because they are geometrical constants which shows modifications are done for the energy- for example- the energy reflection causes to square the speed, by that, the planets which us (C) have no reflection of energy but the planets use (C^2) are suffered from the energy reflection- Shortly- the modifications can't refute the theory- means- the data tells – planet orbital period is defined based on this planet diameter by effect of the speed of light

I-15 Can Planet Diameter Be Used As A Period Of Time

DATA

Jupiter (13.1 km/s) moves during 10921 s a distance = 142984 km = Jupiter diameter

Uranus (6.8 km/s) moves during 7510 s a distance =51118 km = Uranus diameter

Pluto (4.7 km/s) moves during 10921 s a distance =51118 km = Uranus diameter

Pluto (4.7 km/s) moves during 51118 s a distance =2 x 102536 km = Saturn diameter

Pluto (4.7 km/s) moves during 2 x 120536 s a distance =1.1318 mkm

(1.13184 mkm = Jupiter motion distance per solar day)

Where

10921 km = The Moon Circumference

7510 km = Pluto Circumference

The data shows the planets diameters are used as periods of time (for planets motions) also and not only for light motion – the fact is proved simply

The Comment On The Data

(1)

My planet diameter equation proves that planet diameter is created as a period of time because the diameter is created as a function in this planet rotation period.

(2)

The previous data is example of many similar which proves the planet diameter is used as period of time.

(3)

How can the planet diameter be used as a period of time?

Planet diameter is used as a period to define another planet diameter-

The idea is that- the solar system is created from one motion (the original light beam motion)- by this one motion all planets diameters are created for that each planet diameter defines the next planet diameter.

(CONT)

Gerges Francis Tawdrous +201022532292

Physics Department- Physics & Mathematics Faculty

Peoples' Friendship university of Russia – Moscow (2010-2013)

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2 notes · View notes

literaryvein-reblogs · 9 months ago

Note

Hey, I wanted to ask, do you have any tips for numbers and their meanings, For example: what does the number 5 represent?

Writing Notes: Symbolism of Numbers

In symbolism, numbers are not merely the expressions of quantities, but idea-forces, each with a particular character of its own.

The actual digits are, as it were, only the outer garments.

All numbers are derived from the number one (which is equivalent to the mystic, nonmanifest point of no magnitude).

The farther a number is from unity, the more deeply it is involved in matter, in the involutive process, in the“world.”

The first 10 numbers in the Greek system (or twelve in the oriental tradition) pertain to the spirit: they are entities, archetypes and symbols.

The rest are the product of combinations of these basic numbers.

Below are the most generally accepted symbolic meanings of each number.

ZERO

Non-being, mysteriously connected with unity as its opposite and its reflection; it is symbolic of the latent and potential and is the “Orphic Egg.”

From the viewpoint of man in existence, it symbolizes death as the state in which the life-forces are transformed.

Because of its circular form, it signifies eternity.

ONE

Symbolic of being and of the revelation to men of the spiritual essence.

The active principle which, broken into fragments, gives rise to multiplicity, and is to be equated with the mystic Centre, the Irradiating Point and the Supreme Power.

Stands for spiritual unity—the common basis among all beings.

Guénon draws a distinction between unity and one, after the Islamic mystic thinkers: unity differs from one in that it is absolute and complete in itself, admitting neither two nor dualism.

Hence, unity is the symbol of divinity.

Is also equated with light.

TWO

Stands for echo, reflection, conflict and counterpoise or contraposition; or the momentary stillness of forces in equilibrium; it also corresponds to the passage of time—the line which goes from behind forward; it is expressed geometrically by two points, two lines or an angle.

It is also symbolic of the first nucleus of matter, of nature in opposition to the creator, of the moon as opposed to the sun.

In all esoteric thought, two is regarded as ominous: it connotes shadow and the bisexuality of all things, or dualism (represented by the basic myth of the Gemini) in the sense of the connecting-link between the immortal and the mortal, or of the unvarying and the varying.

Within the mystic symbolism of landscape in megalithic culture, two is associated with the mandorla-shaped mountain, the focal point of symbolic Inversion, forming the crucible of life and comprising the two opposite poles of good and evil, life and death.

THREE

Symbolizes spiritual synthesis, and is the formula for the creation of each of the worlds.

Represents the solution of the conflict posed by dualism.

Forms a half-circle comprising: birth, zenith and descent.

Geometrically it is expressed by three points and by the triangle.

The harmonic product of the action of unity upon duality.

The number concerned with basic principles, and expresses sufficiency, or the growth of unity within itself.

Associated with the concepts of heaven and the Trinity.

FOUR

Symbolic of the earth, of terrestrial space, of the human situation, of the external, natural limits of the “minimum” awareness of totality, and, finally, of rational organization.

Equated with the square and the cube, and the cross representing the four seasons and the points of the compass.

A great many material and spiritual forms are modelled after the quaternary.

The number associated with tangible achievement and with the Elements.

In mystic thought, it represents the tetramorphs.

FIVE

Symbolic of Man, health and love, and of the quintessence acting upon matter.

Comprises the four limbs of the body plus the head which controls them, and likewise the four fingers plus the thumb and the four cardinal points together with the centre.

The hieros gamos is signified by the number five, since it represents the union of the principle of heaven (three) with that of the Magna Mater (two).

Geometrically, it is the pentagram, or the five-pointed star.

Corresponds to pentagonal symmetry, a common characteristic of organic nature, to the golden section (as noted by the Pythagoreans), and to the five senses representing the five “forms” of matter.

SIX

Symbolic of ambivalence and equilibrium, six comprises the union of the two triangles (of fire and water) and hence signifies the human soul.

The Greeks regarded it as a symbol of the hermaphrodite.

It corresponds to the six Directions of Space (two for each dimension), and to the cessation of movement (since the Creation took six days).

Hence it is associated with trial and effort.

Shown to be related to virginity, and to the scales.

SEVEN

Symbolic of perfect order, a complete period or cycle.

Comprises the union of the ternary and the quaternary, and hence it is endowed with exceptional value.

Corresponds to the seven Directions of Space (that is, the six existential dimensions plus the centre), to the seven-pointed star, to the reconciliation of the square with the triangle by superimposing the latter upon the former (as the sky over the earth) or by inscribing it within.

It is the number forming the basic series of musical notes, of colours and of the planetary spheres, as well as of the gods corresponding to them; and also of the capital sins and their opposing virtues.

Corresponds to the three-dimensional cross.

The symbol of pain.

EIGHT

The octonary, related to two squares or the octagon, is the intermediate form between the square (or the terrestrial order) and the circle (the eternal order) and is, in consequence, a symbol of regeneration.

By virtue of its shape, the numeral is associated with the two interlacing serpents of the caduceus, signifying the balancing out of opposing forces or the equivalence of the spiritual power to the natural.

It also symbolizes—again because of its shape—the eternally spiralling movement of the heavens (shown also by the double sigmoid line—the sign of the infinite).

Because of its implications of regeneration, eight was in the Middle Ages an emblem of the waters of baptism.

Corresponds in mediaeval mystic cosmogony to the fixed stars of the firmament, denoting that the planetary influences have been overcome.

NINE

The triangle of the ternary, and the triplication of the triple.

It is therefore a complete image of the three worlds.

The end-limit of the numerical series before its return to unity.

For the Hebrews, it was the symbol of truth, being characterized by the fact that when multiplied it reproduces itself (in mystic addition).

In medicinal rites, it is the symbolic number par excellence, for it represents triple synthesis, that is, the disposition on each plane of the corporal, the intellectual and the spiritual.

TEN

Symbolic, in decimal systems, of the return to unity.

In the Tetractys (whose triangle of points—four, three, two, one—adds up to ten) it is related to four.

Symbolic also of spiritual achievement, as well as of unity in its function as an even (or ambivalent) number or as the beginning of a new, multiple series.

According to some theories, ten symbolizes the totality of the universe—both metaphysical and material—since it raises all things to unity.

From ancient oriental thought through the Pythagorean school and right up to St. Jerome, it was known as the number of perfection.

ELEVEN

Symbolic of transition, excess and peril and of conflict and martyrdom.

According to Schneider, there is an infernal character about it: since it is in excess of the number of perfection—ten—it therefore stands for incontinence; but at the same time it corresponds, like two, to the mandorla-shaped mountain, to the focal point of symbolic Inversion and antithesis, because it is made up of one plus one (comparable in a way with two).

TWELVE

Symbolic of cosmic order and salvation.

It corresponds to the number of the signs of the Zodiac, and is the basis of all dodecanary groups.

Linked to it are the notions of space and time, and the wheel or circle.

THIRTEEN

Symbolic of death and birth, of beginning afresh.

Hence it has unfavourable implications.

FOURTEEN

Stands for fusion and organization.

And for justice and temperance.

FIFTEEN

Markedly erotic.

Associated with the devil.

OTHER NUMBERS

Tarot

Each of the numbers from sixteen to twenty-two is related to the corresponding card of the Tarot pack; and sometimes the meaning is derived from the fusion of the symbols of the units composing it.

There are two ways in which this fusion may occur: either by mystic addition (for example, 374 = 3 + 7 + 4 = 14 = 1 + 4 = 5) or by succession, in which case the right-hand digit expresses the outcome of a situation denoted by the left-hand number (so 21 expresses the reduction of a conflict—two—to its solution—unity).

These numbers also possess certain meanings drawn from traditional sources and remote from their intrinsic symbolism:

24, for example, is the sacred number in Sankhya philosophy, and

50 is very common in Greek mythology—there were fifty Danaides, fifty Argonauts, fifty sons of Priam and of Aegyptus, for example as a symbol, we would suggest, of that powerful quality of the erotic and human which is so typical of Hellenic myths.

Repetition

The repetition of a given number stresses its quantitative power but detracts from its spiritual dignity.

So, for example, 666 was the number of the Beast because 6 was regarded as inferior to seven.

Contained within a multiple

When several kinds of symbolic meaning are contained within a multiple number, the symbolism of that number is accordingly enriched and strengthened.

Thus, 144 was considered very favourable because its sum was 9 (1 + 4 + 4) and because it comprises multiples of 10 and 4 plus the quaternary itself.

Lastly: Dante, in the Divine Comedy, has frequent recourse to the symbolism of numbers.

Sources: 1 2 3

More: On Symbolism

Hope this helps, would love to read your writing if it does!

#symbolism #writing reference #dark academia #spilled ink #writeblr #writing prompts #literature #writers on tumblr #poets on tumblr #writing prompt #poetry #creative writing #numbers #light academia #fiction #novel #booklr #bookblr #writing resources

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ahoyimlosingmymind · 1 year ago

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THIS. I haven't read past legacy either. I got fed up for the same exact reasons.

The writing became so lazy. Especially in regards to Fitz (my beloved.) Shannon really couldn't find a better way to convince us that Sokeefe should be endgame (bleh) without obliterating the characterization of the 'competition'???

the plot became so convoluted. The narrative favors Keefe to a degree that is honestly so delusional it creates severe cognitive dissonance when I read it. Same with Sophie. They'd both be dead if it wasn't for plot armor.

i agree 100%, Fitz deserves a better story and author. He's too complex to fit in properly with the rest of the really predictable and honestly shallow cast.

I get that the KOTLC characters are kids who are going to make mistakes, especially considering the situations they’re put in, but I just wish that they’d get some real repercussions for the things they do because I SWEAR it feels like the only one the narrative actually calls out is freaking Fitz. Even then, it only calls out the same thing over and over again.

#i'll never get over people making keefe out to be complex #when he is one of the most on the nose/predictable characters to exist.#he never does anything that surprises me.#He follows a very common and overdone formula #shannon feeds us the way we're supposed to think about him on a silver platter #talk about not trusting the audience #and her only character with actual complexity *cough* fitz *cough*#is made out to be the villain of the love triangle #he's compelling. and her writing is too shallow to match the potential she's created.#kotlc crit

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somebodys-nightmare · 8 months ago

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Understanding the Romantic Narrative Arcs in Final Fantasy VII

There has been no shortage of discourse surrounding the “Love Triangle Debate”, (a fan-constructed term, I must inform you) of FFVII for a very long time. Most recently, with the release of FFVII Rebirth, this discourse has intensified and led to a wide spectrum of fan conclusions that range from grounded in narrative sense to completely baseless or delusional. Some takes are attached to contemporary relationship issues, personal experience, comparisons to other media or works of fiction, social constructs or societal issues, personal preference, or a lack of full context.

While any piece of media or fiction is subject to some level of interpretation (this is the very nature of humans consuming works of art), most works are created with intentional narrative direction. In fact, many works are formulaic, especially in genres such as fantasy, romance, mystery, etc. While of course there are always exceptions and deviations, as a writer and former English literature teacher I can say that most stories follow a general narrative structure or arc that makes them digestible and satisfying to readers/audiences. Such arcs impact the main, external, internal, and subplots of a story, as well as individual character arcs and character relationship arcs.

Final Fantasy is no different. While there are other cultural influences as FFs are Japanese stories, my experience with the series is the writing generally follows most storytelling conventions that can be found in all forms of archetypal writing, cross-culturally and generationally. FFVII is often accused of being ambiguous or open-ended in many aspects of its story. I tend to disagree with this idea and think that its storytelling is subversive rather than ambiguous, meaning that it requires players to work harder and use more critical thinking in order to reach the author’s intended conclusions. It also relies on false or misleading narratives for a good part of the story (such as red herrings, illusions, or unreliable narrators) as storytelling devices that help the truth in the story unfold in later parts of the narrative arc(s). Like any piece of media using these storytelling methods, this means that there will be controversy or debate as audiences contend with the author’s messages or intentions. However, that does not mean that the intentions are not there and that there is not an intentional outcome on the part of the writers.

Personally, I believe that FFVII has a very clear narrative structure for all of its main plot, sub plots, and character arcs, but that its approach is challenging to many players who have to wrestle with the story as it unfolds to understand it. It is not spoon-fed, and some revelations may betray player attachments that were originally formed. However, in my view, this is what makes FFVII such an exceptional story when compared to many others. That being said, the lack (or refusal) of understanding of FFVII’s narrative arcs has led to discourse that unfortunately mischaracterizes many of the characters and pushes inappropriate perspectives onto the storytelling, mostly surrounding the romantic arcs of the main characters and the so-called “LTD” (the fan construction, remember?). I strongly believe that the best way to understand any story is to follow the narrative arcs in order to arrive at the author’s intended conclusions.

I’m going to attempt to do that for the romantic subplots in FFVII in hopes of bringing some clarity to this issue. This analysis is based on a standard Three-Act Romance narrative writing structure (which aligns with the Hero's Journey structure), as well common romantic archetypes and tropes, both for characters and plot, but applied to the specific context of the story, world, and characters of FFVII. Please note that this is my personal analysis and it is by no means perfect, nor am I saying this is the bible of how FFVII has been written. I just hope it gives some insight into why some storytelling interpretations of FFVII should make more sense than… others. This analysis will draw from bits of the entire compilation, but the primary focus of the structure will be looking at FF7R with the OG as a baseline.

This is a long thread, so please see the outline for discussion below.

Romantic Structure/Trope Analysis

Cloud/Tifa: The Slow Burn/Childhood Friends to Lovers Romance

Aerith/Cloud: The Unrequited Love/Not Meant to Be Romance

Zack/Aerith: The Long Lost Love Romance

Final Thoughts: The "Love Triangle" is a Narrative Illusion

Cloud/Tifa: The Slow Burn/Childhood Friends to Lovers Romance

Act 1: The Beginning

The Hook (Childhood Connection Revealed)

Romance Structure: Introduction / Setup

Purpose: Establish the protagonists in their everyday lives, showing what emotional or psychological issues are holding them back from love. Readers should get a sense of their internal conflicts and motivations, along with the external situations that will challenge them later.

Childhood Friends Layer: Introduce the deep connection between the two characters, showing them as lifelong friends with an established bond. There could be hints of one or both characters secretly harboring feelings for the other, but they haven't acted on it due to fear of losing the friendship.

Example: Cloud and Tifa are childhood friends with a complicated history. Although they were close when they were little, they drifted apart but secretly longed for one another. They shared a romantic promise and then separated for seven years. At the beginning of FFVII, they are reunited, but both characters are contending with serious internal and external conflicts - Cloud’s identity crisis and the Shinra Company’s greed and abuse of the planet.

The Inciting Incident / Call to Adventure / Meet-Cute

Romance Structure: Inciting Incident / The Meet-Cute

Purpose: The main characters meet or are pushed together by external circumstances. This encounter introduces the romantic conflict—whether it’s instant attraction or tension between them.

Childhood Friends Layer: Since they’ve already known each other for years, the “meet-cute” here is more about seeing each other in a new light. Maybe one of them returns to town after time away, or an external event shifts their dynamic, making one or both start to view the other differently.

Example: Cloud and Tifa reunite in Midgar and Tifa recruits Cloud to work for AVALANCHE. She does this primarily to keep him close so she can keep an eye on him as she is worried about him and his mental state. During this time, we see an instant chemistry between Cloud and Tifa as they reconnect after years apart. When conflicts are introduced, we see the strain that it puts on them, but we also see how there’s a lingering desire for closeness, whether it be in their discussion/memory of the promise, their mutual flirting, their skinship, etc.

First Plot Point / Refusal of the Call

Romance Structure: Rejection of the Relationship

Purpose: The characters resist the idea of a romantic relationship, often due to internal or external obstacles. There’s a clear push-pull dynamic as they fight their growing attraction, often rejecting the possibility of being together.

Childhood Friends Layer: The hesitation here comes from their shared history. Both characters are afraid to risk their close friendship for something as uncertain as a romance. This dynamic creates tension as they begin to realize how much they depend on each other emotionally.

Example: This isn’t directly addressed, but the narrative deflects from intentional romantic confrontations at this point because of Cloud’s identity crisis and the pressing issues of the external conflict. Neither character is outwardly pursuing a relationship, but they don’t exactly deny their desire for closeness. We consistently see the push/pull between Cloud and Tifa throughout the early part of their arc. It's also further complicated when Sephiroth starts to sabotage their relationship.

Act 2: The Middle

First Pinch Point / Acceptance of the Quest

Romance Structure: Giving the Relationship a Chance

Purpose: External circumstances push them together, forcing them to interact and face their growing connection. Even if they resist the idea of love, the bond between them deepens as they spend more time together.

Childhood Friends Layer: Their shared history becomes an advantage and a source of conflict. The deeper they dive into new romantic feelings, the more they rely on the comfort of their friendship, but they’re also terrified of crossing the line and ruining everything.

Example: Cloud and Tifa work together both with AVALANCHE and the party at large to combat the threats present in the external conflict. Additionally, they share deep trauma from the Nibelheim Incident that brings them closer together as sources of comfort. They become one another’s rocks, and though they still do not move toward any explicit romantic confirmation, it is clear from their behavior that they both hold deep feelings for each other and care for each other greatly. Cloud in particular holds on to his promise to Tifa, making it a cornerstone of his strength moving forward.

Midpoint Crisis / Trials and Temptations

Romance Structure: Midpoint / I-Need-You-But-Can’t-Have-You

Purpose: This is a major turning point where the characters either experience a "false high" (where they feel like things are going well but something still isn’t quite right) or a "false low" (where they feel like things are falling apart). There’s often a pivotal moment of intimacy that deepens their bond but also introduces new fears.

Childhood Friends Layer: The fear of losing the friendship intensifies. They might experience their first kiss or confession of deeper feelings, but the risk of ruining their long-established bond makes the situation more fraught with anxiety.

Example: This particular point in the arc gets a little tricky for Cloud and Tifa because of Cloud’s identity crisis and Tifa’s reticence around their mismatched issues. However, Rebirth has made it clear that before the end of disc 1, Cloud and Tifa are aware of their feelings for each other and that the narrative is still in the way of it. This arc intersects events that transpire from Kalm to Gongaga, and we see the build-up of tension due to the internal conflict between Cloud and Sephiroth.

Second Pinch Point / The Road Back

Romance Structure: Pulling Back Together

Purpose: The characters are drawn back together by external events, but their internal fears and conflicts still loom large. The romance starts to deepen, but both are still fighting their feelings in some way.

Childhood Friends Layer: They try to go back to being "just friends," but it’s clear that things have changed between them. The emotional and romantic tension keeps building, and they can’t ignore how much they need each other.

Example: We see this dynamic between Cloud and Tifa continue to build throughout disc 1, particularly in Rebirth. We are consistently reminded of the tension between them and the importance of their relationship, regardless of romantic intent. Gongaga and Nibelheim are great examples of this.

Second Plot Point / The Fall

Romance Structure: The Fall

Purpose: The characters are now falling in love, even if they haven’t fully admitted it to each other. There’s often a deeper moment of intimacy—physical or emotional—that makes them realize just how much they mean to each other.

Childhood Friends Layer: One or both characters realize they’ve fallen hard for their best friend, but they are still careful or hold back from telling the other, afraid it might ruin everything. Nonetheless, they give in to their feelings in some capacity, which marks a turning point.

Example: The Gold Saucer date would be the best parallel for this point in the arc for Cloud and Tifa. In the OG Tifa almost confesses to a very interested Cloud, in Rebirth, they confirm feelings and kiss. Either way, it’s clearly meant to signal at this point, the fall has happened.

Act 3: The End

The Crisis / Dark Moment

Romance Structure: Dark Moment / The Break-Up

Purpose: This is the point where everything falls apart. The characters break up or distance themselves, either because of internal or external forces.

Childhood Friends Layer: The weight of their shared history makes this moment even more devastating. The fear of losing the friendship forever becomes real.

Example: For Cloud and Tifa, this moment is really hinged on Cloud’s mental breakdown. After the Gold Saucer Date, Cloud’s mental state progressively worsens due to events that occur within both the internal and external conflicts, and his bond with Tifa is severed completely at the Northern Crater. Cloud and Tifa are separated when Cloud falls into the Lifestream.

The Sacrifice / The Crisis Resolution

Romance Structure: The Sacrifice

Purpose: One or both characters must confront their fears and make a choice. This moment often involves a grand gesture or a realization that love is worth the risk.

Childhood Friends Layer: The realization comes that their friendship has always been the foundation of something more. They understand that risking the friendship for love is not only worth it but that the friendship can only deepen through their romantic connection.

Example: This point comes in Mideel and the Lifestream Scene. Tifa reaches her own realization about her relationship with Cloud and how her reticence has impacted things, and her conviction to save him and be with him is both profound and clearly romantic. Inside the Lifestream, Tifa helps Cloud to find himself, and many revelations about his true feelings for her are brought to light. Of course, we have not reached this point of the story in FF7R, so it will be intriguing to see how it unfolds, given all of the additional context the remake series and ToTP have provided.

The Climax / Declaration

Romance Structure: Declaration

Purpose: The characters finally confess their love for each other, making the leap from friends to lovers. This is the emotional high point where the relationship is solidified.

Childhood Friends Layer: The confession of love is tied to their long history, as they realize that their deep emotional connection as friends is the foundation for a strong romantic relationship.

Example: This moment for Cloud and Tifa is the Highwind Scene in the OG, where they confirm, without words, that their feelings match. Once again, we will see how this event unfolds in Part 3 with all the new and deepened context of Cloud and Tifa’s relationship in 7R.

The Resolution / Denouement

Romance Structure: Denouement / HEA

Purpose: The characters are together and happy, giving the reader a sense of closure.

Childhood Friends Layer: The resolution emphasizes how their strong friendship has transitioned seamlessly into a romantic relationship, giving the sense that they’ll continue to support each other as both friends and lovers.

Example: In the OG, this is seen in the FMV of the game where Cloud and Tifa are together, leading to the resolution of the entire story as Holy and the Lifestream are released. While this scene isn’t particularly direct, it’s enough to show that Cloud and Tifa are together, which leads to ACC where they live and raise a family together. This entire ending segment will likely be greatly expanded in FF7R, and so it'll be interesting to see how these moments are handled, given all of the new context.

Aerith/Cloud: Unrequited Love/Not Meant to Be Arc

Act 1: The Beginning

The Hook (Unrequited Feelings Introduced)

Romance Structure: Introduction / Setup

Purpose: Introduce the protagonist, who falls for the other character. Set up their emotional and psychological conflict, showing how these unrequited feelings shape their interactions with the other character.

Unrequited Love Layer: The character’s love is clearly unreturned, but they hold on to hope. There is a mix of admiration, longing, and pain as they watch the love interest live their life without ever seeing them as a romantic partner.

Example: Aerith’s feelings for Cloud, who she meets first on the streets of Midgar and later inside her church, are inspired by her long-lost love, Zack, whom he reminds her of. We don’t know this immediately, but we find out soon enough, and the story, especially 7R, is full of visual and symbolic cues.

The Inciting Incident / Call to Adventure / Meet-Cute

Romance Structure: Inciting Incident / The Meet-Cute

Purpose: The characters are pushed together by external circumstances, giving the protagonist more time with the love interest. The character sees this as an opportunity to grow closer, but the other character remains unaware or indifferent to their romantic feelings.

Unrequited Love Layer: The character is thrilled to spend more time with the other character and hopes this will bring them closer. However, the love interest still sees the relationship as platonic, creating tension.

Example: While their interaction on Loveless Street is the fated moment for Cloud and Aerith, the meet-cute is their meeting in the church. This is the inciting incident that not only truly triggers Aerith’s latent Zack-longing, but also begins Cloud and Aerith’s friendship as they work together for a common cause. Aerith flirts with Cloud quite a bit at this point, displaying her interest, but Cloud does not reciprocate in any romantic sense. She also refuses to let him leave and follows him around, essentially solidifying Aerith’s place in the player party and cementing her role as the heroine driving the external conflict. From here on out, we are consistently reminded that Cloud reminds Aerith of Zack, the deeper reason for her interest in him.

First Plot Point / Refusal of the Call

Romance Structure: Rejection of the Relationship

Purpose: The protagonist’s feelings remain unrequited. The other character might express interest in someone else or explicitly state that they don’t see the protagonist in a romantic light. This deepens the emotional conflict for the protagonist, who struggles with unspoken feelings.

Unrequited Love Layer: The protagonist is heartbroken but holds onto hope. They keep pushing their emotions down, unwilling to let go just yet.

Example: Aerith meets Tifa and quickly realizes that she is someone deeply important to Cloud. In Remake, she realizes this even before meeting her when Cloud has a headache and calls out Tifa’s name. Her awareness changes her behavior somewhat, but internally, she still is still conflicted because of her internal conflict over Zack.

Act 2: The Middle

First Pinch Point / Acceptance of the Quest

Romance Structure: Giving the Relationship a Chance

Purpose: External circumstances continue to push the characters together, and the protagonist’s feelings deepen. They begin to cling to small moments, hoping that their love might one day be reciprocated.

Unrequited Love Layer: The protagonist interprets friendly gestures as signs of romantic potential. They invest emotionally in every small interaction, hoping it means more than it does. However, deep down, they start to feel the weight of their unreturned affection.

Example: The journey continues with the party leaving Midgar, and Aerith’s feelings for Cloud grow despite her knowledge of his bond with Tifa as the party travels together. In Rebirth this is further complicated by Aerith’s loss of foresight/memories to the Whispers. We are also constantly reminded of Aerith’s lingering feelings for Zack and her grief and sadness over his loss/disappearance. Throughout the journey, she seeks out opportunities to spend time with Cloud - “dates” even though these moments are not reciprocated romantically. A notable example of this is her date with him on the clock tower in Kalm, where she speaks to him about his relationship with Tifa (hinting at her knowledge of their bond and her jealousy over it) and then her public declaration that they were on a date (in front of Tifa). Cloud's reaction to moments like these continue to inform the audience he does not return romantic affections for Aerith.

Midpoint Crisis / Trials and Temptations

Romance Structure: Midpoint / I-Need-You-But-Can’t-Have-You

Purpose: A major turning point occurs where the protagonist either faces the possibility that their love will never be returned or sees a fleeting moment where they think it might be. The emotional stakes are higher, as the protagonist grapples with whether to continue holding on.

Unrequited Love Layer: The character might attempt to make their feelings known, either explicitly or through subtle gestures, but the love interest doesn’t reciprocate. The character is left feeling exposed and vulnerable, yet still holding on to hope that things might change.

Example: For Cloud and Aerith, this continues to be the nature of their relational development throughout most of disc 1, but their interaction on the water tower in Nibelheim is probably the best example of this. Aerith has to grapple with her jealousy over Cloud and Tifa’s bond, which she has been observing for the entire game. Her acknowledgment of her feelings over it is a major turning point as a character. Additionally, this moment really cements that Cloud views his relationship with Aerith as a cherished friendship, as we see the way that he cares about her angry reaction.

Second Pinch Point / The Road Back

Romance Structure: Pulling Back Together

Purpose: Circumstances force the characters to spend more time together, even though the character is starting to feel the emotional strain of unrequited love. There may be a moment of temporary hope, but it’s tinged with the growing realization that their feelings might never be returned.

Unrequited Love Layer: The character becomes more emotionally drained as they begin to sense that their love will remain one-sided. They might try one last time to be closer to the love interest, but the gap between them is becoming clearer.

Example: This moment could best be viewed through Cloud and Aerith’s Gold Saucer date. There, Aerith not only tries to get closer to Cloud but she opens up emotionally and gives Cloud insight into the root of her feelings, which is Zack. Cloud does not reciprocate any of Aerith’s romantic overtures in this date and rather displays discomfort or awkwardness throughout most of it. However, he does allow her a moment of emotional vulnerability, which he has not been willing to do previously. This is further contextualized by how, In Rebirth, Cloud has remembered Zack by this point (albeit incorrectly). Cloud, who cherishes and cares for Aerith greatly as a friend, is considerate of this connection and offers her comfort for the grief and loss she has just admitted to feeling and seeking consolation in him from. Hence "just until the ride's over"; "I didn't do anything" etc...

Second Plot Point / The Fall

Romance Structure: The Fall

Purpose: The character finally realizes that their love will never be returned. This is an emotionally intense moment where they are forced to confront the truth—they will never be more than a friend or confidant to the love interest.

Unrequited Love Layer: The protagonist may be devastated by the final confirmation that their feelings will never be returned. The emotional weight of unrequited love becomes too much, and they start to realize they need to let go, or come to other realizations about their feelings.

Example: The moment that most closely matches with this point in the arc is the dream stroll through Sector 5. Not only does Aerith accept that Cloud doesn’t return her feelings romantically, but she comes to a realization of her own feelings and questions them. This is clearly a reference to Zack, whose internal conflict has been consistently foreshadowed. Aerith also seems to recognize that she can’t help Cloud with his internal conflict - that is Tifa's role.

Act 3: The End

The Crisis / Dark Moment

Romance Structure: Dark Moment / The Break-Up

Purpose: This is the point of emotional reckoning, where they face the reality of unrequited love and move on in their arc.

Unrequited Love Layer: The character experiences grief over their unreturned feelings. They might decide to pull away from the love interest entirely, or they may try to come to terms with remaining friends while letting go of their romantic hopes and moving on.

Example: For Aerith, this moment is marked by her complete transition to her role in the external conflict. At this point, she has let go of her romantic fancy for Cloud and has committed herself to the bigger picture. It is at this point that she leaves the party, and leaves Cloud in the Sleeping Forest, to fulfill her role as a Cetra.

The Sacrifice / The Crisis Resolution

Romance Structure: The Sacrifice

Purpose: The protagonist sacrifices their unrequited love, realizing they need to move on for the sake of their own emotional well-being or greater purposes. This is a bittersweet moment of acceptance and self-growth, where they let go of the hope that kept them holding on for so long.

Unrequited Love Layer: The protagonist may realize that holding on to unrequited love is only hurting them or preventing them from reaching a greater purpose.

Example: For Aerith, this point in the arc is less about Cloud and more about her role in the external conflict. This is the point in which she travels to the Forgotten City, prays, and ultimately is killed. However, it is bittersweet and tragic for her, ultimately, because she dies with unrequited love from Cloud and without ever getting closure on her true love, Zack.

The Climax / Declaration

Romance Structure: Declaration

Purpose: Instead of a declaration of mutual love, this is the protagonist’s internal declaration of acceptance. They start the process of moving on.

Unrequited Love Layer: The protagonist lets go of the love interest in their heart, realizing that they need to focus on their own future. The love interest is likely unaware of this internal shift, but it’s a powerful moment of growth for the protagonist.

Example: For Aerith, this is perhaps best viewed in her complete transition after death to the larger role she plays as the heroine of the planet from within the Lifestream. Her arc has fully transitioned away from her feelings for Cloud into her greater purpose. In FF7R, we can hope to see how Zack, who has been trying to find her, begins to impact this next phase of her arc.

The Resolution / Denouement

Romance Structure: Denouement / HEA

Purpose: Instead of a traditional happy ending, this is a reflective, bittersweet resolution. The character has grown emotionally. There is a sense of closure, though it may come with lingering heartache.

Unrequited Love Layer: The character has let go of the hope that their love would ever be returned. They are stronger for it and have moved on.

Example: For Aerith and Cloud, this moment is best summed up by their brief Lifestream reunion at the end of the game. It will be intriguing to see how this moment is expanded and provides closure for Cloud and Aerith’s relationship, as well as Zack’s role in both.

Zack/Aerith: Long Lost Love/Tragic Love Arc

This arc is a little more complicated to map out since it is not only incomplete but riddled with mysteries at this point. However, I’m going to do my best to make the connections based on the information we have and where we can theorize things may be going.

Act 1: The Beginning

The Hook

Romance Structure: Introduction / Setup

Purpose: Establish the protagonist’s life after the estrangement, showing how unresolved feelings for their lost lover impact their emotional world. There’s a sense of longing and unfinished business that propels the protagonist’s actions.

Long Lost Lovers Layer: The protagonist is haunted by memories of their estranged lover and driven by a deep desire to find them again. This longing is fueled by unresolved emotional wounds, and the protagonist clings to the hope of a reunion.

Example: In Rebirth, from the beginning, Zack is singularly focused on reuniting with Aerith. After his escape from Nibelheim, even as he carries the wounded Cloud, Zack’s thoughts are consumed by Aerith. His love for her pushes him forward despite the dangerous and confusing circumstances he finds himself in. Zack’s motivation intensifies when he discovers, through a newscast, that Aerith is in danger. This revelation shifts Zack from hopeful longing to immediate action, driving home the urgency of his quest. His decision to prioritize Aerith’s safety over everything else, including Cloud, underscores how central Aerith is to his purpose, raising the stakes for his emotional journey.

The Inciting Incident

Romance Structure: The Call to Adventure

Purpose: The inciting incident transitions the protagonist from passive longing to active pursuit of reunion. Some event or revelation forces the protagonist to act, prompting them to seek out their estranged lover. Often, this is triggered by the discovery that the lover may be in danger.

Long Lost Lovers Layer: The protagonist realizes that simply hoping for a reunion isn’t enough—there’s now a tangible reason for urgency. This event serves as a catalyst for the protagonist to fully commit to the journey of reconnecting with their lover, increasing the stakes as they shift from passive longing to active pursuit.

Example: After mysteriously "surviving" his last stand against Shinra (as seen at the end of Crisis Core), Zack rescues Aerith from Shinra’s grasp in Rebirth. However, instead of a triumphant reunion, the moment is clouded with confusion and tragedy. This rescue scene signals Zack’s deep emotions for Aerith and heightens the sense of foreboding in their relationship arc. The player quickly realizes that the reunion isn’t straightforward and that darker forces are at play, casting a shadow over Zack’s determined rescue.

First Plot Point

Romance Structure: Refusal of the Call / First Obstacle

Purpose: The first major obstacle or refusal of the call introduces the initial challenges the protagonist faces in their pursuit of the lost lover. Despite their determination, external forces or internal doubts surface, complicating the journey.

Long Lost Lovers Layer: The protagonist’s optimism about reuniting with their estranged lover is challenged by harsh realities—whether through physical danger, supernatural elements, or emotional barriers. This moment introduces doubts about whether a reunion is possible, raising tension and uncertainty.

Example: Zack eventually brings a comatose Aerith and Cloud to Elmyra’s house. Zack’s devotion to them is evident as he cares for them despite their unresponsive states, but the world around him behaves in strange ways. The eerie sense of something deeply wrong in Sector 5 hints that Zack’s reality—and Aerith’s fate—are far from certain. He’s not just fighting to reunite with Aerith; he’s battling a reality that is becoming increasingly unstable. The player shares in Zack’s growing sense of anxiety and confusion, setting the tone for the more tragic layers of their arc to come.

First Pinch Point / Acceptance of the Quest

Romance Structure: Giving the Relationship a Chance

Purpose: The protagonist resolves to pursue their lost lover, hoping to rekindle what they once had. However, unresolved issues and emotional scars from the past begin to surface, complicating their journey.

Long Lost Lovers Layer: Time and distance have changed both characters, making reconnection difficult. The focus is on how time has altered both individuals and the lingering emotional weight of their separation.

Example: Zack’s attempt to reunite with Aerith is complicated by the metaphysical separation created by the Lifestream. Aerith remains comatose, as does Cloud, and Zack has to contend with both his own internal conflict as he tries to help them as well as the external conflict of his strange and mysterious circumstances within "Sector 5".

Midpoint Crisis / Trials and Temptations

Romance Structure: Midpoint / I-Need-You-But-Can’t-Have-You

Purpose: The protagonist’s need for their lost lover intensifies, but the relationship is far more complicated than expected. Old wounds and emotional or external barriers resurface, making reunion seem out of reach. Despite their determination, the protagonist begins to doubt whether they can ever restore what they once had.

Long Lost Lovers Layer: Time and emotional distance have changed the dynamics of their relationship. While both may care for each other, the past cannot easily be erased, and their attempts to reconnect are fraught with tension.

Example: External forces such as Sephiroth’s manipulations, and Aerith’s internal conflict over Cloud create an emotional barrier between her and Zack. Aerith, “asleep” in Zack’s world, remains unaware of his presence. As Zack learns from Marlene that Aerith’ "likes" Cloud, more tension and conflict is added. Despite these challenges, Zack remains unwavering in his commitment to reconnect with Aerith, determined to overcome the growing emotional distance.

Second Pinch Point / The Road Back

Romance Structure: Pulling Back Together

Purpose: The protagonist makes another push to reconnect with their lost lover despite significant setbacks. Faced with the reality that time is running out, the protagonist must act decisively to restore the relationship. While emotional connections may deepen, unresolved challenges threaten the outcome, leaving uncertainty in the air.

Long Lost Lovers Layer: Despite growing obstacles, the protagonist remains committed to rekindling the relationship. The emotional and physical distance between the lovers may still seem insurmountable, but the protagonist refuses to give up, holding onto the hope that they can salvage what they once had.

Example: Even as Zack’s hope begins to wane, he remains steadfast in his desire to reunite with Aerith. Zack finds himself pulled in multiple directions, creating additional conflicts. External forces and emotional entanglements continue to complicate their relationship, but Zack’s determination to bridge the emotional gap keeps pushing him forward. This section of Rebirth continues to heavily foreshadow both the truth about Zack as well as the future of Zack and Aerith's relationship, despite the conflicts.

Act 3: The End

The Crisis / Dark Moment

Romance Structure: The Break-Up / Darkest Hour

Purpose: The protagonist faces their darkest moment, where it seems that the reunion will never happen. Emotional scars or external forces tear the lovers apart, and the protagonist believes they’ve lost their final chance to reconnect. The relationship nears failure as the protagonist faces the harsh reality of their situation.

Long Lost Lovers Layer: The conflict grows to the point of no return. Previous mistakes or external conflicts surface, causing the relationship to fall apart, and the protagonist is left devastated, feeling that the reunion may never come.

Example: In Rebirth, this moment comes near the ending of the game when Sephiroth's confluence of worlds plays a role in role in further uprooting Zack's existence in the Lifestream. We also know that this is the time that Aerith dies in the real world, further complicating matters and adding new layers of conflict.

The Sacrifice / The Crisis Resolution

Romance Structure: The Sacrifice

Purpose: The protagonist realizes that to win back their lost lover, they must sacrifice their pride, fear, or ego. This emotional climax reflects their willingness to make a grand gesture or display vulnerability, showing they’ll do whatever it takes for a second chance.

Long Lost Lovers Layer: The protagonist makes a final, heartfelt plea to the estranged lover, acknowledging their mistakes and baring their soul. The lover, moved by the sincerity, must decide whether or not to take the risk of rekindling the relationship.

Example: Although we don’t yet know how this will play out in the Remake series, it’s likely that Part 3 will feature a reunion between Zack and Aerith. The conflicts that have built up—including Aerith’s internal struggle regarding Cloud—will need resolution. Advent Children (ACC) shows Zack and Aerith together in the Lifestream, setting the stage for a reunion in the Remake. The exact nature of this reunion remains speculative, but it’s likely Zack will make a significant sacrifice or grand gesture to resolve the emotional conflicts that have kept them apart.

The Climax / Declaration

Romance Structure: Declaration

Purpose: The estranged lover finally decides to take the risk and give the relationship another chance. After much internal struggle, they admit they’ve never stopped loving the protagonist, and they’re ready to move forward together. This is the emotional peak where both characters commit to each other.

Long Lost Lovers Layer: The reconciliation finally happens. After everything they’ve endured, the estranged lover acknowledges their lingering feelings and agrees to rebuild the relationship. Both characters take a leap of faith, trusting that they can overcome the past and move forward.

Example: Though speculative, if the arc follows the long lost lovers trope, Zack and Aerith will likely experience a heartfelt reunion in Part 3. Their lingering feelings would finally be acknowledged, clearing up Aerith’s complicated feelings for Cloud while reaffirming her bond with Zack. This declaration of love would also tie into the larger narrative arc, offering emotional resolution for both characters and allowing their story to move forward, especially in support of Aerith's role in the external conflict of the Planet.

The Resolution / Denouement

Romance Structure: Denouement / HEA

Purpose: The story concludes with a glimpse of the couple in their newly rekindled relationship. The emotional weight of their past has been lifted, and they are now ready to face the future together. Even if circumstances prevent a traditional “happy ending,” there is emotional closure and a sense of peace.

Long Lost Lovers Layer: After the pain, separation, and emotional struggle, the couple is finally together. The audience is left with a sense that their love will endure this time, offering a bittersweet but satisfying conclusion to their long journey.

Example: In Advent Children (ACC), we see Zack and Aerith reunited in the Lifestream, helping Cloud in his final battle. Their reunion suggests that, while they may no longer live in the physical world, their connection endures beyond death. Though bittersweet, their reunion offers emotional closure. The final installment of the Remake series will likely bring full resolution to Zack and Aerith’s arc, providing a satisfying conclusion, even if there are tragic elements along the way.

Final Thoughts: The Love Triangle is a Narrative Illusion

Cloud and Tifa’s Slow-Burn Childhood Friends to Lovers (Canon)

Cloud and Tifa’s relationship in Final Fantasy VII is a carefully crafted slow burn, rooted in a deep bond that extends back to their childhood in Nibelheim. Their connection is not built on superficial or flimsy romantic interactions but on a shared past and the quiet intimacy that grows from years of unspoken longing but is complicated by trauma.

Cloud and Tifa’s natural chemistry is driven by their subconscious desires and the deep, unspoken feelings they have for one another. For Cloud, his buried emotions instinctively reach out to Tifa, even though he isn’t fully aware of them. The narrative hides these true feelings, but subtle moments of affection and protectiveness reveal that, deep down, Cloud’s heart is already tied to hers, laying the groundwork for their eventual emotional connection.

The game’s emotional climax in the Lifestream, where Tifa helps Cloud piece together his shattered memories, is a pivotal moment in which both characters finally confront the depth of their feelings for each other. Their journey isn’t one of dramatic declarations, but rather a gradual, emotional reconnection that allows deeply held, mutual love and longing to blossom—a love that is grounded in shared history, healing, and mutual understanding and compassion.

This slow-burn romance stands as the true heart of Cloud’s emotional journey, dispelling the illusion of a love triangle and making it clear that Cloud’s deepest emotional ties are with Tifa.

Aerith and Cloud’s Unrequited Love / Not Meant to Be Semi-Canon/One-sided) (Fanon - mutual)

The dynamic between Aerith and Cloud, while often misinterpreted as romantic, is better understood through the lens of unrequited love and fate’s intervention. Aerith’s initial attraction to Cloud is undeniably influenced by his resemblance to her first love, Zack Fair.

As time goes on, Aerith tries to see Cloud for who he is, but tragically, this is not possible before her death, and her feelings remain complicated and unreciprocated. Their bond, while significant as friendship, never goes beyond that, reinforcing the fact that Aerith’s feelings for Cloud are more of an echo of her past with Zack.

Cloud's true self being in love with Tifa and Aerith’s tragic death seal the fate of their relationship as one that was never meant to be—a fleeting connection, shaped by circumstance rather than true compatibility.

The tragedy of this unfulfilled arc serves as a powerful narrative device, but it is clear that Cloud and Aerith were never destined to end up together, further dispelling the notion of a love triangle.

Zack and Aerith’s Long Lost Love / Tragic Love (Canon)

Zack and Aerith’s relationship is the quintessential tragic love story in Final Fantasy VII, defined by separation, longing, and loss. Aerith’s first love, Zack, vanishes from her life without explanation, leaving her with unanswered questions and unresolved feelings. Even as she begins to move forward, her heart never fully lets go of Zack, who is revealed to have fought valiantly to return to her—only to tragically lose his life in the process.

The tragedy of their love lies in the fact that both characters hold onto each other, but fate conspires to keep them apart, making their love story one of the most emotionally poignant elements in the game. Even in death, their connection endures, with Zack and Aerith appearing together in the Lifestream in ACC, symbolizing a love that transcends life itself. This arc, while bittersweet, resolves the narrative of Aerith’s romantic life—Zack was her true love, and Cloud was a reflection of the man she had lost, not a new love interest.

Their tragic love story dispels the myth of a love triangle in Final Fantasy VII, emphasizing that Aerith’s heart always belonged to Zack, even as she developed a bond with Cloud during her journey.

All of the relationships in the game are important. However, Cloud/Tifa & Zack/Aerith are the canon, mutual romantic relationships of Final Fantasy VII. Cloud/Aerith have a cherished friendship, but any romantic subtext of their relationship in the game is used as a vehicle to drive the conflicts and truths of the canon relationships forward. This is accomplished through illusions and subversions in storytelling, as well as creating internal conflict for the characters and canon relationships.

FFVII’s storytelling is deliberately designed to mislead the player through incomplete truths and emotional misdirection, including the use of red herrings, illusions, unreliable narration, and the omission of critical information or context. Cloud’s confused memories and persona, coupled with Aerith’s initial attraction to him based on his similarities to Zack, create the illusion of a romantic triangle, but the deeper truths—Cloud’s unresolved trauma and false identity, Tifa’s role as the keeper of Cloud’s real past and his true feelings, and Aerith’s ultimate fate as the Planet’s protector and her true love being Zack—gradually dismantle this illusionary love triangle.

I cannot stress enough that FFVII is not a love drama or soap opera where the game’s conflict centers on romantic rivalries, betrayal, deception, or morally questionable behaviors.. It’s a complex story that focuses on themes of life, loss, identity, self-discovery, legacy, and on and on.

Love - all kinds of love, including romantic, platonic, and familial - is a theme of FFVII, but truly and holistically, not for the sake of creating meaningless drama between the characters. The relationship dynamics appear messy at times in the earlier parts of the story, but these dynamics are designed to help us reach the proper conclusions about the story and the characters’ arcs, and how true love is a vehicle for reaching resolution for both.

Player’s choice is irrelevant to the plot. You cannot decide or alter the story structure or direction or individual character arcs or relationships. The most you can do is view the game through a slightly different lens by gaining an expanded understanding of character arcs and motivation with new replays.

Shipping is a fandom construct. It’s meant to be fun, and you can ship whatever you like. But shipping doesn’t intersect with the facts of a story or its narrative. Lying about any piece of media to convince yourself or others of its canonicity is bizarre behavior.

Respect the work and its intention, while having your shipping fun within your fandom. Don't embarrass yourself by saying an FF protagonist kissing the girl he’s loved since childhood and joined the army to impress means nothing, or worse, proves he the opposite of a hero.

You can ship your fanon without doing all that.

Last thing: Reunion is a primary theme of Final Fantasy VII. You may have noticed that it is also a primary theme for both of the canon romantic relationships. Personally, I believe that Part Three is going to drive this message home in a way that is unmistakable. I also believe that both lovers' reunions will be instrumental in resolving all of the conflicts of FFVII in the final game.

It’s not a coincidence that both reunions will take place in the Lifestream, or that they've been foreshadowed by the presence of the yellow flower.

I also believe that the dual Rebirth cover arts, described by Tetsuya Nomura as Sephiroth "tearing Cloud and Zack's worlds apart" are heavily foreshadowing the resolution of these relationships along with their connection to the the larger story structures of FFVII/FFVIIR.

Let's wait and see when Part 3 comes along.

#ffvii #cloud strife #cloti #tifa lockhart #final fantasy vii #ffviir #ffvii remake #ffvii rebirth #ltd #love triangle #love triangle debate #shipping discourse #shipping dynamics #shipping drama #shipping discussion #shipping debates

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galaxiasgreen · 7 months ago

Text

🍭☀️A Cruelty Vivid and Sweet

Slow burn angsty Ominis x F!Reader [T-Rated, 8.5k words]

Anne, Sebastian, you. Three of his friends that had been torn down and asunder, he the unwitting knife. He wondered how high he would have to build the walls around his heart to protect himself and the ones he cared about. If he could only offer pain and ruin, after all, perhaps it was better not to offer anything at all.

In which, with you comatose through an unknown curse, Ominis navigates the difficult aftermath of Sebastian's choices.

Tags: angst/ romance/ drama, slow burn, black cat x golden retriever, opposites attract, forbidden love, pure-blood culture, canon rewrite, book!canon compliant, comas, sneaking into the Slytherin common room, Ominis tending to you at your bedside, love triangle, Touch Her and I'll Kill You.

[MASTERLIST][FIRST][PREV][NEXT] [read on AO3, read on Wattpad]

5. Pick Your Battles

He was quiet at your bedside, and so were you.

After Anne had Disapparated, Sebastian had fled, and Missy had chased after him, Ominis had sobbed over your broken, cursed body. He'd sobbed and screamed and raged until his throat was raw, until not even the coldness of the night gave him solace. When the stench of Dark Magic finally evaporated in the air, and the wind threatened to blacken his fingers, he knew he couldn't lay there with you anymore, mourning the demise you were so close to embracing.

He'd carried you all the way to Feldcroft, wand awkward in his hand as your body, so light in your unconsciousness, lay motionless in his arms. By the time he got there, exhausted, distressed, destitute, Solomon had been buried in a shoddy mound in the garden and Anne had disappeared, and the villagers had expunged the last of the Inferi, leaving behind a burning stench of the dead and multiple grievous injuries.

No fatalities. Good. Ominis didn't think he could handle anymore death.

The villagers tried to help you, but no Wiggenweld nor smelling salts roused you, and no bottled formula for minor curses worked. As you lay in Anne's abandoned bed, someone contacted the school, and eventually Professor Hecat Apparated to the door.

"Goodness gracious me—" She placed her hand to your forehead, fussing. "Are you all right, Master Gaunt?"

He couldn't say a word. He had been cleaved too much for explanations.

Hecat didn't press. "I've organised a Floo point directly to Madam Blainey's office. We'll go straight away."

He squeezed your hand as Madam Blainey did all the necessary checks – vitals, blood pressure, and heart, a slow and thudding beat. Never did it fluctuate. Never did you show any other signs of life. Blainey shooed him out as she worked, and he slept fitfully on the stairs outside until Hecat found him again, an hour later.

"Go to your dorm and sleep, Master Gaunt," she said firmly. "I promise, as soon as Madam Blainey has something to tell you, you will know."

He slept no better in his own bed. It was right next to Sebastian's, after all. Empty.

Afternoon rolled around by the time he found slumber, but it seemed like only a few hours later when someone roused him with news of Missy's return. He could barely find it in himself pry open his crusty eyes, let alone wash and dress, but he found her waiting outside, restlessly pacing.

"He fled," she said, once he was close enough to hear her whisper. "I tried to talk him down, but he's gone."

He swallowed this information about as well as a whole melon. His voice was raw. "And Anne? She wasn't at the house this morning."

"Also gone. I saw the grave in the back garden."

He expected no less. "Have you told anyone about— what happened?"

"No."

And though it pained him to say it, "We should. We must."

With Sebastian gone, Solomon dead, and you hospitalised, there was no way they couldn't.

"Let's go see Gibby," Missy said. "Perhaps she's woken."

He knew that, even before he got there, it was pointless to hope. You were the same as he'd left you hours ago – deep in a restless slumber and mumbling incoherently. Terror simmered low in his chest. What if this was it? What if he'd condemned you to whatever this was for the rest of your life?

"She's stable," said Blainey, once they'd seen to you, "but whatever curse she's suffering keeps her in fits. I can only assume its remnants of Dark Magic, something I cannot even attempt to heal without proper knowledge of what, exactly, caused it in the first place."

Ominis swallowed, but his throat was still dry.

"Now is the time for explanations," said Professor Hecat sternly. "I understand you've both been through much, but we need to know everything to help her."

Missy took the rein of conversation, admitting every horrible detail of the truth – finding the relic, Sebastian's desperation, and then his committing the ultimate crime against his uncle, and finally cursing you. Ominis noted she left out the Feldcroft massacre – perhaps, then, that was a conversation for another day.

"If this relic has been destroyed," said Blainey, thinking aloud, "then it will make finding a cure difficult indeed."

"The headmaster and deputy must be informed, as will her parents." Hecat was grave with sorrow. "Why didn't you tell one of us? Master Sallow could've been helped."

"You would've expelled him the moment you find out he was meddling with Dark magic," Ominis barked back. "What were we supposed to do?"

"Hiding a problem has never been a solution, Master Gaunt," Hecat said evenly. "And I think you've learnt that lesson, because now someone has paid the price of it."

She and Madam Blainey left soon after, which gave him and Missy time alone with you. Neither of you spoke, occupying a side each of your bed – nothing more could be said, not with the situation so fresh. Headmaster Black would want to see them soon, and then there was no escaping the steamtrain of consequences heading for them then.

He took your hand and rubbed down the fingers. You were warm, which filled him with a vain sort of hope. A cure. Ominis almost laughed at the cruel irony of it, of the desperation that trounced all other emotions welling inside him. He understood Sebastian's singular goal now, intimately, when all he loved was dying before him. Now, of all times, he gained perspective on what it was like to scour the earth to save someone, no matter who suffered for it.

This wasn't what Sebastian had wanted. No, he'd warned you to stay away.

Perhaps that was what was most wicked about it all. He never meant you harm, not now, not even during the Scriptorium. You and Sebastian weren't just best friends – you were gremlins together, thick as thieves, chaos incarnate. Sebastian's infinitesimal knowledge bound with your naïve vanity and, for lack of better phrase, blind optimism, made an elite pairing that often resulted in nonsense that both Ominis and Anne had to endure and, occasionally, rein in.

But you and he were like a pair of Diricawls. Uncatchable.

"Please?"

"No."

"Pretty please?"

"No."

"Pretty please, with hundreds and thousands?"

"I don't know what hundreds and thousands are," said Ominis, "and the answer is still no."

You went, no doubt, to explain what said things were, drawing in a great breath, but Sebastian chimed in with, "Come on, it'll be fun, and no one will notice because everyone will be in bed."

"And you know I'm desperate to see the Slytherin common room!" you said, spectacles bouncing on your nose.

Second year by the bank of the Great Lake, spring had come to Hogwarts. Crickets, squirrels and birds sang the song of life, a distracting albeit pleasant harmony for Ominis' ears. You had brought out a picnic blanket and some food – sandwiches, not just sweets – to nibble on during the lunch hour.

Your mouth was full of crumbs. "You two and Anne keep going on and on about how cool the common room is and how atmospheric the decorations are and how the ambience is perfect for manly brooding."

"I definitely did not say that."

"... Okay, that last part was Anne, but—"

"We're not sneaking you into the common room." He pointed his wand at Sebastian. "And you, stop encouraging her. Even if we went at night, there would be prefects in the hallways—"

"Elizabeth Nott always uses her patrolling duty to snog her girlfriend behind the kelpie statue," Sebastian said, smug, "and Wymond Lee is dumb as a rock and can have his silence bought by Chocolate Frog cards, of which, Gibby has loads."

"I am willing to sacrifice my rare Merlin card if it means I can see the Giant Squid," you said primly.

"Both of whom are on duty tonight. So, the plan is: Gibby will sneak out halfway to meet you, then you bring her through the entrance. I'll keep watch and distract if necessary."

Ominis massaged his head. What the hell had he got himself into?

"You've both thought of this."

Sebastian snorted. "I thought about this."

"I offered moral support."

"You held the quill."

"Heck yeah for holding the quill!"

You high-fived each other.

Ominis grumbled. "It's a stupid plan."

"Stupid is a misunderstood word for genius," said Sebastian.

"Is that what your excuse will be when we're caught?"

"We won't get caught, you Negative Nancy," you huffed.

"And I have a backup plan for my backup plan if all hell breaks loose." Sebastian bumped Ominis' arm. "Pretty please?"

You clapped your hands together. "Pretty please, with a cherry on top? It'll be fun! A stealth mission."

It was more than that, he knew. You'd been wanting to go to the Slytherin common room since you'd known them. He could sense your disappointment every time you parted ways at the end of the day, splitting off to head back to Hufflepuff.

And when you felt left out, he felt guilty.

"Fine," he said, "but only if Anne agrees. Which she won't, because even she knows when we're in over our heads."

But you cheered, and Sebastian laughed. "Oh, you poor sod."

Anne did not, in fact, know you were in over your heads.

"Oh, I'm definitely coming," she said, flapping her sleeves as she joined them by the bank. "You'll need someone who can see. And I can let you borrow my robe! Then you won't stick out if someone does catch us."

"You can't put a hat on a Mooncalf and call it a man," Ominis muttered.

"Rude," you said, affronted. "I am much cuter than a Mooncalf."

"Not the point."

"Don't be mean, Ominis," said Anne. "You can pretend to be a Slytherin fine, can't you, Gibby?"

"Of course I can!" You mocked his highbrow accent then. "Greetings, what ho, I am Ominis Aloysius Queen Victoria Snakeman Gaunt, most noble wizard of Slytherin House."

"I sound nothing like that!"

Sebastian burst out laughing. "You sound exactly like that, Mr I Enjoy a Glass of Wine in the Evening."

Ominis scowled. "Wine tastes nice, all right?" It only made you and Sebastian and Anne laugh harder. In the end, Ominis couldn't help but smile. "You three are horrible."

"That's why we're your best friends," Sebastian declared heartily. "All right, I've taught all of you the Disillusionment charm, so you'll rendezvous at half past one. Be careful and tread lightly, especially you, Gibby. I know you're prone to... well, everything."

"Rude," you said again, "but fair."

Before you scattered for afternoon classes, Anne leant you one of her robes. She was taller than you, but not by much – and some illicit use of the Shrinking charm made the fit perfect by nightfall. She was terribly giggly when curfew was enacted, and the students sent to their dorms. Ominis and Sebastian waited until one o'clock before they slid out of bed and redressed in casual shirts and trousers.

Anne was waiting by the pond when both boys arrived. "Ready for Operation Slytherpuff?"

"Please tell me you didn't think of that name in advance," said Ominis.

"Of course I didn't... it was Gibby's idea."

Disillusionment cast, the three of them climbed the stairs, tiptoed out of the common room, making sure that the snake décor was dormant before they treaded onwards through the castle. Sebastian dropped off closer to the patrol route to keep an eye out, whilst Ominis led Anne from the point of his wand, up the dungeons to the Grand Staircase, the meeting point. Sebastian didn't trust you not to trip as the stairs appeared, so Ominis and Anne were to meet you there.

By some miracle, you were already waiting. He could hear you, crouched behind a pillar, a ripple in a still pond.

"Peeves almost spotted me, so I had to use a basic cast to distract him," you whispered, "but otherwise I got here a-okay!"

That was slightly concerning there'd been little resistance so far. He pivoted on heel, wand out, letting it guide him back. Now that you had been collected like contraband, each snick of noise sent his nerves tumbling, turned his feet to lead. Your excitement could barely be contained – you were like dynamite, constantly on the edge of detonation. This was not the first time he'd broken the rules so magnanimously, but it might've been the first time you had.

A patrol passed by on the way back, but Ominis had sensed them long coming, and stuffed the three of you into a corner until they passed.

"That was Elizabeth Nott and her girlfriend," Anne whispered, once they were gone. "We must be in the clear."

Only, when you returned to the dungeons, Sebastian wasn't there, and Wymond Lee was nowhere to be seen either.

Ominis grounded his teeth. "If Sebastian has been discovered—"

"I'm sure it's fine," reassured Anne, but her inflection betrayed worry. "Let's keep going. He'll know to meet us inside anyway."

When the dungeons were in the sight, Anne used Homenum Revelio to detect any whispers of people that he might've missed, but when the spell came back cold, the three of you trekked to the common room entrance. The wall reacted at once, the snake curling upwards to reveal the door.

"You first, Anne," Ominis said. "Open the door—"

"Wait," you whispered. "Can I open the door?"

"You don't know the password."

"You can just tell me the password."

"I can't give you the password!"

"Oh, for goodness sake," Anne chided, "it's Serpensortia."

"The password for the snake house is literally the spell for snakes?" you questioned, even though he could only shrug in return. Not like he chose them. "All right, fine. Serpensortia."

The door groaned open. The antechamber was empty. Still no sign of Sebastian.

"Should we be worried?" you asked.

"I'm going to assume," said Ominis, "that Sebastian is inside waiting for us, and hasn't done anything stupid—"

"Whoever you are, stop right there!"

Wymond Lee's voice punctuated the silence from down the hallway.

"Quick!" Anne muttered, shoving you. "Go, go!"

You and Anne were through by the time Ominis heard Sebastian's thudding sprint.

"Hide!" he squeaked. "Hide inside!"

You had lagged for him, but Ominis scrambled inside and shunted you forwards. When you paused on the spiral stairwell, probably in awe of the waterfall feature that drowned his hearing, he grabbed your robe hood and ran down the stairs, you scrabbling to keep up.

Sebastian was hot on his heels, and Wymond wouldn't be far behind. Without time to think of anything better, Ominis pulled you up onto the walkway for the boys' dorms. You clung to his jacket, terrified and struck with wonder, and he pressed a finger to your lips. He didn't know why he noticed then, but they were pleasantly soft, curling around his skin, and it sent a new flutter through him that had nothing to do with the prefects.

Sebastian's shoes clunked onto the walkway a second later, and he almost crashed into Ominis. "Whoa—"

"Ssshhh!" Ominis hissed.

He crouched, vibrating with adrenaline. Anne had fled elsewhere – he couldn't hear her. A minute later, more boot steps clopped down the stairs, noisy as a train. Wymond hesitated by the noticeboard.

"I swear, if you're a Slytherin, you better reveal yourself right now!" The boy's voice was slightly funny, warbling in a strange way, yet fear riddled Ominis, and you grasped him tightly. "I'll— you'll get in trouble! I swear it!"

Ominis didn't move. Sebastian didn't move. You didn't move.

And Wymond let out a gruff, frustrated noise before climbing back up the stairs.

They waited a few moments in case their antics had alerted someone else, but when the common room was still, quiet, he suddenly became aware of how close he was holding you, of his finger sealing your mouth closed, and his heart gave another conscious lurch before he let you go, cheeks burning.

They'd done it. Snuck you in and made it unscathed.

"I— I can't believe that worked."

"Neither can I," you whispered – and perhaps he was reading too much into it, but your voice seemed dry, like breath had been stolen from you. You shrugged off the Disillusionment charm. "Great Scott, Sebastian, what did you do?"

Sebastian threw off the illusion too. "Got him with a Bee-Sting jinx, didn't I, when he started walking your way."

There was a moment of pause.

Then you were both laughing, hysterical high-pitched giggles that echoed along the tunnels.

"He didn't even try to find us! He just gave up!"

"Because he was embarrassed! Merlin, you should've seen his face, Gibby! It was as red as a tomato!"

Your infectious laughter brought a smile to Ominis' face.

"Anne?"

Her footsteps revealed her behind a set of chairs, muffled by carpet. She was laughing too.

"Merlin's beard, he was so... puffy!"

Soon you were all laughing, desperately trying to keep quiet. "You are mad, Sebastian," said Ominis, relenting.

"Genius," Sebastian corrected. Then he turned to you, grandiose. "Welcome to the Slytherin dungeon."

You could only stay for an hour, but they let you take in the sights. It was like first year again, when everything enthralled you, from the high ceiling that amplified every sound, to the wide vastness of the space ("It's big enough to do five cartwheels in a row!"). The drapes like silk, high-backed chairs that made you feel posh, your words, and the macabre deer skulls you thought had character. You didn't even mind the disdain of the paintings, muttering about you, the Muggle-born intruder. Ominis always thought Slytherin's common room damp and unwelcoming, gloomy like incoming rain, but somehow you found joy in every small thing.

"Oh," you said, and he knew you had finally spotted the most striking feature. "Is that...?"

"The Great Lake, yes," said Anne.

You pressed fingers to glass. He'd never seen the view, of course, but he'd found the windows icy every time he touched them, and the sound beyond haunting, like the waters were pleading for something it could never find.

"Eerie, isn't it?"

"Not at all. I think it's beautiful."

He smiled at that.

"If you're lucky," he came to your side, "sometimes you can see mermaids at the window."

"Mermaids? No way!" you bellowed. "How often do they come? Are they are pretty as they say? Will they come now if—"

He couldn't help it. He started to laugh.

You swung around as Sebastian and Anne did, too.

"You're all mean."

Sebastian teased. "Least we're not gullible— ow! Gibby!"

You all sat in one of the window alcoves then. Of course you'd brought sweets – midnight snacks, you called them – and chatted as you tried to stop the Chocolate Frogs running away. Fatigue cloaked him, but he enjoyed the time together, and entertained your desperation to play hide-and-seek (he won every round, as you were terrible at keeping quiet). When you were all tired, you resorted to teaching Sebastian how to play thumb war, squirming with laughter when he distracted you into losing, which made them all giggle like there was nothing wrong with the world.

Ominis was revelling on the high of the night's success so much he completely missed the new set of footsteps until they were before him.

"Having a party, are we?"

He choked on a salted peanut. Wymond Lee – back early from patrol.

"I knew it was you, Sallow! Your arse is about to face punishment for weeks. And who else do we have? Your sister and Gaunt... not surprising. And... I don't recognise you." His wariness tripled. "Are you a Slytherin?"

Hat on a Mooncalf.

"Of course I am— I-I mean, how dare you question me, a Slytherin!" You were about as fearsome as a sleepy Puffskein. "Behold my green robes! And my, er, deep distrust of Muggles! Go pure-bloods!"

Ominis facepalmed.

"Wait a second. Aren't you... a Hufflepuff?"

"Hufflepuff? Me? Nooooo..." You laughed nervously. "Erm... trade you my Merlin card?"

That had landed all four of them in the bowels of detention the next day. Neither you nor Sebastian nor Anne were bothered though, despite the lines upon lines of I must respect house boundaries you had to write. You were just happy you got to experience the place for yourself, and Sebastian was happy for you, happy his plan worked for a time.

Where was he now? Did he remember that together you made chaos – the good kind, never the bad? Was he thinking about the state of slumber you were cursed to suffer, because of the relic he wielded?

Ominis was thinking about it a lot when the headmaster called him to his office.

Usually the place was so quiet. It was, as much as he hated to admit, a nice place to visit, even when the circumstances of said visits were never good – a sensual reprieve from the turbulence of Hogwarts life, with only the whistling wind outside any indicator that time was passing. Black never liked to keep 'noisy' things in his office, preferring the total silence, and the paintings were never particularly chatty in his presence.

Now the solitude bagged him down. He couldn't distract himself with a random ticking or clacking or cawing. It allowed his thoughts to boom, loud and clear, with no pardon from the truths they forced him to confront.

When Ominis finished recounting the whole sordid tale, he was on the verge of tears again, and there was another lump in his throat, bloated and painful. He'd be damned before he leaked a single drop in front of the headmaster, though, and Black, to his credit, was silent even afterwards, chair squeaking as he shifted his body weight.

"Well, that's quite the story." He tutted suddenly. "You promised me, Gaunt."

"Promised—" Ominis gathered himself. "Promised you what, sir?"

"That you'd behave." His chair groaned. "So, at the end of all this, Sallow used the Killing curse on his uncle."

He couldn't twist it anymore – he didn't think his fractured heart could take it. Even if he did try to downplay Sebastian's actions, there was no denying that the Inferi had overrun Feldcroft in his wake, before Anne returned with the body that settled it all.

"Yes, sir."

"Solomon Sallow, dead. What a surprising turn of events." Black didn't sound particularly sad. "Really, this is dire stuff, Gaunt. Dire. Do you know how much paperwork this is going to cost me?"

"I imagine quite a lot, sir."

"That hardly scratches the surface. Now the Ministry will be asking me hard questions – like how a sixteen-year-old got his hands on materials that could teach him Unforgivable Curses." He leant forwards. "You don't know them too, do you?"

"No," Ominis grounded out, not bothering with the polite epithets.

"I'm going to choose to believe you for my own peace of mind." A shuffle of parchment, a slosh of an inkwell. "Well, there's really nothing else to it. If the Feldcroft residents haven't already reported this fiasco to the Ministry, I will. And as of right now, Sebastian Sallow is immediately expelled. I imagine he'll go to Azkaban."

For some reason this punched Ominis in the gut. "Azkaban?"

But of course, Azkaban was the ultimate punishment for this sort of crime. He'd killed someone, and not in self-defence. All murderers went to one place and one place only.

"You think he can be kept on Ministry premises?" sneered Black. "Absolutely not. Might take a liking to using the Killing Curse on everyone."

But to place him amongst the rapists and serial killers? To thrust him under the same umbrella with the likes of Ranrok, and Rookwood, and Harlow? Poachers and bandits and thieves and terrorists, with no goodness within? A boy, sixteen years of age, with wizards twice as old and evil?

"But— he can't just get sent there. He was only trying to help his sister—"

"And I'd like a million Galleons and an all-expenses trip around the Caribbean, but that doesn't mean I'll murder anyone to get it. Miss Sallow is not here laying thick his praises, is she? And the boy ran! That's practically an admission of guilt." Black scratched his beard. "I'll have the best Aurors find him. I'm sure he'll turn up eventually. Let's not speculate what the Wizengamot will decree, hmm?"

"He—" Another blow. "The trial will go to the Wizengamot?"

"Most likely, of this scale and remarkableness." He made an oddly appreciative noise. "You certainly know how to pick your battles, don't you, Gaunt? First the cursed girl, now a wanted fugitive and a comatose Muggle-born."

Ominis was rendered speechless at that.

Because he's right. That traitorous voice in his head sullied him. Because everyone you care about will turn on you eventually. Because having your trust and friendship and love is a curse in itself. It is a cruelty.

"I hope you're not the uniting factor here," Black was saying, "though I'm sure that wouldn't disappoint your parents as much as it should. They did always think rules were meant to be broken." He tapped his desk twice and rose. "Now, off with you, and send the girl in. I want to put this whole ruckus behind me as fast as possible."

None of this should have surprised Ominis, yet his gut churned, and nausea wrestled up his gullet as he found Missy waiting outside, pacing.

"Did he say anything? About Sebastian?" she asked at once. "Will he be expelled, or—"

"Just go in," he forced out, dizzy. "You'll find out for yourself."

Professor Black was right – he was the determining factor between this mess. Anne, Sebastian, you. Three of his friends that had been torn down and asunder, he the unwitting knife. He wondered how high he would have to build the walls around his heart to protect himself and the ones he cared about.

If he could only offer pain and ruin, after all, perhaps it was better not to offer anything at all.

He owed it to you, however, to stay by your side until you woke. You would need readjusting to the world after Sebastian's mess. So, with Missy, he did – every day, after classes, silent as a shadow, massaging the tips of your hands, encouraging you to wake. Every day, he waited for news on Sebastian's capture or Anne's return, and felt at once gratitude and anger when he got neither.

You were plenty popular, judging by the visits from your other friends. Once word spread you had contracted a curse over the holidays – means classified – your bedside was a popular place to be. The third day he came to see you, you were surrounded by your Gryffindor crew – Natsai, Cressida, Garreth and Leander, plus awkward Mahendra Pehlwaan, who had taken a book of curse remedies from the library and was trying some of the more basic ones on you. Adelaide, Evangeline and Arthur visited almost as often as he did too, singing bad songs and giving you the hugs, hoping to stir you into consciousness.

Sometimes you did stir. Ominis was alone the day you recoiled suddenly, out of his grip.

"Please..." you mumbled. "Ominis..."

He sat up, heart thumping. This is it. This is when you wake.

But you didn't.

His wasn't the only name to pass through your lips. You often mentioned Sebastian, Anne and Missy too. Your parents, plus your brothers, Connor, Ellian and Tam. The people you cared for. He hoped, with how frequently you spoke them, reverent and yielding, that the memories were protecting you from the brink of death. The memories were keeping you safe.

But those days weren't meant to last.

"I think it best we transfer her to St Mungo's."

Winter had succumbed to spring, yet Madam Blainey's words were like ice to his heart. The wizarding hospital in London would have more resources for your care, it was true – and he knew he should never say no to a chance – but if you were moved there, he couldn't visit you. Ever. His family had far too many connections at the place for him to discreetly keep you company. If he was caught in public, waiting on a Muggle-born, his parents would see to it that you never woke up.

"There's absolutely nothing you can do?" he asked Blainey.

"She needs a curse-breaker. I can heal maladies, but this... I've exhausted every option I know."

He told this to Missy later that day in the common room. By the lake windows, in fact, the very place you had once loved.

"We could visit her. You could cast Disillusionment."

"It's not a perfect spell. Someone would see me, and unfortunately I'm very distinctive."

"Let me ask some people I know, some people in the village who owe me favours. They're curse-breakers. One of them might be able to help her, and that way she can stay here."

Missy felt partway responsible as he did, and she poured herself into researching a cure. With Slytherin's spellbook torched, she had resorted to illicit trips to the Restricted Section to quench her search – and he worried she was taking it too far, as Sebastian once had. But Missy reassured him that there was nothing in the world that would let her fall from grace as hard as Sebastian had.

As Professor Hecat had said, they had learnt their lesson.

When the Easter holidays rolled closer to the present, Ominis was once again at your bedside. You no longer smelt of your trademark strawberry laces – Blainey attended to your hygiene with a scentless clinical wash – but your hair had grown longer now. He tangled it in his fingers, hoping and hopeless.

The approaching footsteps forced him to pique, familiar but not enough – an odd, lumbering gait, like a baby learning to walk for the first time. He pulled himself back, wishing to hold you again as the person came through the ward curtain.

"Oh, Ominis," said the wary voice of Leander Prewett. "Didn't think you'd be here by yourself."

His tone rankled Ominis. "Why wouldn't I be?"

The boy took the free seat on your other side. There was some floral musk following him – Ominis realised all too late it was a bouquet of flowers. Daisies, your favourite.

"Just that you weren't really friends anymore."

According to the world, you weren't. It was your shared façade working against him now, no fault of anyone but his own, and still a deep sense of loathing rolled through him. Your other friends had accepted that he was here, day in, day out, without question. What was it to Leander, then, if he wanted to keep you company during the slow hours of your convalescence? Ominis hadn't realised how close with him you'd become during fourth year, a terrible lapse of judgement – something about Leander coming to sit at your side, alone, lodged uncomfortably beneath his collarbone like a building scream.

Leander cleared his throat and stuffed the bouquet into an empty vase behind you. "There. Looks better, doesn't it?" A pause. "Oh, sorry, I mean— how is she?"

"No change."

"Figures." He shifted. "Wow, her hands are so... warm."

He's touching your hands. That feeling under his collarbone boiled. "Of course they're warm. She's not dead."

"All right, all right," he blustered. "Not touched many girls in comas before."

That word. Coma. It felt so final, so unending and forlorn. Muggles in comas weren't known to wake up very often; wizard-induced comas were much the same. With the wide breadth to the boundaries of magic came a similar scope of the unknown – maladies incurred without any sense of how they could be reversed. If they could be reversed.

Despair threaded through his annoyance. You'd said it yourself once, meant for a different time but still applicable – he had to believe you'd wake up from your nightmares. Otherwise you never would, and he would never forgive himself.

"What's the latest from Madam Blainey?" Leander asked instead. "Are they going to move her to St Mungo's?"

The stalling tactic had worked. Missy cashed in her favours with some curse-breakers, and they had agreed to attend to you themselves.

"Until all options are exhausted," he said, "she stays here."

"Right." Leander sat forwards again. "Gibs, if you can hear me... you have to wake up. It's strange you're not sitting next to me in Transfiguration anymore, where I can't laugh at how your voice goes funny when you're casting spells or collude on essays before Weasley gets in. I missed getting a box of truffles this year from you too. Everyone's talking about you. Might make a boy jealous, with all the attention you're getting." He let out a mirthless chuckle. "Look, you can't stay in bed forever. You're missing out on too much. Garreth exploded a potion that turned Cress' hair green. Missy also beat me in Summoner's Court – I let her, mind, but it would've been nice to have you cheering me on. And, er, Ominis looks like he'd kill a man if it would get you to wake up."

Well, if killing a man did work, Ominis had someone in mind.

"And I... well." Leander turned pensive. "I miss your fun, and your jokes. At your expense, but sometimes mine. Mostly you. Just... come back to us, all right? I miss you— er, we all miss you."

He tapered off, which only turned that boiling in Ominis' chest into a crashing roar. It was totally irrational that he should feel angry at Leander professing his sorrow at your condition – but he did.

And he refused to acknowledge why.

"Right. Piece said," mumbled Leander. "In the stories this is the part where you wake up, roused by my inspiring words of encouragement, but..."

"This isn't a book," Ominis said, cutting the daydream off like a gangrene limb.

"No," Leander agreed sadly. "No it's not."

You shuddered then. You must've heard them, must've thought to play a fun trick. Both boys sat up at once, Ominis like a rod had been inserted up his spine.

"Leander..." you mumbled.

Leander clutched your hand. "Yes, yes! I'm here! I—"

"Hnn..."

You fell silent again. Ominis couldn't decide whether to despair or rejoice.

"She said my name," Leander mumbled, unfurling with hope. "You heard it. That... that's good, right?"

"She says my name all the time," Ominis said, knowing it would dig.

It clearly did. "Oh. Yeah. Of course."

Yet despite his best efforts, Leander stayed at your bedside for the rest of the hour, using your legs as a surface to scribble his Transfiguration homework, rambling about inane things, encouraging you to speak again, to wake up, until the bell rang for dinner and he gathered his things to go.

"You'll let me know if anything changes, right?" he asked Ominis. "Just want her to know she has a friend when she wakes up."

"I am her friend," Ominis pointed out.

"Are you?" It was an innocent enough question, but there was edge to it. "Because you weren't there for her during fourth year. I don't know what you two argued about – she never told me – but it made her depressed for weeks." He hauled his satchel and began to walk away. "Doesn't seem like friend behaviour to me."

He left with the last word, because, by the shame that washed over him, Ominis knew he was right.

He was still paying the toll for his mistake now – emotionally, physically. Staying with you day after day, week after week, was like witnessing the leaves fall off a tree in autumn, a slow but ever incoming caress of death. He lost hope, each piece that chipped off warping into frustration at himself, rage at his errors that he didn't protect you sooner, that he couldn't protect you at all.

I'm not losing you again, Ominis Gaunt. Hadn't he vowed on that day he didn't want to lose you too? Hadn't he vowed you were his family, fire for his hearth, wind for his sails, comfort for his home and shelter for his heart?

Yet here you were again. Sweetness, stolen. Vivacity, dimmed.

And it was all his fault.

Finally, when O.W.L.s were fast approaching, and when Missy's curse-breaker friends admitted they needed more advanced resources, Blainey gave the news that in about a week's time you were to be moved. St Mungo's had better long-term care plans, and your parents were despondent, desperate to see you. A week was all he had left, and then he wouldn't see you until you came back. If you came back. Perhaps you would never wake up – and he would never be with you again. That tore a whole new emotion through him.

It was late, but he paid you a visit anyway. Missy was already there – simply present at your side. You slept, soundly for once. A respite from your fidgeting.

"Hello, Ominis," she greeted. "No change."

He thought not. "I haven't heard anything from Anne. Sebastian?"

"Reportedly the Aurors had a lead on Sebastian's whereabouts – south somewhere, near Motherwell." It was mad to think he'd evaded them for so long. "I suppose we'll find out soon."

She tried to sound like she didn't care, and failed miserably.

"Thank you for letting me know." That emotion crossed him again. "I ought to go."

"You only just got here—"

"I'd better get used to it," he said, determined not to let her guilt him. "I won't be able to visit once—"

"Forget your damn family, for once," Missy hissed. "Gibby needs you."

"She's comatose. She doesn't need me."

"And when she wakes up?"

"If she wakes up."

"Listen to yourself! It's like you've already given up!"

"I haven't," he insisted. "I'm just tired watching everyone I care about—"

He didn't finish, the thought broken. Foolish, foolish Ominis—

"Easier to push everyone away, right?" Missy said, calmer now, yet sticking the metaphorical knife in his chest. "Easier not to feel pain if you don't care about anything?"

He clenched his wand. "I shouldn't have told her to come—"

"She chose to fight for Sebastian. Not you." Suddenly she was on her feet, grabbing his sleeve. "Now sit."

He sat, only because she was terrifying when in command, and her grip was like iron.

"I'm going to tell you something that I should've told you a long time ago."

"And what, exactly, is that?"

"Why I'm searching for redemption."

The retort died on his tongue.

"I doubt you've heard of my family name before?"

He wracked his brain, but no, her surname did not seem familiar to him. "It's not a pure-blood name I've heard of."

"No," she said, "but I was rich."

"Is that supposed to impress me?"

"The Gaunts are old family rich," she said. "My family was you can't fathom it rich. I used to own half the shops of Diagon Alley."

He quietened.

Her voice was meditative. "My parents were business tycoons. Extraordinarily wealthy. They were responsible for much of the economy, here and across the world. Had their fingers in every pie, pulling strings in every market. Whilst I was raised here, they were leaping from country to country, managing their estates and businesses and stocks. They had their pockets in almost every Ministry worldwide, and every newspaper too. I was raised in the country, in a huge mansion. Alone."

Loneliness. He understood that too well.

"My parents left me in the care of my governess, carer and tutor, Acantha Bitterwood. For years she raised me. I grew to love her like a mother, and she love me like a daughter. When I was old enough to have conversations, the comments started. About how she wished my parents could see my progress, shame they're away, they'd be so proud if they were here. They're so busy, always. Too busy for you.

"My resentment grew. Every day, for years, it grew and grew, festering like rot. Soon I didn't like them anymore. Soon I hated them. Soon it was pure loathing. With every breath I took, I despised them. Acantha had befriended them and gained their trust for over a decade, yet encouraged this, poisoning my mind – I was consumed with anger." She took a breath. "That anger eventually culminated into a plan. A rare time when both my parents were in this country, together. She gave me the idea. When they slept, in separate rooms, I took a knife from the kitchen. And I slit their throats."

His wand hand stilled in a way a predator does before leaping at prey.

"Yes," she said, as if reading the horror splattered on his face, "I murdered them."

It jarred every bone in his body.

"When the deed was done, I felt elated, like I'd finally ridded the world of an incomparable evil. Only then did Acantha turn on me. As my long-time carer, my wealth was hers until I was seventeen. She'd prepared me for years and years, every day readying her schemes, waiting for the moment she could turn me in and steal all my assets and wealth."

"But then— why are you not in Azkaban?"

"I was a Squib until that point, remember? The Ministry didn't want to deal with me, not when I'd used a Muggle weapon, but they certainly couldn't go to the Muggle authorities for fear of exposing our world. I was sentenced to a wizard juvenile detention centre under special circumstances. I was there for a year, stuck in limbo as the Ministry decided what to do with me... and then my magic awoke. Explosively and without warning. It destroyed the entire place. The Ministry covered it up, and... then Professor Fig came to me. He argued to bring me to Hogwarts."

How strange of him, to agree to take a murderer under his wing. "Do you regret what you did?"

"I cannot regret my own feelings, but the act itself..." She hesitated. "Sometimes you think you are doing the right thing, and then you sit on your decision and ponder a while, and realise your own hatred was blinding you all along. Sorry— for lack of a better term." Another languishing breath. "I hated my parents so passionately for neglecting me, for leaving me alone, and that loneliness led me to find peace with the darkness, and it has taken me... a while, to unpick the threads that Acantha wove within me."

So young. Missy must've been no more than fourteen years old when it happened.

"You know you are not entirely to blame though, right?" he whispered. "You seeking redemption, when she groomed you from the start."

"I know," she said simply, "but it's not about ridding myself of the guilt. It's about helping other people about to fall down the same path I did. At the end of the day, I killed them. I was seduced by the darkness, even if it wasn't the Dark Arts."

"That's why you took a shine to Sebastian."

She softened. "Perhaps it was arrogant of me, to hope I could help find a cure for Anne. Still, I believed. My parents were dead, but Anne could still be saved. Sometimes you cannot escape what has already hooked you; you can only maintain it. When I knew it was too late with him, I sought damage control." A huff. "He just happened to be... charming and handsome as he did."

"And... what about your governess?" he asked, almost afraid. "She's still out there."

"With all my wealth, Acantha is impenetrable now. Nonetheless, exacting revenge on her will not bring those years back. It will not bring my parents back. I decided, when I came here, to start anew, to devote myself to helping those like me, even if they didn't know they needed it."

There didn't seem to be any words appropriate to offer her.

"For what it's worth, then... I'm sorry."

"We both had to go through extremes to find ourselves, I think," she mused. "Unfortunately, it's not the end of my tale."

She revealed her biggest secret of all: she was a wielder of unique type of magic she simply called ancient. It let her do things others couldn't do, see things others couldn't see. It was the reason Fig came after the detention centre exploded – his wife, as it turned out, had been studying ancient magic before she died. Suddenly it made sense to Ominis, why Missy projected an aura of power, why she could do things he never understood, why she was cryptic and guarded and intense and strange. She spoke of her and Sebastian's attempts to uncover the memories of four medieval wizards, find a truth hidden hundreds of years ago.

No wonder Sebastian was so drawn to her. She was power and mystery incarnate, two of his favourite things. Even today, the revelations stun Ominis.

"I believe Ranrok wants to use the emotions Isidora Morganach collected from her students," Missy was saying then, "to make himself undefeatable and overcome wizardkind. Only we don't know where the final repository is."

He sagged in his chair. All this time dealing with the weight of her past, she'd also spent fighting goblins and poachers, plus extra schoolwork and Sebastian's poor choices. Ominis reached for you then, idly drawing his fingers up your arms, disturbing the fine hairs along your skin as if they could permit him with strength.

"Thank you for confiding with me. I mean it."

"I tell you this to give you perspective, Ominis," she said, doleful again. "It is a constant battle to fight for what you love, who you love. There is no end to it. But that doesn't mean you lay down your weapon. It means you keep swinging, no matter how hard fatigue tries to hold you down."

He nodded, absorbing her words, but saying nothing. Missy rose.

"I must meet with Fig now. Hopefully he's uncovered more about the repository."

"If I can help you in any way," he said quickly, "don't be a stranger. Ask. Please."

For the first time, he heard real warmth in her.

"Thank you. I would appreciate that immensely. I will call on you, should a time come."

He perceived Missy anew then. She had made mistakes in her past, not entirely of her own fault – and sought to atone for them. He'd made plenty too, but, well, he wasn't sure the journey to his redemption was so easily charted.

There was you, after all. Both a joy and a sore spot. When Missy left for the evening, Ominis scooted closer to your bed. For a little while, he simply held your hand.

"They say people in comas can hear sometimes," he ruminated. "I wonder if you can hear me now."

His thoughts crumpled. He'd been blaming himself for everything until now – taking your decisions and making them a product of his own. But you were your own person, and you decided what to do for yourself. He guided your wand, yes, but never did he cast the spell. That was all you.

Foolish, protective you.

He knew he had to stop this tendency to self-destruct, to siphon his own pain and turn it against himself. It wouldn't help you in any way. But it was difficult to unlearn, especially when you were lying before him, bewitched. Still he caressed your thumb, stroked down the nail.

"You never gave up trying to save him," he mumbled, throat raw. "So I won't give up on you."

"I knew you were still hung up on her."

Ominis shot up from his chair, grabbing his wand. The timing couldn't have been worse.

"What do you want, Peregrine?"

"Came to get a potion for headaches," Peregrine snivelled between the ward's curtain, "and here I've stumbled onto an even bigger migraine. I knew it. I knew it. You still care about the Mud—"

Ominis' wand was pointed at him in seconds. "Finish that word and I'll—"

"You won't do anything, Gaunt. Had to get Stone-Broke to fight your battles for you last time, didn't you?" His breath was sickly sweet, like poison. "But he's been expelled, so now no one's going to threaten me for you."

Sebastian threatened him. That was why he backed off Ominis, why he never said a word after fourth year. Warm gratefulness welled inside him; even with all the mistakes Sebastian had made, the crimes he'd committed, he looked out for Ominis like the true brothers they'd always been.

Sebastian wasn't there anymore though. Ominis had sworn off the darker path after everything that had happened, but Peregrine had threatened his safety, your safety, and he decided he no longer cared.

Self-preservation was an art – and he would wield the brush.

He sauntered forwards, and when Peregrine didn't move, out of stubbornness or fear, Ominis didn't care which, he pressed the tip of his wand to his throat. The boy let out a surprised, garbled yelp.

"Don't mistake my holding back as needing protection. I'm blind, yet I see you better than you see yourself." He leant as close as he dared, murmuring with shadowed intent. "I have fought droves of Inferi, loyalists, poachers, Dark wizards, even a Dark curse, and I have survived every. Single. One. You, on the other hand, are nothing. A boy playing school bully to make yourself feel better about your meaningless existence. Those people? They are the real threats, and neither you nor your father can even think to compare."

His Adam's apple bobbed under the tip... and Ominis tucked his wand into his pocket, speaking softly.

"I don't need to threaten you, Perry. You already know that if you try to cross me, or her, I will obliterate you where you stand." He turned back to the bed, where you were still. "Now leave."

Peregrine seemed to make a noise of dissent, like he was going to argue, but instead he muttered, "You're a filthy blood traitor, Gaunt."

And he scurried away, taking the last word. But not really. Ominis smiled. It felt indulgently satisfying to feel him squirm, and even better to stand up for himself, and you.

Perhaps there would be consequences. Blood traitor. If Perry was really pathetic enough to snitch to his father again, there was no way Ominis' father wouldn't get involved. Let him. If he was labelled a blood traitor, so be it. He was done playing a good son for everyone else's benefit, and Missy was right – you needed him, more than anyone else. He sat down again, adjusting the bedsheets that had been disturbed.

"I have been a fool, haven't I?" he whispered. "It's not like denying my feelings has done me any good."

The words were lodged in his throat.

"You know I'm not very good with this sort of thing, so I'll keep it short... come back to me. Please. I miss you. And I... I'm falling in love with you."

You were silent.

He didn't expect anything else.

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imbecominggayer · 8 months ago

Text

How To Write A Redemption Arc (Masterpost)

Everyone knows that redemption arcs are the most popular things since love triangles. And everyone is desperate to shove one of this in there.

But as someone who reads bad writing for a living, you need my advice. So inexperienced writer, let me be your Virgil as I guide you through the rings of fire and let you enter heaven!

What Is A Redemption Arc?

Basically, a redemption arc is when a morally bad character overcomes their flaws to be a better person.

What typically seperates someone from "character arc" into "redemption arc" is the fact that their sins are a lot heavier and their moral failing were an initially big part of their character identity. There's also a tighter emphasis on public opinion.

Redemption formulas aren't just villain to hero. An anti-hero can experience a redemption arc. This can include things that aren't just violent crime such as addiction, manipulation, and a mental health crisis.

Sometimes characters have corruption arcs AND redemption arcs!

Creating The Character And Their Crimes

When it comes to characters that eventually get redeemned, you need to be thoughtful in their character creation. They need to be likeable or atleast have the capacity to be likeable. And you have to strike a balance between their potential for good and wrongoing.

Obviously, you need to flesh out their character if you are exploring their psyche. This is a character who is abandoning everything they have ever know, it needs some type of justification or it won't make sense. A common justification is the different between what they wanted and what they needed.

For example: A character wants power but they really needed friendship. A character wants societal acceptance but they really need confidence.

Next, what are their crimes? Consider how severe their offenses are and give them some moral boundaries that will prevent them from going over the moral event horizon.

Common Pitfalls:

Irredeemable: Writers often times write irredeemable characters and then throw in a hail mary of a save that is annoying to read. Readers won't bat an eye at war crimes but if their darling is hurt, they won't put the pitchfork down.

Lack Of Characterization: What are their habits? What makes them feel proud? What do they care about?

Lack Of Justification: Write down exactly why this character wants redemption. I don't care how long that essay is, write it.

Making Readers Sympathize With Assholes: Sometimes readers don't want to watch you explain away abusive behavior. Sometimes they just want the villains to fall off a cliff.

Do They Deserve Redemption?

Motivations. It's not about what they do but why they did it.

Common justifications include:

Seeking revenge

Seeking approval

Desperation for companionship led them to getting mixed up with the wrong crowd

Hurting, and taking that out on others

Manipulated

Trying to pay off a debt

Trying to solve a problem in society, "for the greater good"

Stuck in a cycle of abuse

Remember, show a character's capacity for empathy or logic. It's that little capacity that allows a character to grow and change. My redeemed character, Jukka lacks empathy but does possess logic while my other redeemed character, Verne lacks logic but does have empathy.

Another hint for the audience is making a character unhappy at the beginning of the story. Or they are simply bad at being evil (Cedric cough cough)

Why Are They Like This?

Unhappy people don't act out this way. Somewhere along the way, this character probably experienced something bad and now they are the way they're.

Although it's not necessary for a character to have explicit trauma in their past in order to have a redemption arc, pity is a strong emotion in readers.

A way to not have trauma but still keep pity on their side is a cruel, conditionally loving society that adores all the worst values or distorts good values. A character that needs acceptance from society is a pitiful one!

What Makes Them Change?

We have how they are, we know what they are, we know why they are, and now we need to know why they will change!

Common motivations include:

A reminder that a loved one wanted something different from them.

Swayed by reasoning/coercion/empathy from an outside party

A reevaluation on what course of action is the most efficient

A sudden string of mistakes or bad events that are caused directly by their fatal flaws

Wanting to win the affection of a crush

Jealous of other people's friendships

Having their needs fulfilled by the good guys

A desire to do right by their loved ones

This can evolve over time but it's good to get the initial stuff sorted out!

Remember: Give your character a wake-up call. Force them into the heart of the pain they've caused. Have loved ones crying at their knees, begging them to stop.

Who Are They Seeking Redemption From?

A character seeking redemption would seek approval from the people they most hurt. This could be a singular character such as a friend or love interest, a whole community, or even themselves

The most common pitfall is having the character be forgiven instantly. In reality and as should be in fiction, characters shouldn't be quick to forgive. And someone won't ever forgive.

Be Sympathetic But Not Too Much

Don't jump straight into your character being a good person. Set them up as a real big antagonist and watch all the bravado slowly chip away.

Sacrifice And Fall Again

Your character needs to suffer for their improvement. There are some thing they can never get back. They lost all their friends who were completely devoted to the cause. They lost their social standing. They lost their entire identity and have to start all over again.

By "fall again", let this struggle mean something. Have your character relapse back into problematic behavior.

Have them fully relapse back into who they were. Completely abandon who they are becoming and let them go back to the dark side. Let them realize how nostalgia made them blind to all the pain in evil. Let them realize how the system won't accept them anymore. Let them realize there is no way to get back the things they've sacrifice.

If they aren't fully relapsing, let them act defensive. Let them say something they don't mean. Let them feel they are being needlessly critized. Let them doubt if they can be good. Let them mourn who they were. Let them think about the past. Let them feel frustrated that things aren't happening quick enough.

Positive Change And The Happiness Of Recognition

Once your character has suffered climbing up the mountain, they deserve to see the beautiful view.

Maybe they sit under an oak tree as they marvel about the beautiful sight that had previously withered underneath their oppression.

Maybe they smile at the children who won't have to experience their tyranny

Maybe they cry a little bit when a stranger hugs them in appreciation for the great work they are doing

Maybe they hold their friend's hand and think about how strange it is that they can both live together like this.

Let them recognize how everyone is different and the same. They still like their old brand of fashion. They still have issues that thrive in this newer world. They even have the same beliefs. But it's calmer now. It's a thorn covered rose and not an entire rose bush of thorns.

They are still recognizable as what they once used to be. But now they are a flower in bloom.

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blob-of-darkness · 9 months ago

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THERE IS NOT ENOUGH CHANTS OF SENNAAR CONTENT SO TODAY I AM DUMPING SOME OF MY BRAIN INTO A TUMBNLR POST ABOUT IT

Fair warning - This might not be that coherent because I didn't write it as a tumblr post, I just copy pasted the messages I sent a friend about Chants of Sennaar in the middle of the night

SPOILERS AHEAD

Learning the languages in this game is like a really big part of the game, it's even a main focus of the story, but I will be talking a lot about it so if you don't want spoilers you shouldn't tap on the readmore.

YES I CAN SHARE THE BRAINROT

Okay so I've gotta say I love the looks of the languages

They all have their own distinct styles and small deviations in rules that make them unique

In the first level of the tower, you get the Devotees language

They're got a sign for man/human which kinda looks like an L and the signs for specific kinds of people are based off of that L

The sign for devotee is an L with a floating diamond shape - which looks really similar to their sign for god

I think it's interessting to think that the diamond shape represents the word faith, that's why it's so similar for the word god and would technically mean that DEVOTEE is FAITH HUMAN or HUMAN WHO HAS FAITH IN GOD or smth like that

Then there's a word for WARRIOR which also hat the MAN/HUMAN sign but this time instead of a floating diamond shape it has two triangle shapes like >< kind of offset next to it

I think the sharp angles and harsh look of those triangles and the way they're pointed makes it look aggressive and fitting for WARRIOR

later we also find a broken mural which depicts part of a sentence in the DEVOTEES language, a sentence in another language which I think was the BARD language and then a part in the WARRIOR language and basically you learn what that sentence in the BARD language means by cross referencing the parts of the other two languages

Most of the translation comes from the DEVOTEE language but only the word FORTRESS comes from the WARRIOR language

But we actually see part of the word for FORTRESS in the DEVOTEE language, but it is so broken that the game labels it as [INDECIPHERABLE] and doesn't let you mark the word in the notebook that your character uses in game to learn/note/unlock new words/translations

However- the reason I'm mentioning this is because from that broken part of the mural we can guess that the word for FORTRESS would look like the floating triangles from WARRIOR inside of the almost-box that presumably means PLACE

The almost-box shape shows up in other place names too

Notably the word for CEMETERY is the almost-box and the word for DEAD/DEATH inside

The CHURCH is the box with FAITH inside

at least I'm speculating it means faith

So basically CEMETARY is PLACE with DEAD inside and CHURCH is PLACE with FAITH inside

This continues also continues with GARDEN being PLACE with PLANT inside

They also have a specific sign that seems to show that something is a tool of sorts

KEY, DOOR, INSTRUMENT, POTION/FORMULA and POT all have a curved line at the side, which kinda looks like a C

KEY looks like OPEN-TOOL because it's made of OPEN and the TOOL signifier

INSTRUMENT is MUSIC-TOOL

Oh I forgot about LENS which looks like a simple drawing of an eye with the TOOL signifier

So basically Lens is EYE-TOOL

SEARCH/LOOK also has the eye drawing but with a line underneath it

The line seems to be common with verbs I think?

SEEK/WANT CREATE/MAKE LIKE/LOVE all have that line underneath

So basically SEARCH/LOOK is EYE-VERB

And I genuinely think that's neat

Oh the sign for TALK is similar to the sign that is added to MAN/HUMAN in the PREACHER word

So PREACHER is TALKING HUMAN which is funny af

The signs for ME and YOU are also with the MAN/HUMAN shape!

We're all just people :D

OH ABOUT SMILEYS HOW COULD I FORGET

The word for Hello genuinely looks so mu h like a smiley in the DEVOTEE language and it's so adorableeee🥺😭❤️

Oh also the word for GO/PASS looks like a little MAN/HUMAN turned away from a PLACE with a verb-line underneath!!

There also doesn't seem to be a distinction between GO/PASS and COME or LEAVE

So basically GO/PASS is basically MAN/HUMAN COME/GO/LEAVE from/to PLACE

Or MAN/HUMAN doesn't stay in one PLACE

Oh also originally I guessed that the word for POTION/FORMULA meant MEDICINE because it shares a part of its picture with HELP

Actually POTION might just be what they refer to MEDICINE as so not that wrong

They also do not have a distinction between UP/GREAT

So whenever I see one of the DEVOTEES say God is great

Instead of GOD GREAT my brain goes GOD UP

Or it mixes UP and GREAT so I just read GOD GOOD

Lmao get good😎

And that's pretty much most of the DEVOTEE language

Because it's a pretty short game all things considered so we only ever learn small snippets of the language

OH but another thing

The DEVOTEE language is the only one that doesn't have any plural modifier

Like if you want to say PLANTS you just say PLANT PLANT

Or if you want to say WE you say I I

Or you (plural) (uh, y'all?) would be YOU YOU

Or WARRIORS would be WARRIOR WARRIOR

So "The warriors closed the door/gate." would be WARRIOR WARRIOR CLOSE DOOR

There's also no conjugation or past and future tenses or anything but that's with all the languages since it's all simplified for the game

Anyway the DEVOTEE language is very down to earth, they believe in god and they're connected little people that are very down to earth and lead simple lives, so t reflects in their language

The DEVOTEE language also has very organic shapes - there's some sharp corners and some curves and everything has thick lines and looks hand drawn

Now we move on to the WARRIOR language, which in contrast is *all* sharp angles and artificially steady lines, no curves or wobbles or anything at all

Very heavy, they value duty, they don't walk - they march.

It reflects in their language too - they don't have a word for GOD but they have a word for DUTY

Here's a spreadsheet in case you wanna see what the languages look like because I've been talking a lot about them and will continue to do so but it's probably hard to visualize without having seen them

https://docs.google.com/spreadsheets/u/0/d/1IWZOvCUNrsnOZUd9FG79Pfwx_ZpMhiaI1q3EwQkhjb0/htmlview?pli=1#

Oh and I went back to look for the post I got the spreadsheet from - it's from @asp1diske-art

Thank you for this wonderful resource/compilation, it makes it much easier to take another look at the words and their meanings and which of the languages have a translation in another of the languages!

I'm gonna be honest, despite this post being quite long already, this isn't even all my thoughts on the DEVOTEES and the DEVOTEE language and I'm pretty sure there's some stuff I haven't mentioned yet because it was the middle of the night when I wrote those text messages.

I also haven't gone back and reread anything so there's likely some spelling mistakes but whatever-! I don't care. :)

#chants of sennaar #chants of sennaar spoilers #Chants of Sennaar Blobtalks #The last one is a tag I literally made up on the spot because this is me talking instead of reblogging stuff #Wait are there other tags that would fit this post??#Uhhh #conlang #ciphers #translation #video games #languages

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susidestroyerofworlds · 9 months ago

Note

what’s your favorite number

this is a really hard question. Its probably 2, since it makes for an amazing base and is just generally very useful, like, when you have a+a, which is common, that turns into 2a. It's also the successor to 1, making it the first number thats not just defined directly by axioms like 0 and 1 and rather a consequence.

2 is also aesthetically fun, the way it swoops at the top and then sits on a sturdy base, with both a round and a sharp corner. So, that's my answer,

But! If we go further we can find lots of other numbers I also love. 6 is a really nice number because its small but not "weird" in any immediate way. It's not an identity, it's not prime, it's not a square, etc. If you have a formula or something and you want to check it with a number 6 usually works without running into common edge cases.

Leaving the Naturals, -1 is an amazing integer. Really useful for anything that alternates, I love the roots of unity and it's the first nontrivial of those. All the roots of unity are pretty amazing tho, highly recommend.

Rising further we get to the Rationals, which are honestly kinda boring imo. Shoutout to ½ for being the reciprocal of 2 but that's it.

Now, shit is gonna get Real. The Reals are an amazing set, lots of useful properties, a really cool field (the Rationals are also a field but they suck so the Reals get to be the cool field). The Reals contain just about every number you normally interact with, including all-time highs such as pi or e. All algebraic and transcendental numbers are in here, including my favourite, sqrt(2). The square root of 2 is real cool. It's fun geometrically, being a factor of the length of the hypotenuse of a right triangle where the legs are the same length. It's cool algebraically as being the easiest to introduce number thats real but not rational, I have fond childhood memories of learning that the Reals are Dedekind complete (of course that word was only introduced in high school) with this beautiful number as the example. It's reciprocal is also really cool and useful. sqrt(2) even has its own Wikipedia article.

Leaving behind the Reals, the Complex Numbers are just fun as a category. No longer ordered, basically acting as if R² was a field, just really fun. I don't really have a favourite complex number but I am a sucker for units for i gets nominated as my favourite here. All complex numbers are really cool. Shoutout to |0> and |1> (ket-zero and ket-one) for being cool in quantum computing and being vectors in a space using the field of the complex numbers.

There is lots more sets but I am not familiar enough with numbers to even come close to doing them justice. I hope your questions is answered, have a nice day <3

#math #asks #rambling about my special interests #i love math #numbers arent actually my favourite part but they are just very fundamental #sorry to my number theory mutuals but category theory has my heart #<3

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crispycreambacon · 3 months ago

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apologies for bursting into your asks like this but you are literally one of the only sprafessor artists ive seen to my knowledge and i’ve been overcome with such a desperation to spread this information to anyone and everyone who will hear me out on this obsessive, nigh soul crushing devotion-pilled yaoi agenda, which is to say: sprafessor symbolism analysis! ( you will see how this got away from me so fast )

i will be discussing MAJOR SPOILERS for the puppet history season 7 finale that i’m aware you’ve seen but putting this here just in case so you can tag it for people who don’t want to get spoiled :’]

1. the professor, dr. sprat and beans.

i think it’s no surprise from the season seven premiere itself and from looking further into historical context surrounding pythagoras and his philosophical beliefs, ( really flexing what i’ve learned in my philosophy course for the semester /silly ) that pythagoras held a belief that beans, specifically fava beans, were sacred vegetation, responsible for the continued cycle of reincarnation that humanity underwent.

although this is repeated enough in the series to have become common knowledge, humor me for a bit: what is the professor’s favorite little treat?

jelly beans.

of course, this feels not only obvious but a match made in puppet purgatory! this isn’t where this analysis ends however.

i find it absolutely fascinating that our mathematical mastermind is associated with a living being; not living in the way that it is something sentient, but in the way that it grows and develops and dies through decomposing as all living beings do. our pedagogical protagonist, however, is associated with something non-living, something artificial. in the most ironic twist of fate, someone who has canonically died and reincarnated as a new puppet, is associated with a treat that, in essence, is an encapsulation of dr. sprat’s wildest dreams. which is to say, it’s my little theory and maybe sprinklings of my personal headcanons here and there, that the jellybean represents immortality.

but even if this is all just conjecture, we like to have fun here! plus it’s fun to think about dr. sprat developing some sort of obsessive complex about why “puppet mathematics” isn’t doing as well as he’d have hoped. well, not in comparison to watcher’s big-shot poster boy, “puppet history” anyways.

ah, dr sprat. so close, yet so far. how does it feel i wonder, to struggle with something that someone you believed to be so foolish, did so effortlessly. to go through all that trouble to “solve immortality”, only for someone to cheat the system on mere chance, reincarnating into a new life without the use of your geometric grandiosity.

2. triangles and immorality… kind of.

i know i literally just discussed this bit with the beans and everything so i’ll keep this relatively short but hear me out: triangles being “perfect shapes” because of how they are typically portrayed ( equilateral ), triangles being placed in long-standing significant positions throughout history ( pyramids, the bermuda triangle, dare i even say the pythagorean formula and right triangles... ) i know i was going to say “triangles are equitable to immortality” but i just spent this entire section going on about how triangles throughout history are thought to symbolize perfection and have held a position of long-standing significance and power throughout the ages. so pretend triangles, perfection and immortality are all synonymous to each other, which according to some historical accounts they very well could be.

3. nemesis lore ( isn’t it always? )

ok, this one will be kept brief. you cannot tell me that the final confrontation in the retirement room wasn’t somehow homoerotically charged. c’mon now. “i knew then professor, that you were my lifelong nemesis dancing with me through the sands of time.” and even from we first met dr. sprat, “soft romantic piano music” h. hello?! the caption writers simply did not need to go through all the trouble of wording it like that, yet they did so anyways. absolutely insane of the late “shot like a dog” estranged producer shane madej to set the stage for the most unhinged situationship between a professor and his self-declared lifelong nemesis slash rival. absolutely frothing at the mouth at the implications that “lifelong nemesis” holds, i cannot stress that enough. what compelled him to say that.

4. memories and forget me nots: the good, the bad, the eternal dance through the sands of time.

this last one is more of a stretch considering there’s no flower language or symbolism to my knowledge in this season. having said that, we like to have fun here and i’ll be damned if i keep this to myself.

forget-me-nots, aside from the name itself alluding to something memory-related, are also something of an eternal promise of true love and respect.

respect is something we can knock off immediately. think of dr. sprat’s respect for the professor functioning similarly to a kismesis; despite dr. sprat’s alleged contempt with the professor for being a mockery of his dream of immortality, he saw him as enough of an equal to declare himself his “lifelong nemesis”, a status that denotes equality, just on a side opposite to dr. sprat and his beliefs on math’s “obvious” superiority.

now then, begs the question: would it be plausible to say that there is a chance that the sprat loves the professor, albeit in his own way? i’m sure you can tell with the amount of times i’ve been repeating it over and over by this point: no sane villain self-declares themselves as someone’s nemesis, someone’s lifelong nemesis, without being at least a little obsessed with their nemesis in question. there is a fine, fine line between obsessive hatred and soul-crushing devotion and dr. sprat is fucking dancing on it. there’s a really interesting sprafessor tumblr post that analyzes the way dr. sprat goes about his plan in a way that alludes to his desperation for human, or in this case, puppet, connection, for an equal, even if he’s convinced himself that this desperation is only out of hate. ( shout out to tumblr user tasty-littl-snack’s sprafessor/spratnasty analysis post! )

also: forget-me-nots are predominantly blue. i rest my case. ( spoken in the same tone as someone whose source is “just trust me bro” )

i realize how little i’ve talked about phorgedyotl considering it’s what inspired the selection of forget-me-nots, but here’s some non-canonical, but interesting all the same, food for thought:

memories and eternity, it’s weird theming to have in the latest season isn’t it? of course, it’s plain to see that these concepts play off one another with their common denominator, time but i feel there may be something more to this.

maybe, just maybe, memories are the final tether humanity, to have such means you are able to recall your experiences and to experience and live unpredictably is human after all. maybe memories are the only separating simply being alive, and truly living. perhaps dr. sprat sought to do away with the professor’s humanity, or puppetity in this case, to become perfection, with no need for the chaos and adventure that comes with truly living, but an ideal, everlasting existence without flaw; only one other person has ever truly understood him and he fucking hates the guy for embodying every idea that he is not, and therefore despises.

maybe, this was indeed a part of teaching the professor a lesson, to cement his superiority while taking on the mantle of his dearly detested, knowing full well he could’ve bested him on completely unrelated terms but choosing to devote his time to making the place that holds the professor’s memories and experiences a part of him as much as it was part of the professor; not like he’ll ever admit it though, least of all to himself.

maybe, it was never really that serious. but i guess we’ll never know. ( this part is absolutely the ramblings of the insane but it’s an interesting concept to ponder if you’re willing to lose yourself to the delusion of making things way more significant than they’re meant to be )

so all in all, we’re left with a blue flower that is linked with remembrance if only through its name alone, symbolizing a vow to keep the person you hold most dear in your thoughts no matter what; a flower that represents the unshakable connection you and this person have, a tumultuous bond for that as long as it is tucked away safely in the innermost sanctum of your memory, will never truly die.

they’re much more alike than i think they realize, though they are narrative foils and i love the toxic yaoi route of these two, i am also legally obligated by the deranged machinations of my own mind to say that i think a slow burn redemption between the two would be equally as compelling in both platonic and romantic aspects. but as in the spirit of the rules of three, we like to have fun here, so long live toxic scholarly rival yaoi!

i literally shot up from my nap and wrote a whole ass deep dive analyzing this pairing’s potential themes i can already feel the rot setting in and i have you and your phenomenal sprafessor art to thank for it /pos

i hope you enjoy this silly rant as much as i enjoyed scripting it :]

spiraling deeper into sprafessor insanity, anon lesbian muppet.

ps: throwing my own ship names for these freaks into the ring, hypotnuses and histories ( self explanatory ) and infinity waltz ( infinity is not only a mathematical term, but can also be used to describe the continuous and eternal process we call history, as time marches forward setting the stage for new societal developments. waltz is a reference to dr. sprat’s little “dancing through the sands of time” quote, but it’s also a dance that moves in a triple beat time signature, 3/4 time. it’s like a kind of dancing triangle in my heart. )

Hello I'm so sorry it took me so long to get to this ask. But know that I am bonking heads with you like Ryan and the Professor were in S7E5. Holy fuck you understand them so bad. You get them so badddddddddddddd. Absolutely delicious analysis, we're eating a full course over here.

#I wish I could add onto this but my brain is kinda fried right now </3 #Just know I am throwing a bunch of jellybeans at you 🫘🫘🫘🫘🫘🫘🫘🫘🫘🫘🫘🫘🫘🫘🫘🫘🫘🫘🫘#Bravo #dr sprat #the professor #sprafessor #puppet history #watcher entertainment #people frying stuff #anon lesbian muppet #<- that is your name from now on #chris p fried answers #puppet history spoilers #long post

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mineralsrocksandfossiltalks · 2 years ago

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SCIENCE SATURDAY!

All month, I have been teaching y'all bits and pieces about the minerals known as feldspars. They are the most common minerals in earth's crust. Today, we are going to learn some of the basic chemistry behind feldspar crystallization and erosion.

FELDSPAR CHEMISTRY

Feldspars are formed as a precipitate as magmas cool. As a result, there are many different kinds. Below is a phase diagram:

Ignore B, all we care about it the colorful triangle. All right, so we have 3 endmembers: Orthoclase (kspar), Albite (sodium plag), and Anorthite (calcium plag). Then, there are all the minerals in between which have different mixed percentages of sodium, calcium and/or potassium. For example, Bytownite is 70-90% calcium and 30-10% sodium. See why there are so many types?

All right, now magma. Magmas cool at different rates for various reasons I really don't want to go into because I am a paleontologist, not an igneous petrologist and that research I don't feel like doing.

Feldspar structure: feldspars have what is called a "crankshaft" structure. We have a bunch of tetrahedrons linked by shared oxygen molecules and we make these fun hexagons.

Now, the basic chemical formula is (X)AlSi3O8. What we are essentially seeing is an Al 3+ substituted in for an Si 4+ causing a charge imbalance because 3 does not equal 4. This requires additional cations (called coupled substitutions).

EXAMPLE: Al 3+ and Na+ or K+ OR 2Al 3+ and 1 Ca 2+

Where is the aluminum? That depends on the temperature of our magma! High temperatures make the position more random while low temps make it more ordered.

If we look at kspar (geologists are lazy and potassium feldspar is a lot to say) we have a K-Al coupled substitution with three polymorphs controlled by temperature and ordering. If we set up a graph where the y-axis is cooling rate and the x-axis is order, we would see the feldspar Sanidine has the lowest order and the fastest cooling and Microcline has the highest order and the slowest cooling while Orthoclase is somewhere in the middle.

Plagioclase has a complete solid solution between the endmembers Albite and Anorthite as I described earlier. Things to note are temperature (once again) plays an important role. Albite forms in low temp magma (800 degrees Celsius) and Anorthite forms in high temp magmas (1100 degrees Celsius). Yes, I know, 800 is a lot but not as mush as 1100 so deal.

They also contain different amounts of silica (SiO2). Albite is 75% silica while Anorthite only has 50%. Anorthite is also the first felspar mineral to crystallize in cooling magma.

HYDROLYSIS

This is the chemical weathering of feldspars into clays such as illite, kaolinite, and smectite.

(That last one overlooks the dinosaur site I work at).

Due to the high temps that feldspars form at, they are not very stable at the surface. Therefore, they weather extraordinarily easily. Hydrolysis happens when water reacts with feldspar minerals (basic or acidic water works best because IONS). The feldspars are dissolved and then produce new ions in solution (K+, Ca2+, Na+).

Here is an example:

And now you know a little bit about the chemistry of feldspars!

#geology #trivia #fun facts #science #mineralogy #minerals #feldspar #hydrology #clay #chemistry

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math-itwau · 2 months ago

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What's up! Spring break Saturday! Today's blog is a lot of geometry because I guess I was in a shape-y mood this week.

Like a toddler, I was looking at ALL the road signs. I quite like the stop sign because of its octagon shape. I was browsing some stuff about octagons and found the formula to calculate area based off of a sidelength (for regular octagons, I assume. Would be odd if it worked for any...). It worked by cutting up the octagon into 8 triangles and determining the area of those, then adding them up. The more common version is 2(1 + sqrt(2))a^2, but that is simplified from 2cot(pi/8)a^2! Super duper cool. Here's that nice stop sign.

This morning, I was peeling an orange with my pocket knife. I tried that yesterday and sliced a nice line in my thumb, but like an idiot, I went for it again (different strategy). I cut off the top and then started working on the sides like a woodcarver. One of the pieces flipped over to show the inside of the rhind and an absolutely beautiful array of perfect circles was under. I don't know why I never bothered to look at the pores of an orange, but I am so glad I did. Stared at it for probably 5 minutes because it was so perfect. It amazes me how nature just makes these things!

Lastly, I finished that video on Fourier Transforms. I didn't know they were in our phones!!!!! That is some amazing math right there!!!!!! So much mathematical genius packed into a thing you keep in your back pocket. I'm very thankful for this math because I get to see my big beautiful bodacious white-haired bitches in obey me (Satan not pictured but I love him too)

Okay! That's all! See you all next week if I don't die over spring break.

4/12/25

#math #math posting #mathblr #maths #geometry #blog #stemblr #obey me #obey me solomon #obey me mammon #teehee

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itsgerges · 1 year ago

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