#harbinger foundation

[officialyourdailyinspiration]

It is understood that creation is evidence of a Creator and men are without excuse. They abandoned common sense, and the ability to reason, “and their foolish heart was darkened. Professing themselves to be wise, they became fools…

[stellar-skyy]

INSULT TO INJURY — Platonic Arlecchino & reader

i. SUMMARY: What is Arlecchino to do, when her child comes home injured? ii. CWS & NOTES: Injuries, mild descriptions of blood, mentions of violence, nothing particularly graphic. PLATONIC arlecchino & gn!reader. house of the hearth!reader. hurt/comfort. they/them pronouns used. 0.9k words. iii. A/N: HI THIS WAS FINISHED IN MY DRAFTS AND I DID NOT NOTICE... this was a suggestion from @romaritimeharbor!!

Arlecchino was by no means a traditional parent, but she did share common qualities with those who were. She kissed her children’s hair when they were sick, wiping the sweat off their forehead and tucking their sheets extra tight. When they sought comfort, she would hold them close to her chest, even if her affection was rare and only offered away from all other eyes. They appeared in her thoughts constantly, even in the most mundane situations; occasionally she would find herself wondering if Lynette would enjoy a particular brand of tea, or if Freminet’s diving skills had improved in the past months.

Those outside of the House of the Hearth could never imagine a soft side to a cutthroat woman like Arlecchino, not after witnessing her ruthless ways. All they saw was the terrifying Harbinger that cut through hoards with her scythe, taking down each and every one who stands in the way of the Fatui. They would be mistaken to dismiss her as soft-hearted, but even more so to proclaim her heartless. It is simply that her heart beats for the Hearth, and nothing more. 

When she settled into the role of Father, she vowed that even if the Fatui wouldn’t treat her children with love, she would. However strict she appeared, her love for the House of the Hearth was poured through every drop of blood shed in the name of the security of the Fatui. The Fatui were the foundation holding up the orphanage, and so long as it remained strong, so would their home. 

It was one of her most notable traits, and one that many parents held; she would do anything to protect her children. 

So when [Name] turned up at her office, bruises peeking out between the rips in their shirt and bright splatters of blood dotting their arms, she didn’t scold them for walking in without knocking. She stood, moving mechanically over to where they lingered in the doorway. She swept her gaze down their body, taking note of each and every injury. And as they looked up at her, eyes glazed over with unshed tears, she brushed her hand across their face to rid the hair sticking to the blood across their forehead and hissed, “Who did this to you?”

“I–” Whatever rasping words were almost spoken broke off in a fit of coughing. A low cry of pain spilled out, and their hand clutched their side. “Sorry, I’m sorry.”

Arlecchino looked out through the hallway, spotting a child half-hidden behind the corner, unsubtly trying to spy on the situation. They squeaked, as she caught their eye and barked out an order. “You! Go to the medical wing and bring back a first aid kit, and several ice-packs. Now.”

They scurried off, the sound of tiny footsteps growing quieter every second. Once they were inaudible, she looked back at her other child, whose eyes were drifting shut slowly. A quick touch on their shoulder sent them flinching backwards, eyes flying open. 

“What happened?” She asked, ignoring the way they shrunk into themself at the question.

“I failed. I was ambushed, and they–” They shuddered, once again gripping their side. Arlecchino took note of the way they winced each time they moved too sharply; bruised ribs, if not broken. “I’m sorry, I just came to report on what happened.”

“You’re injured, [Name].” Arlecchino stressed.

“I know,” They said quietly. They didn’t even seem to have enough energy to fight the tears that have begun dripping down their cheeks. “It won’t happen again. I’ll be better.”

I don’t want you to be better, her mind screamed. I want you to be okay. Arlecchino bit her tongue hard to stop the words from pouring out. It would be unbecoming of the Director to show such earnestness in front of one of her children, especially one who had clearly suffered a failure. She may love them, as she does all of her orphans, but she was raised in the Fatui as well. She knew the cost of failure all too well.

“You will be.” Arlecchino stood back, letting them lean against the door frame again to stop themself falling over. “I’m sure you understand that there will be consequences to this.”

“I do.” 

“Excellent. You will be dismissed from all missions for the next six weeks.” Six weeks, that was just long enough for injured ribs to heal, if she recalled correctly. “You will be required to remain in the House for that time, and any outings must be approved by me before you leave.”

They stared at her, eyes wide.

“Am I understood?”

“Yes, Father.” They said quickly.

She didn’t ask any more of the person who had left them in such a state, but they did cross her mind as she wrapped bandages around their arms. She could almost see them now, celebrating their victory over the Fatui. How proud they must be, to have sent one of the Knave’s own agents fleeing. 

A barely noticeable grimace tore her attention away, and she forced her hands to loosen the bandages around their arm. In her quiet fury, she had begun to wrap them tighter than a tourniquet, much to their discomfort. 

For that moment, she dismissed the assailant to the back of her mind, and turned all of her attention to her child.

They would come later, and then, they would learn the true meaning of fear. 

reblogs and comments are appreciated! ♡

[probablyasocialecologist]

The notion that humans, especially Indigenous humans, must be removed from nature in order to save it, and that “pristine wilderness” must be quarantined from an inherently destructive humanity has its historical roots in white supremacy. When European colonists arrived in North America, they did not recognize the active management of ecosystems by Indigenous groups as “agriculture.” As Indigenous people lived on but did not “steward” the land in a capitalist sense, the land was viewed as a “virgin wilderness” being “wasted” on “unproductive” peoples. Their dispossession was therefore legitimated by God, who had “given” the land to European settlers to tame and cultivate. Such notions were invoked during the foundation of the United States, and have been used by the religious right in Israel to justify the ongoing expropriation of Palestinian territory.  Of course, the Indigenous people of the Americas, like Indigenous people all over the world, were engaged in active management of the ecosystems in which they lived and in cultivation of resources to support their societies. Advanced agricultural techniques like prescribed burning were used to encourage the growth of gardens of edible food within old growth forests or prairies, just as the purposeful management of Bison and other game stood in for (arguably much crueler) European-style animal husbandry. These practices of cultivation were alien, and indeed invisible, to European eyes.

[germanpostwarmodern]

From its foundation in 1919 onwards the Bauhaus was a preferred and frequent target for nationalist and National Socialists due to its international orientation, alleged communist activities and overall avant-garde position. At the same time its students were regarded as immune to totalitarianism and National Socialism in particular. Five years after the Bauhaus centenary the Klassik Stiftung Weimar reviews the relationship between Bauhaus and the Nazi regime and does away with a number of long-held beliefs. Until 15 September the tripartite exhibition at Museum Neues Weimar, Bauhaus Museum and Schiller-Museum for the first time sheds light on an uncomfortable part of the school’s history.

Alongside the exhibition Hirmer published the present and very insightful catalogue, edited by Anke Blümm, Elizabeth Otto and Patrick Rössler, that discusses the manifold hostilities brought forward by conservatives and nationalists but also examines the dealings of former Bauhaus students and teachers with the Nazi regime. The first third of the catalogue is thus devoted to a chronological history of the Bauhaus’ and its opposition and how the school’s situation gradually worsened. A harbinger of what was looming was the Weimar iconoclasm of 1930: the newly elected government of the federal state of Thuringia included the NSDAP and Wilhelm Fricke became minister of the interior and public education. In this capacity he released a decree against progressive art and culture with which he e.g. forced the Weimar art collections to remove their strategically built collection of Bauhaus artworks.

In the following and larger part the catalogue collects a total of 58 biographies of former students and teachers and how they fared under the totalitarian regime: included are of course the well-known stories of figureheads like Gropius, Albers and Mies van der Rohe but also those of e.g. Fritz Ertl who drew the plans for the Auschwitz extermination camp and Friedl Dicker who was killed in the very same camp. At the same time others like photographer Otto Umbehr (Umbo) fared well as regime-linked contractors.

The collected biographies again demonstrate that history isn’t a black or white business but spiked with shades of grey as proves the fact that a Bauhaus education can’t immunize individuals from adapting to an inhuman regime. A pivotal book and exhibition!

[ddarker-dreams]

hello can I have more Scara content. I’d like to gnaw on his arm and shake him like a dog does to a plushy.

Love your writing

yan scara has this strange aversion when it comes to outright deceiving you.

it eats at him in a way he just can't shake. if you're in a relationship before you know of his occupation, he tells you the areas he's being sent to, that he'll be fighting as that's what his work entails. it isn't an unusual occurrence in teyvat. adept fighters get commissioned to do all sorts of things. while he isn't lying, he is leaving out the slightly significant detail that he'll be venturing into the abyss to fight creatures beyond human comprehension.

scaramouche is practical enough to acknowledge this makes for a shaky foundation. he's basking in the warmth of your genuine love, yet you're bound to put the pieces together eventually. the thought alone hurts more than the experiments he endures for the sake of accruing more power.

he has the resources to fake a reputable enough business front, which would put your doubts at ease. he's played around with the idea to the degree he has the logistics ironed out. and yet... when you open your front door, stars twinkling in your eyes at the sight of him, his tongue freezes. he remembers his loathsome past. he knows what it's like to place your faith in someone, only for them to betray that trust.

that's why when the day comes when his knocking goes unanswered, despite him knowing you're home, he steels himself. this next chapter will undoubtedly be a tragedy. he waits for you to come outside — you have to eventually.

and when you ask, in a tone that twists his inner being into knots,

"are you... are you really a harbinger?"

he will answer yes, he is, without hesitation.

he won't play dumb or try convincing you that you've got the wrong idea. for all you'll go through to ensure he doesn't shatter beyond repair, this is his single 'mercy'.

[sangoziethesimp]

Shattered Devotion | ABYSS LUMINE X FEM! READER

Story requested by my wife / @gabyuu1

(She's currently simping over abyss lumine)

MEN AND MINORS DNI

Y/n falls for Lumine, unaware she's an abyss princess. Lumine manipulates Y/n's love, playing the vulnerable damsel to gain unwavering devotion. The truth shatters Y/n's world: love was a lie, a tool to make Y/n a puppet for the abyss's return. Now, Y/n, a weapon of love turned cold, serves a monster disguised as a lover.

Monstadt's winds, once playful companions, now whispered a chilling truth through the dying leaves: Lumine was a wolf in sheep's clothing. The warmth that had bloomed between them, the shared laughter and whispered secrets under starlit skies, now felt like a cruel mockery.

It wasn't a sudden change. It was a slow descent, a subtle shift in Lumine's golden eyes that mirrored the encroaching abyss. Cryptic pronouncements about destiny and forgotten power, brushed aside with playful nudges, began to grate on Y/n's soul. Lumine's touch, once a source of comfort, now sent shivers down her spine, a mix of desire and unease.

One starlit night, perched on the very edge of Windrise, Lumine confessed, her voice tinged with a melancholic allure. "The Abyss calls to me, Y/n," she murmured, tracing constellations with a finger that felt like ice. "It offers power, a chance to reclaim what was lost." A single tear escaped her eye, glistening like a fallen star.

Y/n's heart ached. Was this the Lumine she knew, the one who shared dandelion wine and whispered dreams? But the vulnerability in Lumine's eyes, a vulnerability Y/n ached to believe in, was too potent to ignore. "Together, we can find another way," Y/n pleaded, clinging to a sliver of hope.

Lumine's smile faltered, a flicker of something cold crossing her features. "Don't be naive, Y/n. You wouldn't understand the burden I carry." The words stung, laced with an accusation that chilled Y/n to the bone. Was her love not enough?

Days blurred into weeks, the tension thickening the air between them. Lumine's pronouncements became demands, pronouncements of a twisted destiny that gnawed at Y/n's sanity. Yet, with each passing day, Lumine's vulnerability seemed to deepen, a master manipulator tugging at Y/n's heartstrings.

The final blow came on a stormy night. Seeking solace within the familiar walls of the Knights of Favonius headquarters, Y/n stumbled upon a hushed conversation. It was Jean, her voice heavy with dread, speaking of an ancient prophecy – an abyssal princess destined to return and claim her birthright, bathed in blood. The name sent a jolt of terror through Y/n: Lumine.

Tears, hot and stinging, streamed down Y/n's face as she confronted Lumine. The playful facade shattered, replaced by a cold, predatory smile. Gone was the damsel in distress, the vulnerable woman Y/n had fallen for. In her place stood an abyssal queen, her eyes burning with a power both familiar and terrifying.

"So you've finally pieced it together, my darling pet," Lumine purred, her voice laced with cruel amusement. "But fear not. Your unwavering devotion has earned you a place by my side. Together, we will reshape Teyvat in our image."

The love Y/n had built, a foundation of trust and shared dreams, was a twisted cage all along. Despair threatened to consume her, but amidst the crushing weight of betrayal, a chilling realization dawned. Lumine never needed her love; she craved her devotion, her unwavering loyalty.

Y/n, a puppet on Lumine's strings, became a weapon, a harbinger of the abyss's return. The warmth in her heart, once Lumine's haven, now echoed with a hollow emptiness. The woman Y/n loved was gone, replaced by a monster who used affection as a leash, leading Y/n, not towards a future, but towards an abyss of her own making. Tears streamed down Y/n's face, not for Lumine's betrayal, but for the love that never truly existed, a love sacrificed on the altar of a dark god disguised as a lover.

[fatuismooches]

Allow me to feed you more brainrot!!

Hey! I saw that you liked my writing about the ending where the Fragile!reader doesn’t make it in time, so why not give you some thoughts of mine on what sort of habits or tendencies the ill reader has gained? This is supposedly a few centuries into it, though no time is specified really. (Note : Let me see what I can cook in a few days with the ‘broken heart’s ending. Stay tuned!)

1.The desk is [name]’s bed now. As many years have gone by, the duties of the second harbinger has been mostly assigned to you as you are(were?) the lover to II Dottore. The sparrow tended to work on paperwork’s until their hands felt numb, shaky handwriting only stabilized with a use of a machine or primarily writing with a typewriter. The sparrow goes on missions, though internally craving to stay near and only focus on the revival of the fallen crow. The desk is where they tended to spend most of their time at, either for research or paperwork when they were free. Though the sparrow was treated with some sympathy, their unhealthy habits haunting them to the point they passed out on the desk or even harbinger meetings. Their fragile and porcelain like body was beyond pushed to their limit, but they will not stop. Though around their fellow allies such as the dove, they will ease on it to ensure that the sparrow’s allies are not overly concerned. The sparrow does not want anyone to be concerned more than the sparrow had pushed them away. Even by the time when no Fatus under the Fatui Harbingers command no longer recognize the name of the Doctor, only to recognize yours instead, you never take credit for the work you’ve done yourself. You always stated that the work you have done should be credited to II Dottore himself—The research and notes he had left behind was the starting foundation to your own search, afterall.

2.Dragged to rest. By the time the sparrow is remotely close to finding something that would give the first major step to the resurrection to the great II Dottore, they had taken supplements, no matter how bitter, to force back and silence their illness though it only ever managed to be temporarily. The rare nights where one of the harbingers that were your friends were free to check you from their busy nights—wether it be the Damsellette, the Regrator, or Tartaglia, you’d be dragged to your bed even with how much of your mental stubbornness would try and argue back. Your physical stubbornness is not well due to how your fragile body is, already at a melting point with how you are treating your body, the rebellion of yours falls into silence as the harbinger pulls a blanket over you as they give a light threat that they better not see them snooping around to study. Your body agrees even though your mind is exactly the opposite, but you wish them a goodnight’s rest as you close your eyes. That night, you ended up passing out for little more over 12 hours.

13.Flinch at sudden contact, and protectiveness. With your lover dead, the sensation of touch has become almost unbearing. Especially to your now scarred body from your experiments, anyone who dares to even tap your shoulder might become the next test subject to see if they could be resurrected with the next concoction you create for the sake of the unmoving frozen corpse of the Doctor. Your face is the most vulnerable—most possessive of the mask your lover once wore every day, almost every hour of the night. So you keep it close, it is important as your life and you’d defend it till the very end. With the cause of the Crow’s death, the fox-fur wearing Sparrow has taken a distaste to anyone who may pose a threat to the Crow. Especially with the Golden Comet, now you have become the underlying term of ‘overprotective’. Overprotective to someone who wasn’t even breathing anymore, safely encased in permafrost in the hidden depths of the lab. If any word of something or someone that can end up harming your lover ends up getting into the sparrow’s ears, be prepared for the threat to be wiped from existance in record time. Such thing shall not exist anymore under the sparrow’s gaze, and they will not escape it.

4.To ramble to something inanimate. With the death of the segments and Prime himself, [name] had gotten the habits to ramble off in one of the segments’ rooms or snuggle in the bed of Prime’s. How you spoke and rambled away as if they were still with you, perhaps maybe they were. Somewhere, someway, you could even bring the segments back. Though your primarily focus was on Prime, you still mourned for each copy and clone there ever was of Dottore. The Sparrow loved each and every version of the Crow there was to offer, from the small hatchling Zandy to the original Zandik. Omega, Beta just to name a few.. it was not too uncommon for a Fatui Harbinger or Fatus for business just to see the lover of the Doctor ramble against a object that one segment may have owned, or them snuggling into a clothing they may have wore.

(Should I write some ideas if Dottore did eventually get resurrected?? Perhaps your thoughts on it would be great. I also think when Dottore does get resurrected, Dottore might also be frail because your body sort of just weakens from a lack of use and he was dead for a while too.. so now you got Frail!Reader and Frail!Dottore just collapsing together, PFT.)

[shapeshiftersvt]

M'Mothm'n.

Here's the thing about the Mothman. Even though he scared the ever-living shit out of the people who saw him, the speculation around him has become, over the years, actually very kind. What if he's only here to help? What if he's trying to warn us about impending disaster? What if that horrible feeling you got that something wasn't right, what if that was the Mothman telling you to look out, be careful, danger is coming, doom is nigh?

It's one thing to be a harbinger of doom; there are apparitions of ghostly black dogs all over the world that will give you that, red eyes and all. It's another to have one who actually means well.

I'm going to be an Old Queer for a minute, now, and talk about gay politics in the USA as I watched it over the past thirty years. My experience is my own; my history is shared, but not universal. Sound off in a reblog if you saw it happen differently. I want your story, too.

There’s a certain line the right wing in this country likes to use against The Gays, one I’ve heard since I was a small child. It goes: queer people are threatening our way of life. Queer people are the pebbles that start the avalanche of apocalypse, the collapse of civilization as we know it. If marriage becomes something other than Man + Woman, or if Man and Woman become something other than we think they are, then we will lose everything we know and love.

The rise of the Respectable Gay in the 1990s was a pushback against this. “See,” cried Degeneres and Savage and all the rest, “see how we’re so very normal? We want to get married and buy a house and have 2.1 kids and a white picket fence. Our marriage doesn’t threaten yours. How could it? We’re just normal, ordinary, white, moderately wealthy, people. We're like you."

This move shifted the narrative across the 90s and 00s. Homosexuality was officially decriminalized in '03, and we got gay marriage in 2015, and every year in between there was another Influential Gay Person saying "I just want to get married, that's all." There were even commercials about it, remember? “Gay marriage is just like yours. Only gayer.”

But... in the mid-2010s this was already wearing thin. Transgender people, gender non-conforming people, gays who didn’t go in for two-person marriage, everyone in the greater LGBTQ+ umbrella who had thrown their support behind gay marriage and waited our turn to get our rights; we'd all been mobilizing, too. We'd been putting together our own coalitions, under the aegis of the greater umbrella or not. And, here's the crux: we were, in fact, threatening the right-wing Christian ways of life. Just by existing in public, by talking and writing and performing and living our lives during the Transgender Tipping Point, trans and non-binary people like me were challenging the foundational definitions of Man and Woman as exclusive, all-encompassing categories of humanity.

It wasn't just the right, either. Straight liberals who were totally on board with gay marriage would look at us and say, "um, wait, really? Really, like that? Do you have to?" The discomfort was palpable. This was my experience with my own family; they were fine with me dating and getting married, but a new set of pronouns was forcing something on them. It was hurting something intrinsic to their identities. It was, in a very real way, threatening them.

I'm happy and grateful to say that most of them learned to discard the parts of their own foundations that excluded me from existence. This is rarely easy for anyone. I'm honestly proud of those members of my family who have learned to look the Mothman in the eyes, so to speak, and think, "He's just here to help."

("Pop your hood up," I told this model, "and look at them. They should see their impending death in your eyes."

Layton is an incredible model, a great human, and they know and love the Mothman. They knew exactly what I meant.)

It can be awful, sometimes. When I'm unapologetically myself in public, I can walk past a line of protesters at Planned Parenthood and see the hostility rise up, the anger and revulsion and fear. And I do think it is fear, at the core of it. I think something in them knows that I'm just one of 2.6 million transgender people out here, living my life, casually being a harbinger of their doom.

Next time they come to Brattleboro, I ought to greet them with red glasses and a twelve-foot wingspan.

[fulcrumstoried]

Ex Diris and the Card Spread

Just read the Ex Diris lore entry exotic grande launcher from the season pass and haven't seen anyone try to do a breakdown of the cards and how they align with cartomancy yet, cause I am gnawing at this.

So, the Deck of Whispers is an oracle deck (think tarot, but the cards and meanings are different).

One of the ways that people engage with cartomancy is by developing spreads, aka the order you draw the cards, and the places that you put them, add to the meaning of the cards.

Eg, a three card spread of past, present, future. The first card you draw represents the past, the second is the present, the third is the future.

I don't believe Eris' spread has an exact match (please let me know if it does), but it is very very close to the Celtic Cross Spread, particularly the expanded version.

I'll break down the spread, the meanings, and the cards below. There's very little theory crafting, but a lot more meaning finding, so I hope you enjoy!

The Labyrinthos link above is a very good full breakdown, but tl;dr, each card in this Celtic Cross Spread has a different meaning, which I'll get into (at a basic level), and it looks something like this:

Card 1 - Your current situation [Blades]

Eris interpretes this to mean Sword Logic. Yes, but I think it's also about the First Knife, and the Final Shape, aka this whole fight / saga is centered around whether or not the Witness is right.

Card 2 - The Challenge / Obstacle [Adherent]

Eris clearly sees this as Xivu Arath. I agree, an Adherent could also be known as a Disciple. The meaning also supports it: she's the threat of the season, the thing we have to overcome first.

Card 3 - Foundation / Cause of the situation [Sisters]

Eris clearly sees this as the Hive God's first selves. I agree, as the meaning supports this: who the Hive Gods once were is the foundation of who they have become.

Whilst this feels like a limited meaning (there are more causes than just them), I think it's a deliberate choice to set up the next card:

Card 4 - The / Your Past [The Harbinger]

Eris can only see this as herself. The spread meaning becomes tenuous here, perhaps because she is the Oracle and from the past she foretells the future? Perhaps it is her card because it is her past that is in play? Or perhaps it's because the writers wanted to have that very interesting line

Perhaps now she counted among those sisters. Savathûn, Xivu Arath, and Eris Morn. A game between siblings. A love that sharpens.

I've got a bit of a crack theory developing about this (particularly with what implies about her role as a Navigator), but that's for later.

---

This is also when the normal spread and Eris' differ. Traditionally, you then place Card 5, which represents the present. Eris skips this (perhaps because she doesn't need to know what's happening now), and goes straight to

Card 6 - Near Future [The Lie]

Eris wonders if this is the Guardians, or maybe the lie of the Deep. From a simple standpoint, perhaps it could just mean that the future is a lie, or that to know the Future is to know a lie? Or, following the way each card is an entity, perhaps this is the Witness? After all, they're going to be in our near future.

---

This is when the normal and Eris' spreads diverge again. Sometimes, at the end of a reading, people add three or four more cards across the bottom, which shows the more subtle influences around the person doing the reading. Eris does this halway through, creating:

Because she does it halfway through, I think Cards 6, 7, and 8 are clarifiers of the three columns beneath them, rather than the reading as a whole. (I'm also toying with the idea that they could also represent the Surface, the Sky, and the Deep, but eh)

(Lmao I've just realised that because I made the second graphic, now the numbers don't align, and I'm going to repeat Card 6 and now use the numbers from Eris' spread, sorry!)

Card 6 - aligned with Harbinger/Eris [Liminal]

Imo these match, Eris is currently occupying the liminal space between Hive and not-Hive, Light and Dark.

Card 7 - aligned with Sisters [Ascension]

Again, a match, their rise from being sisters to godhood.

Card 8 - aligned with The Lie [Lacuna]

Now, a lacuna is a gap, particularly where there should be, or once was, something. Eris saw it as part of a Guardian's Light, but I think it's specifically her Light - and the fact that she no longer has it.

She had not held it for centuries. The Hive sisters below beckoned more loudly than the Light did.

Aligned with The Lie, either she is tempted to fill it with the Lie (aka the Darkness), or the fact that she doesn't have it is the Lie (?).

---

Then we get to the final four cards, also known as the Staff.

Card 9 - Current approach / Your influence [The Witch]

Eris is torn between Savathun and herself, and I think that's reflected in what the meaning of the card could be. I'm leaning towards Savathun, because it's highly unusual to have two cards representing one person in a spread, and because she is, you know, the Witch Queen.

Also, that which is influencing us and dictating our approach right now is Savathun. So if we continue with our current approach, we will continue up the staff/column of cards to:

Card 10 - What you need to know / External influence [The Truth]

This is a fun card because it states The Truth, then Eris goes and says

There were too many truths for any one to triumph.

This is a very interesting line to me, and immediately brought to mind the final Veil Log, the Von Neumann-Wigner hypothesis mentioned, and this breakdown from Reddit. Tl;dr the Light is about creating possibilities, and the Darkness is about collapsing all possible states into one reality.

I also find Eris' use of the word triumph interesting - what will the final truth (final shape) of the universe be?

Card 11 - Hope / Fear [Lament]

Eris sees this as Oryx's death. I immediately thought of The Lament sword from Beyond Light. The sword was a gift from Clovis Bray to Banshee, due to his regret at not caring about the living whilst he was alive. In it, he states

Stay alive. For legacy.

However, when we activate the Clovis Bray AI, he threatens to kill Banshee. His initial lament is forgotten. Similarly, Savathun and Xivu Arath both once died, and Oryx brought them back.

So, these combine in two interesting ways; that of fear of total loss then rejection upon regaining it, and perhaps a fear/hope of sword logic being true.

Card 12 - Outcome [The Wish]

The particle The Wish feels important, and my immediate reaction was The Last Wish or Eris' Wish? Now Eris' was in the past, and I think both the meaning (Outcome) and Eris' interpretation suggest that this is something that will occur.

Eris had wished before. It had led her here. Would she be asked to wish again? What else would her desire wrought?

This post breaks down those lines really well. Or perhaps it is about the Last Wish, fulfilling it, that of the fireteam wishing to keep the Dreaming City / Awoken/Humanity safe?

A wish is desire, the greatest power in this universe.

Which is pretty much a direct quote from the Last Wish cinematic. This also reminds me of the reddit post, as being able to choose your reality feels like a pretty darn great power.

---

Eris' interpretations of these cards are built on each other, like a tower working up. A Witch, from whom Truth flows, which causes Lament, to the final outcome of The Wish.

This could be the story of Eris, actually. She asked for the way out of the tunnels under the moon (knowledge, and truth), losing and gaining something in the process, to obtain the wish of being free.

But also, according to Labyrinthos, with the staff (this column of four cards),

We learn how the context of this situation can affect the reader's life outside the situation, and also - how to change it, if desired.

I think these cards are not just for Eris, but for the story/season - the wider picture, and also how it may change later.

---

I also think that these cards do a really good job of bringing together a lot of different areas of Destiny story together - from Forsaken and the Last Wish, to Lament and Beyond Light, with the Hive and Witch Queen.

This was an absolute blast to try and read into, so hope you all enjoyed my red string nonsense!

[monkiebois]

The interesting thing about Mk being the "harbinger of chaos" is that.

its not a BAD thing. take a look at this.

now dont yell at me in the comments i dont know a shit ton about this stuff but im doing some reaserch.

next look at this.

The yin and yang represents order and chaos not good and evil. order is not inheritly good or bad and neither is chaos. one cannot exist without the other. they are bound togethor forever and if one side tries to overtake the other it spells diaster.

now heres another thing.

Order brings people and things together but too much means too much control. its an authoritarian regime. too much chaos beings well...chaos. its fun and brings life to things but too much is never good.

bring them together and you have a stable foundation with order and a life filled with excitement worth living through chaos.

Mk is the harbinger of chaos.

Lbd and azure represent control. Lbd wanted to get rid of unnecesary pain and suffering. she wanted to control everything so much that the world would be without chaos. and if everything is under too much control and order then, theres no real life its just a predetermined boring and lifeless thing (cough destiny cough)

Azure has taken over heaven, he wants to control heaven and while maybe there are some things to fix hes not goin about it the right way. too much control, hes manipulated mk and getting rid of anyone that stands in his way or has critisism for him.

Mk is the harbinger of chaos and thats a good thing because without balance between order and chaos the world is just. terrible.

anyways thats my ted talk for the day im going back into my haitus byyyyyeeeee.

[black-arcana]

WITHIN TEMPTATION's SHARON DEN ADEL: 'Some People Stopped Following Us' Because We Became More Outspoken On World Issues

On April 5, Dutch metallers WITHIN TEMPTATION will release their brand-new song, "A Fool's Parade", which marks a collaboration with the talented Ukrainian producer Alex Yarmak. According to a press release from WITHIN TEMPTATION's publicist, "A Fool's Parade" "highlights Russia's pretense regarding the war, and condemns its lies, ongoing crimes and brutal intentions."

The song, released as a harbinger of the much-anticipated "Bleed Out 2024 Tour", is a powerful expression of what the press release calls "WITHIN TEMPTATION's commitment to continue shedding light on the ongoing existential struggle that Ukraine is facing against Russia's cruel invasion."

For the recording of the accompanying music video for "A Fool's Parade", Sharon Den Adel — the frontwoman of WITHIN TEMPTATION — recently spent time in Kyiv, Ukraine. The music video was directed by renowned Ukrainian video director Indy Hait.

With involvement in initiatives such as the Ukraine Aid OPS foundation, WITHIN TEMPTATION aims to keep drawing attention to Europe's much-needed support for Ukraine's defense.

During her stay in Kyiv, Sharon spoke to Metal Pilgrim about WITHIN TEMPTATION's decision to use its platform to draw attention to a variety of issues, including the plight of women fighting for their rights in Iran.

Sharon said (as transcribed by BLABBERMOUTH.NET): "We never cared about what people wanted us to say or not to say. We always did what we wanted to do. But the older you get and the more confident you get in being who you are and what you stand for, you're more expressive. And I also feel like I have nothing to [lose] — well, of course, you have something to lose when you speak out about things like this, because it can always backlash, of course. And it's very delicate to choose the right words for things. But I try to prepare myself really well. And I hope eventually that pays off, meaning the people get the message. Some people stopped following us because we started supporting [certain causes] and being more outspoken. They say, 'You can't be political as a band.' I don't agree because everybody has an opinion and everybody's loud, and that's also society today. As you see on social media, it's like there's no filter on anything. I'm not saying that I need to overshout other people, but more like I still wanna stand for my opinion and hopefully make people think about it."

Den Adel went on to say that "you also have to choose your battles" in terms of which issues to focus on when coming up with lyrical themes for songs. "[The Russia-Ukraine war] is happening in Europe, and we are a European band. And so we also got a lot of times the question, 'What about this country? What about this situation?' And there's also a lot of awful things happening in different parts of the world. And also in interviews, I will talk about it when people ask me, but I won't do it on the social media because you get in discussion and it becomes one big fight with pro and against certain subjects. For me, in interviews, I do respond to that as well. But I also have to pick my battles. If I take on all the injustice of the world, it will fade away for the thing that I, at the moment, am inspired about most. And the last album that we did, with 'Bleed Out', we have focused on certain parts of the world, like Iran — there's one song, 'Bleed Out', is about that — but a lot of songs, actually, are about the Ukraine, because we're in the same region — it's a two-hours flight from Amsterdam to Kiev. So, I hope people understand that we are picking our battles — something that's closer. Everybody has to do that. But also, like I said, if I talk about every problem in the world, it doesn't come across as authentic and honest either, because it's, like, you're a saint or something, which I'm not."

In a June 2023 interview with James Wilson-Taylor of Rock Sound, Den Adel spoke about the lyrical inspiration for WITHIN TEMPTATION's "Wireless" single: "When the war started in the Ukraine, we were in the studio writing songs, And it's one of the songs that we wrote. And it is about war, of course. It's about a soldier going to war and thinking he's going to liberate people, do good stuff and be a hero and everything, but then he finds out that he's been lied to by media but also government. And then he finds that he can't go back because he's already in his army gear, for instance. You can't go forward, you can't go backward because you have your buddies next to you and you'll all die in the field. And in front of you, you have a mission impossible almost."

The Dutch singer continued: "So that's what we try to do — maybe also shine a light on certain situations within the war. It's just we're storytellers — it's like amplifying a certain kind of emotion that people could feel in this situation."

Asked how she and her bandmates decided to use Russia's invasion of Ukraine as inspiration for one of their songs, Sharon said: "Well, from my point of view, it's not just their war. I really believe what some people are saying — it's really our war as well. Because it's next to us. They already said, they're not gonna stop at Ukraine; they're gonna go further. And a couple of hours flying from my home, it's already Kyiv. So it's also our war. I think we should be aware of the fact that this is a danger for all of us. They won't stop. And hopefully — we wanna keep this a little bit alive in our own small way by writing about it and talking about it and waving a flag on stage about it."

In March 2022, WITHIN TEMPTATION was one of the artists who took part in a telethon concert in support of Ukraine. "Save Ukraine - #StopWar" united more than 20 countries and bring together more than 50 participants. The marathon was broadcast from Warsaw on the Polish TV channel TVP. In addition, broadcasters from many countries around the world rebroadcasted the marathon on their local channels.

In an interview with Greece's Rock Overdose, Den Adel stated about her band's participation in the event: "For us, it was an honor to be asked for it. I think as a band and as people, we really value freedom of speech and freedom and democracy. I think as a band, people sometimes say, 'Don't be so political,' people say, 'Don't be so expressive and don't take a side on things.' But as a musician, I think it's important to represent who you are, not just in music but really stand for what you make and what you are saying in your lyrics in a way. And things that are happening in the world inspire us to write music, and then you also have to take a stance and what side you are. I think when it's so obvious where there's an aggressor and where there is a country being violated, invaded, you should take a stance and then it makes it much easier even to be very clear about where you stand in this whole conflict. Of course, it's something that we are keeping ourselves updated with every day because we find it very sad to see that a country that wants to be a democracy is invaded this way. So we are very honored to be asked also to play for this event, this marathon, and happy to do it."

Released last October, WITHIN TEMPTATION's latest album, "Bleed Out", signifies a bold leap forward for the band. From contemporary, hard-hitting, and djenty riffs to soaring melodies displaying their symphonic roots, WITHIN TEMPTATION has created a sonic journey that fuses diverse musical styles and thought-provoking themes. This is an album that is as epic as it is unflinchingly outspoken, and now more than ever, this is a band who isn't afraid to make a stand on issues the members care about.

Since the start of the war in Ukraine, WITHIN TEMPTATION have shifted their focus from writing about personal emotions and societal subjects to tackling global injustices and reflecting the tumultuous state of the world in a way that other artists seem unable or unwilling to do.

While songs such as "Wireless" and "We Go To War" examine the authoritarian aggression on display in Ukraine and other warzones, the title track itself addresses the plight of women fighting for their rights in Iran after the murder of Mahsa Amini.

The album also grapples with the complex issues around a woman's right to choose in recent single "Don't Pray For Me" and throughout, this impassioned and political focus is reflected in the intensity and heaviness of the music. Embracing a new era of musical exploration and lyrical depth, WITHIN TEMPTATION have pushed boundaries and showcased their artistic evolution, delivering a fist-in-the-air proclamation of both their moral convictions and their fearless approach to music.

[infectiouspiss]

fob shows at least have a warning before they play a deep cut they’re up there with the harbinger of death magic 8 ball looming over them but at least it acts as a warning mcr would hit you with foundations then it was a game of russian roulette are they gonna play im not okay or are they gonna play cemetery fucking drive

[blueiskewl]

Archaeologists Find Funerary Urn Depicting Maya Corn God in Mexico

The artefact is the latest archaeological marvel unearthed during the construction of the controversial Maya Train project.

Archaeologists from the National Institute of Anthropology and History (INAH) have made a significant discovery during ongoing construction of the Maya Train project, a 966-mile intercity railway traversing Mexico’s Yucatán Peninsula whose first section was inaugurated last month.

Specialists located a funerary urn depicting the Mayan god of corn in the Paakztaz style native to the Bec River area. The artefact dates to the Classic era, a pre-Hispanic period between 680CE and 770CE. At a press conference on 8 January, the INAH's general director Diego Prieto Hernández described it as “a raw clay pot that contains the mortal remains of a person”.

The vessel is thought to be half of a pair, leading archaeologists to suspect that it was originally constructed as a foundational offering. It is decorated with glyphs of the Mayan symbol “ik”, a reference to the wind and its divine characteristics, as well as a a small anthropomorphic figure constructed from pastilles, a reference to the deity “in his representation as an ear of corn in the growth stage”, according to the INAH.

The lid of the urn is adorned with an owl icon, considered a harbinger of doom and war during the Classic period. Thought to be both symbols of good luck and visual metaphors for death, owls are considered guides to the afterlife in Mayan culture. The second vessel in the pair is covered with the thorns of a ceiba tree, flora long regarded as sacred by the Mayan people.

Archaeologists have reported finding similar sculptures of the corn deity on the island of Jaina, a pre-Colombian Maya archaeological site and artificial island off the coast of the Yucatán gulf that once served as a necropolis for elites. The name “Jaina” roughly translates to “Temple in the Water”, and the island contains more than 20,000 graves, only 1,000 of which have been excavated to date.

The years-long construction of the Maya Train project has been a boon for archaeological finds in the region, yielding thousands of artefacts and immovable objects, along with the rediscovery of the city of Ichkabal, which opened to the public in August of 2023. But the infrastructure project has faced challenges, too, including its cost tripling and opposition over its impact on the region's environment and the very same archaeological treasures it is intended to make easier of access.

By Torey Akers.

[thescribeoflostmemories]

At your service, my Harbinger

( requests: closed)

(Oiran/Geisha/Maiko! Reader x Fatui Harbingers) {Yandere is available)

Note: did some liberties to at least make it some sense why or how you’ll get promoted to Oiran if anyone asks for it. This ain’t accurate. Also, do note that this is for people at least 16 of age or above if it gets too serious. To request, please refer to my pinned post or the service menu that would be at the bottom of this post.

The first meeting

" Are you nervous, my lady?" You tried to help and get your master ready for her procession this evening. Tying her Obi to the front of her body, arranging her headpiece like an artist being too conscious of which sides fit the best. You are but a high ranking Maiko who will soon be a low ranking Geisha.

“Goodness gracious, ____. I thought I told you: you didn’t have to do this. We have the other girls to help.” Mada Fuuka, the Tayū who took you in at a tender age of nine (9) years old. You tried to plead to teach you more so you could help around the establishment but got rejected.

House Wong, a Liyue lineage, moved to Inazuma to branch out connections. It appears to be working as the family began to adopt the culture of the nation as if they were no strangers. From brewery to inns, the heart of their blood and silver would be this very building you work in. Soon you and a few others would have to pick up your guest before nightfall.

“I know, but you need to be dressed the most, Mada.” You wanted her to look as perfect as it is, she is the star of the show not a lowly worker like you. If anything the competition for the top ranking is rather stiff and toxic within the Entertainment hierarchy. Witnessing many backed out once at a coming age, bought and or ended themselves of their misery. It is not exclusive to yours but to rival establishments as well. 

“Call me Fuuka when we're alone together, hú dié.” Doing her makeup as well. She has been a parental figure to you, not allowing you to get pushed around within the work circle. You had a small circle of fans for yourself, thankfully the nicer ones than the others. Shuddering at the thought of them being so intimate.

"Yes, Fuuka." She hums at your answer while you try and perfected her hefty wig.

"Shingo won't be alone this time. So the parade would be bigger, befitting at least eight people." You looked up at him, you knew Shingo is wealthy but not to accommodate all of them including himself. Whoever is he trying to please, is certainly a big shot. Which pushes you further to perfect your walk to them.

To spend even a night or two hours of our time with all of them would roughly bill them a few weeks later, more than a million nothing less than that. All to show off their connections and wealth. If you weren't working here, you'd think this is all a waste of time.

Fuuka helped you get dressed too, painting your face with a cold white foundation, applying red lipstick on you. "So adorable." She smiled at the blooming child, clothed in bright and colorful patterns. Hair left in a natural state, though combed and placed hair ornaments well.

"Let us depart, Fuuka." A servant came in to notify us. And so the show begins.

In the streets, the progression of the parade is a slow process. One or two hours prior is needed to arrive on time, depending on distance. Last time it took five hours of walk time to even get there. With every step you take, your shoes make an endearing chime from the small bells inside of it. The sun beating down on the group as people gather around to see the top Tayū and her servants walk so elegantly, it is also good for business. To be shown off as one of the ideal ladies in Inazuma.

There Shingo and his company are, each person unique from each other. Now it makes sense why Mada had chosen an open space instead of the usual indoors. You have heard about these people, each more sinister than the last.

“Lord Shingo. Greetings.” Fuuka let go of the hachi monji’s shoulder to bow so elegantly, that too followed by the apprentices, geishas/maikos, servants and of course, you. Being very familiar with people gawking, but with the Harbingers is very suffocating. You pray that you won’t end up messing up with who you’re servicing with.

With the introduction made, you all went to the pavilion. Mada Fuuka, Shingo and what you assumed is the first Harbinger talking while the rest talked amongst themselves while waiting for dinner to be served. Looking at Mada Fuuka who gave you a wordless gesture to entertain at least one of them. But who? Whoever it is, you’d best pick fast or else your master would lose face if you’re too slow.

Guest Available:

Shingo

Pierro

Dottore

Columbina

Capitano

Pulcinella (*Platonic)

Scaramouche

La Signora (?)

Arlecchino 

Pantalone

Sandrone

Tartaglia

Services available:

"Flower set"- Pouring drinks, sing, dance, talk, play games, tea cer.

Pour drinks

Dance and sing (solo) / (Group)

talk

Tea ceremony

Noh theater

Familiarize customer- Not available right now, rank still Maiko. Reach higher rank (Oiran) and earn at least 3 visits from customer.

Add ons service (+18)

Lovelorn set

Flower:

Giselle's calla Lily

Circlet:

Burning passion.

Plume:

Giselle's Pinion

Sand:

Wedding bells

Goblet:

To be or not to be

Weapon: Kudoku (there's no going back)

"Any additional services, questions and or modifications will be talked through pm, comment and or askbox, possibilities of combining all is possible but difficult. Though, you all know me, bubbles. I do my best. We will wait patiently for your orders." - Scribe

Ps. Not sure if I should add La Signora to this since she’s dead.

How to order

hú dié - Butterfly

Navigation:

Love? (Yan!Pantalone x Geisha) {Pudding}

All I want is to be loved! (Yan Capitano x Geisha! Reader x Yan! Pantalone) {Pudding}

One hand, one heartbeat (Scaramouche x maiko reader) {Mild dessert}

Star-Crossed Lovers (Pierro x Geisha reader)

tag: @youyue , @mellowwillowy

[kurimiaki]

Can I please get Yan!Scaramouche with a oblivious!S/O HC's? Thank you and you can delete if you don't want to!

TW: yandere, implied bodily harm, abuse, forced affection

You think your actions towards Kunikuzushi have been perfectly convivial. Though fear weighs heavily on the atmosphere of your every interaction, you’ve learned self-restraint, knowing better than to flinch at his crass words, to stray from the act of jubilation he demands you perform. You’re glad to serve him. And you must be, even when he hurts you, when he strikes you hard enough to bruise. Should the illusion shatter, you’re guaranteed much worse than a superficial wound.

Though you remain this epitome of friendliness, distant enough so as not to overstep your bounds, perfect, Scaramouche never deigns to look upon you with anything but a sneer.

He searches you, looking for the slightest hole in your veil of heedless oblivion. He supplies you with luxurious oil paints and silken brushes, and you merely rush to provide him a cheap imitation of art when he asks how you’re finding his gifts. He’s unsure you grasp that his offerings are exactly that, gifts: you mention an interest in calligraphy, and are given a set, but treat the act of experimentation and enjoyment as a chore for his sake. His satisfaction.

And that should be enough. He should not expect more from you, who lives in complete servitude to the Harbinger, who swallows their fear, who forgoes the urge to resist his training. You allow Scaramouche to mold you as he pleases. This should be enough. You no longer openly present him with disdain, as he’s made good work on ensuring you know your place, so far below him. You smile when he enters the room, for a frown will earn a lashing, a small snipe a stomp to the back of your hand, an inkling of resistance met with broken bones and flesh wounds. He could do worse, and you know this, and that is enough to guarantee him your compliance.

But it isn’t enough. Mere compliance is not satisfactory, and you seem too dull to grasp the full extent of his desire. And perhaps that’s for the best. It is an ugly thing. Ruinous, brutal, burning and unanticipated, like a hot strike of lightning to a tree. He should know better than to expect your genuine warmth, with as many scars he has provided you with. He breaks you and builds you up again from mere scraps, but it’s never quite enough. You respect and revere your lord, you truly do, but Scaramouche requires your love. Foreign thing that it is. This expectation is unfathomable to you, for your relationship has long been built on the steady foundations of fear and imbalance.

It would wound him too much to spell it out for you. When your impudence and oblivion turns truly unbearable, only then he becomes more brazen, refraining from his casual verbal lacerations, instead daring to ask how your day was once you’ve finished doing the same. It wounds his pride, and he feels himself much too forward, but you hardly even blink when he asks if you’d like to share his bed rather than take to the floor. “Is it not warm enough, my lord? I can find more blankets, if that would please you,” You’ll offer, none the wiser to the implications of his request, and your lord feels something decay within him.

Scaramouche knows it can’t possibly be a ploy. He has assumed the role of your warden and punisher, and this dynamic will not waver. He feels his actions are justified, but to some degree, knows that he cannot reasonably expect you to reciprocate feelings he does not understand himself. So, while there are many inscrutable little triggers to his rage, Scaramouche is quite lucid as to the reasons for your oblivious nature. He would not respond to it unkindly, but certainly not with kindness, either. After another unreciprocated attempt at nurturing your ��romance’, you’ll find your lord brooding much more, side-eyeing you, huffing and puffing about the day while you can’t seem to pinpoint exactly what you’ve done wrong.

Should his pride continue to interfere with these attempts, it’s likely that your relationship will never blossom into what he desires. (And what does he want, exactly? He’s not meant to love, to feel, for emotions will make him heel. But Scaramouche is not unfeeling. He’s cried once before. Once. His presumed error is sentient emotion, weakness, a human trait that the two of you ultimately share. Though he is cold, and though he hurts you, he can feel. He can. If he can bear to prove this to you, could you love him in kind? Would you help him understand?) To force your understanding, Scaramouche must yield a shard of his pride- such is the sacrifice in finding love, he’s observed. With a firm hand as guidance, you will come to understand.

He hurts you, and you are to thank him for it. And one day, Scaramouche will impress upon you the full extent of his love, and all the many sacrifices he’s made in forcing you to understand. And you’ll thank him. You’ll thank him, and just as you’ve learned to remain acquiescent to his every word, you’ll learn to love him.

[hisclockworkservants]

SCP Foundation art, SCP-7842 - HARBINGER III: THE LION, THE WITCH, AND THE TRAIN WRECK.

SCP-7842 - HARBINGER III: THE LION, THE WITCH, AND THE TRAIN WRECK by TheCommunity: https://scp-wiki.wikidot.com/scp-7842 

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