#metaphysical architecture

[nuapriori]

Square Bullets, Round Men

Chapter 8: Après Moi, Le Déluge 10.2k

Summary:

Haunted by dreams and burdened by their responsibilities as lieutenants, Harry and Kim begin the day in quiet disarray, then meet with Éliane in Saint-Brune, who delivers a harrowing testimony.

Heartbreak and confessions, then duties as listed in job description, followed by horny private thoughts, even more flirting, and jarring institutional rot. And then even heavier flirting.

New Thought Cabinet Solution/Problem, Thought, and Inventory Update at the end note.

--

If you guys remember my very first post I made about this fic where I talk about researching cosmology and philosophy in order to make theories about the Pale entropy phenomenon and the systemic non-movement of the State, this chapter is for you. It paints the shape of what is going on behind the scenes. QuQ

[jennamoran]

The problem with the idea of the soul is, how does it get through doors? Your body goes in and then there's this weird transition and then you're on the other side of the door and like ... does your soul just *know* to move to your new location? Does it stay behind and they have to send a new soul down? Is this the origin of the door ghost epidemic?

[francesca-parita]

Echoes

An architecture of illusions, where emptiness repeats in every form, and the path shatters. No answers, only a series of silent questions.

[k-i-l-l-e-r-b-e-e-6-9]

𝔘𝔫𝔯𝔢𝔞𝔩 𝔒𝔳𝔢𝔯𝔣𝔩𝔬𝔴𝔰 - ℭ𝔯𝔢𝔪𝔞𝔱𝔬𝔯𝔶 𝔒𝔣 𝔉𝔬𝔯𝔤𝔬𝔱𝔱𝔢𝔫 ℭ𝔯𝔦𝔢𝔰

[fadbucker]

jersey city

[omegaphilosophia]

The Philosophy of the Square

The philosophy of the square explores the symbolic, geometric, and metaphysical meanings of the square as a representation of stability, order, rationality, and the material world. Squares are deeply embedded in philosophical, architectural, and cultural traditions, often serving as a counterpoint to the circle, embodying concepts of structure, balance, and boundaries.

Key Concepts:

Mathematical Foundation:

Geometric Precision: A square is a regular quadrilateral, with four equal sides and four right angles. In geometry, it is a symbol of perfect symmetry and balance, representing stability and consistency in the material world. Its equal angles and sides make it an ideal figure for illustrating mathematical order and logic.

Foundation of Measurement: In ancient geometry, the square was often used as a basic unit of measurement and as a foundation for constructing other shapes. It plays a crucial role in concepts like area and perimeter, where the square serves as a reference point for understanding dimensions and space.

Symbolism of Stability and Order:

Foundational Structure: The square is frequently associated with the material world, physical reality, and earthly structures. It represents stability and solidity, often serving as the basis for architectural design, where squares and rectangles are used for constructing buildings, homes, and cities. The square is seen as a shape that anchors things to the ground, representing the idea of a solid foundation.

Boundaries and Limits: The square also symbolizes boundaries, as its four sides form a closed system. This boundary aspect reflects the way societies, laws, and ethical systems define limits, boundaries, and rules. In this way, the square becomes a metaphor for structured thinking, moral frameworks, and social order.

Metaphysical and Cosmological Significance:

Earth and the Material Realm: In many ancient cultures, the square was associated with the Earth, in contrast to the circle, which symbolized the heavens. The four sides of the square were often linked to the four elements (earth, water, air, fire) or the four cardinal directions (north, south, east, west), reinforcing the idea of the square as a symbol of the material world and physical existence.

Harmony of Opposites: The square can also symbolize balance and harmony between opposing forces. Philosophers like Pythagoras saw geometric shapes like the square as symbolic representations of cosmic order, with the square embodying equilibrium and balance between opposing elements, such as hot and cold or light and dark.

Platonic and Pythagorean Views:

Platonic Forms: For Plato, geometric shapes like the square represented ideal forms, perfect abstractions that exist beyond the material world. The square, with its perfect proportions, was seen as an expression of rationality and mathematical purity, offering a glimpse into the realm of ideal forms that underlie the material world.

Pythagorean Harmony: The Pythagoreans, who believed in the harmonious relationships between numbers and the cosmos, saw the square as a representation of perfect proportionality. For them, squares and other geometric shapes reflected the deep, underlying order of the universe.

Cultural and Symbolic Interpretations:

Sacred Architecture: In many cultures, the square was used as the basis for sacred architecture. Temples, altars, and city layouts were often constructed using square or rectangular designs, symbolizing order and connection with the divine. The square’s perfect symmetry and rational structure were seen as reflecting cosmic harmony and the ideal order of society.

Four Virtues: In some ethical philosophies, the square represents four virtues or principles that are essential for leading a balanced life. For example, in Confucian philosophy, the square may symbolize the virtues of wisdom, justice, courage, and moderation, aligning with the idea of moral balance and harmony.

Philosophical Symbolism:

Rationality and Logic: The square is often associated with rational thought, logic, and the structured mind. It represents clear, logical thinking, where ideas fit neatly into defined categories. Philosophers who emphasize reason, such as Descartes, might use the square as a metaphor for the structure of logical argumentation or the organization of knowledge.

Materialism vs. Spirituality: The square, as a symbol of the material world, is sometimes contrasted with the circle, which represents the spiritual or eternal. In this sense, the square can represent the finite, tangible world of matter, while the circle represents the infinite, spiritual world of the divine or the soul.

Psychological and Ethical Dimensions:

Balance and Security: In psychological terms, the square is often seen as a symbol of security and balance. People who are described as "square" are often perceived as stable, reliable, and grounded, though sometimes lacking in spontaneity. The square can represent a preference for order and predictability, as opposed to chaos and uncertainty.

Ethical Boundaries: In ethical philosophy, the square can symbolize the boundaries within which moral behavior is expected. Just as the square defines a fixed space, ethical systems define limits and guidelines for acceptable behavior. This connection to boundaries and order makes the square a useful metaphor for understanding moral principles.

Challenges to Innovation and Flexibility:

Rigidity: While the square represents stability and order, it can also symbolize rigidity and a lack of flexibility. In some contexts, being "boxed in" or adhering too strictly to rules and structures is seen as a limitation. Philosophical critiques of overly rigid systems, whether in politics, ethics, or social behavior, often invoke the square as a metaphor for these constraints.

Innovation vs. Tradition: The tension between the square (representing structure and tradition) and more dynamic shapes, like the circle or spiral (representing change and innovation), reflects broader philosophical debates about the balance between order and progress. Philosophers who advocate for constant change may view the square as a limiting form, while those who value stability may see it as essential.

The square symbolizes order, stability, and rationality, representing the material world and the boundaries that define it. It plays a foundational role in both mathematics and philosophical thought, reflecting ideas of balance, structure, and proportionality. From its use in sacred architecture to its role in ethical and metaphysical discussions, the square embodies the tension between stability and rigidity, offering insights into how human societies structure both physical and moral worlds.

[aroomforarchitecture]

METAPHYSICS / ONTOLOGY 

(NOTE: posting another part of my ongoing dissertation. This is part of an unedited and working chapter, there are gaps and this text at the moment, which I am editing as I am posting this.) Since this study raises the question of the ontological models behind the architectural theories of style, it is important that I explicate what is ontology, and also what is object-oriented ontology or OOO,…

[courtingwonder]

Robert Martin's Principles of Information, No. 1: Gather together those things that change at the same time and for the same reason. Separate those things that change at different times or for different reasons.

[doyoulikethissong-poll]

John Williams - Star Wars - Main Title 1977

Star Wars (later retitled Star Wars: Episode IV – A New Hope) is a 1977 American epic space opera film written and directed by George Lucas. Set "a long time ago" in a fictional galaxy ruled by the tyrannical Galactic Empire, the story follows a group of freedom fighters known as the Rebel Alliance, who aim to destroy the Empire's newest weapon, the Death Star. When the Rebel leader Princess Leia is captured by the Empire, Luke Skywalker acquires stolen architectural plans of the Death Star and sets out to rescue her while learning the ways of a metaphysical power known as "the Force" from the Jedi Master Obi-Wan Kenobi.

"Star Wars (Main Title)" is a musical theme composed and conducted by John Williams. The composition draws influence from Erich Wolfgang Korngold's score for the 1942 film Kings Row and Gustav Holst's Jupiter from his orchestral suite, The Planets. The 1977 London Symphony Orchestra recording peaked at number ten on Billboard Hot 100 and number thirteen in Canada RPM Top Singles. Meco's disco version of "Star Wars Theme/Cantina Band" from his album Star Wars and Other Galactic Funk was a global hit in the same year. The soundtrack album itself peaked at number 2 on the Billboard 200 in 1977, and became the best-selling symphonic album of all time; it was certified Gold and Platinum by the Recording Industry Association of America, and won numerous accolades including an Academy Award, a Golden Globe Award, a BAFTA Award, and Grammy Awards in the categories of Best Original Score Written for a Motion Picture or a Television Special and Best Instrumental Composition (for the "Main Title"). In 2004, it was preserved by the Library of Congress into the National Recording Registry, calling it "culturally, historically, or aesthetically significant". In 2005, the American Film Institute named the original Star Wars soundtrack as the most memorable score of all time for an American film.

"Star Wars (Main Title)" received a total of 91,8% yes votes! Previous Star Wars-related polls: #209 "Seagulls! (Stop It Now)".

[loredrinker]

Felassan's Role in Psychological Warfare

Some time ago, I wrote about Elgar’nan’s terrifying display of power - the act of erasing emotion from existence, burning it from the minds of every living being, and letting its spirits die out completely. 

This is the scale of the enemy Solas and Felassan were up against. When your enemy can unmake feeling, extinguish spiritual presence, and reshape the metaphysical architecture of your people, what choices remain? What kind of war do you wage against opponents like these? 

What Elgar’nan did was spiritual genocide - brute force on every level. From the war on the Titans, to the destruction of spirit communities, to the devastation he continues to unleash in Veilguard, Elgar’nan has ruled through annihilation. (I feel real sympathy for Mythal trying to placate this being.) And what’s more terrifying: he’s only one of the Evanuris.

This reframes Solas’s rebellion. It wasn’t just a fight against political oppression - it was a fight to also preserve the emotional and spiritual reality of the world. 

In that context, it’s no surprise the rebellion turned to psychological warfare. And this is where Felassan emerges not merely as a soldier or lieutenant, but as an architect - just as good at it as Solas. 

The Dread Wolf: A Weapon, Not a Hero 

The Felassan codices confirm their psychological campaign was deliberate and coordinated. The Dread Wolf myth was used as a weapon to frighten the Evanuris, inspire hope, and manipulate belief.

“Yes, we have to keep playing up the Dread Wolf. The people need someone they believe is strong enough to protect them… Don’t worry. I promise to mock you viciously if you ever start believing those stories yourself.”  - Felassan

This wasn’t about heroism - it was about mass mobilization under existential threat. These codices suggest Felassan played a far more integral and strategic role in the rebellion than often acknowledged. He wasn’t just Solas’ lieutenant; he was a partner in both ideology and execution. 

This was myth as infrastructure. Felassan understood that when your enemies are divine, survival requires more than tactics. You need narrative power - a symbol strong enough to counter fear. The Dread Wolf, once hurled at Solas with contempt, became that symbol. And Felassan and Solas wielded it with precision. 

It’s easy to see Felassan as a wry commentator or moral counterweight to Solas, espeically when taken in hindsight of his death. And yes, Felassan is those things - but the codices reveal he's just as much the strategist as Solas, someone who helped forge the emotional weaponry of the rebellion. He didn’t just believe in the cause - he helped shape how it would be remembered. 

This is especially clear in two parts of that codex: 

“Yes, we have to keep playing up the Dread Wolf.”  “Don’t worry…” 

It reads like a continuation of an ongoing conversation. The “Yes” implies Solas has raised a concern - maybe about the direction of the symbol, perhaps discomfort with what it’s making him become - who knows, but we have missed out on some initial conversation here because Felassan’s response is affirmation and reassurance. Yes, we have to do this Solas, it’s necessary for the rebellion. But don’t worry, I’ll pull you back if it starts to consume you. That casual “Don’t worry” does heavy emotional lifting. It acknowledges the toll already settling on Solas, and Felassan, aware of it, offers the only balm he can: I won't let it consume you. 

In this way, the codex isn’t just a strategic log - it’s a record of emotional triage. As the war escalates, the emotional and ethical toll begins to shift. Felassan becomes not just a planner but a witness to a conflict spiraling beyond anyone’s control. 

“The bad news is that Andruil and Ghilan’nain made a big show of putting down a protest… Andruil left a crater where the town stood, and Ghilan’nain is using the people taken prisoner as fodder for her experiments.” 

What follows next in that codex is the line that piqued my curiosity: 

“This isn’t your fault, but still, this is exactly what I was worried about.” 

That line marks a quiet, painful evolution in Felassan’s thinking. The emotional core is regret. 

He isn’t blaming Solas - he’s acknowledging that the symbol they created is now drawing divine wrath. Each act of rebellion is met with devastation so complete, even victory feels like loss. Yet “this isn’t your fault” stands out. He knows Solas is carrying the rebellion’s cost - perhaps already retreating inward, calcifying under the burden of the costs of war. 

But “this is exactly what I was worried about,” when read alongside the other codices, suggests something deeper: guilt. Felassan sees Solas changing. The man he once teased to not take the myth too seriously is now becoming it. The line between mask and self is blurring. And Felassan, who once promised to pull him back, may no longer be able to. Part of that guilt, perhaps, comes from the knowledge that he encouraged it - that he helped craft the myth, pushed Solas to wear it, and now must watch as it consumes his friend. 

In a war like this, no one remains untouched. The Evanuris long ago abandoned morality - experimenting on the living, erasing emotions, killing without hesitation. But the rebels, too, are marked by compromise: truths sacrificed, lies forged for survival. Felassan isn’t innocent. Neither is Solas. 

Felassan helped build the myth. Solas bore it. Now, both are shaped by it in turn. 

The tragedy is that when you wield psychological warfare, there's always the risk that the story you create to move others will begin to reshape you. That’s what Felassan feared. That’s what began to happen.

And when Mythal is murdered - well, we know what happens from there.

This is part of a larger series. The first being Solas and Psychological Warfare.

[hrrtshape]

　　　　　　　　　　　3 nights in the in-between

hi. i shifted to my waiting room and obviously everything was devastatingly adorable. so here’s the lowdown before my soul bursts out of my collarbones from trying to contain the serotonin . .

　　shift length : 3 days but like… biblical. i was alba on day one. alba on day two. and then alba again on day three. except in this essay alba is a state of metaphysical blondeness and not a roman martyr. i was soft-lit. i was god’s favourite jpeg. i woke up like i’d been cured of every disease i didn’t know i had. i woke up honey-glazed and airbrushed. i woke up as if lana del rey herself had kissed my eyelids and whispered, "no thoughts, just frosted roses."　

　　place : the cinderella manor and no like. this is not an architectural joke. this place is disneycore™. not tasteful-italian-villa pinterest-core. it’s birds and rococo staircases that creak when you giggle too loud. it’s baroque-but-make-it-fairytale. like if sofia coppola directed a sleepover. you blink and suddenly your reality is being scored by harp strings and pink icing.　

　　　　　　　okay so ,

there’s a private cinema hidden behind a copy of the divine comedy. push it like a girlboss opening a portal to hell and BAM!! letterboxd-core viewing experience unlocked. i watched actual movies (auteur realness) AND got to view curated top-ten-most-deranged moments with coryo. it was like a highlight reel of my delusions. i was giggling like an orphan seeing snow for the first time.

kitchen stocked with marie-antoinette-adjacent snacks. like petit fours. sugar-dusted things that don’t exist in the waking world. i had a raspberry macaron. it knew too much. it was watching me.

lucifer was there btw. the lucifer. devil of hell. morning star. slay incarnate. jk the cat. he’s a literal infernal entity but he cuddles like a plushie possessed by the spirit of a golden retriever. we watched a noir movie together and he fell asleep on my shoulder. duality of cat etc etc.

my wardrobe was pinterest-core to the point of hallucination. like it was curated by an algorithm that knows my blood type. little bows. embroidered stuff. silk things. pretty dresses. i dressed like i was haunting an opera house.

my bedside table knew me biblically. it had whatever i needed before i even wanted it. a book. a journal. rosé. a phone. a lip balm.

i also had a telescope. like. capital-T telescope. i could see the stars. constellations were making a groupchat just for me. i saw venus doing a twirl.

back garden = eternal picnic. gingham blankets. dewy grass. someone always playing the cello in the distance. i ate strawberries and i was being filmed in soft focus. not really, at least i hope not.

also… scripted tiktok edits of my dr selves. narcissism... yes. therapeutic.... also yes. i was literally watching someone edit ME in final cut pro to hozier songs. i saw my fame dr on a red carpet and got secondhand butterflies.

there’s a lake. didn’t go in. was too pretty. too sacred. it glistened like the inside of a pearl. i stood there for ages like a protagonist mid-season arc. it changed me.

coraline door moment!!!!!!! it exists. it's small. gold-trimmed. do i know where it leads? no. did i script that? also no. is it ominously glowing sometimes? slay

i did script a small town nearby. never entered. cowardice won that battle. but its little cobbled streets were visible through the manor windows and they looked like plotlines waiting to happen. maybe next time.

have i mentioned the massive teddy bear. like. he’s just sitting there. coryo-sized. plushie of the void. i’ve sobbed into him twice and he took it like a champ. emotionally supportive king.

the AIR. smelled like… warm vanilla. roses. post-cry clarity. a scent that makes you feel forgiven. girl i don’t even know what the molecules were doing but they were in sync.

the manor isn’t like… photogenic. it’s animated. i live in a disney animated original movie but with higher stakes and better set design. the floorboards squeak narratively.

library includes painting zone. one night i stayed up tracing brushstrokes and the moonlight was literally bending to make me look artsy. it was like painting inside a poem. cried a little. obviously.

now. mirror. the mirror. i looked into it and saw every version of blonde me. honey blonde. platinum. 90s supermodel blonde. messy juliette lewis blonde. soul left my body and came back.....i need to bleach my hair.

my teapot brews based on my subconscious. i woke up to vanilla-rose-lavender earl grey with tiny sugar cubes that giggled when i stirred them. it’s fine. it’s normal. it’s called being built different.

also. trunk of film cameras. every one records me in a different genre. my tuesday was shot like a wes anderson girlhood docu-comedy. thursday had horror lighting. friday was soft focus teen romcom with slow fades. i am my own filmography.

anyway. it was perfect. 3-day slay. i’m in mourning now. but i’m also planning my next arrival. maybe next time i’ll open the coraline door. maybe i’ll dive into the lake. maybe coryo will show up and ruin my life in a cute way. who knows.

ok love you bye.

[windvexer]

Practical Energy Work 01 🐔 Bedrock

This post is part of a masterpost. Click here to go to the masterpost. Please read the disclaimer in the masterpost if you notice our beliefs may be different. Next: Practical Energy Work 02 anticipated, not published

When I say "energy work" I mean the manipulation of metaphysical energies through direct application of willpower.

I think in order for us to navigate this terrain together we should be on the same page about what these energies are and how it's possible to work with them in the first place.

"But how can I do energy work? How is it possible?"

You do not need to integrate or internalize the following beliefs. But for the purposes of this series, let's just agree that the following things are true - even if you don't 'really' believe them.

If we can agree on these things while we do energy work together, we'll be able to build our understanding of energy work on the same bedrock, perhaps making it possible for us to raise sturdy creations using very similar architecture.

I'm using the term 'ethereal energy', which I will explain below, because I'm a bit worn out by the vagueness of 'metaphysical'.

1. Ethereal energy is some beautiful stuff about the web of life, basically

'Metaphysical' energy exists on what you might call astral, ethereal, or subtle planes. I call it ethereal energy, or at least I do for this series.

There's lots of kinds of this energy, categorized by its qualities. Ethereal energy can be rapid or slow-moving, invigorating or calming, enlivening or draining.

This energy is infused within and around the world, and it's a vital and natural aspect of experiencing our reality. Ethereal energy isn't far away or locked behind a veil: it's around us all the time. It's part of life and existence itself in our world.

This energy is a major part of how living beings sense and perceive the world around us. This energy has its own qualities, but it also carries a great deal of information - just like a warm humid breeze in late May carries a great deal of information to people who understand weather patterns.

This energy influences what is around it. Living beings, spirits, the dead, and even gods are impacted by ethereal energy. This is true because most beings exist on the same plane as ethereal energies: we're all joined together by the ethereal web of life. Yes, we're a part of the same web of life as both the gods and the tiniest amoeba in the primordial sea! Isn't that beautiful?

Because we're all joined together by the ethereal, these energies can be manipulated to directly impact experienced reality for everything bound together by the ethereal web of life, or anything that needs to interact with that web.

2. People are inherently energy-sensing

Everything alive (and many things not alive in the biological sense) is inherently energy sensing.

You can learn to sense, interact with, read, and interpret energies because this is just something that people can normally do.

We sense energies all the time and we're used to interacting with them as part of our normal way of being.

Some people are naturally more energy-sensing and more reliant on the information they gather from their inborn energy-sensing. Other people are more closed off, gaining little information from the energy around them or rarely relying on it.

You can learn to get more in touch with your natural energy sensing and actively work with it as an inherent sense. You can do this casually as a way of getting to know your entire being, or you can do this more formally as a focused hobby and skill.

3. People are inherently able to manipulate and control energies.

You can gather up, modify, deposit, or dissipate metaphysical energies. People do this all the time as part of being alive, just like we move water from the sink to the toilet by virtue of being living beings.

We can control and move energies because we naturally exist within the ethereal web of life. Each of us has an ethereal extension of our physical bodies, commonly referred to as the 'energy body'. But it just means that our natural selves extend beyond the physical, and we can affect and manipulate ethereal energies just like we can manipulate the cup of coffee on the counter.

Once we expand personal focus and awareness into energy sensing, then discerning and manipulating energies is just like any other skill. This is just like a beginner cook slowly expanding their palate and truly tasting new flavors inside of old foods, just because of careful practice and focus on their experiences.

Or, this is like a sculptor being able to make finer and more delicate sculptures. They've had their hands the whole time, but they can begin to do things they've never done before because they've chosen to focus on expanding a specific skill.

4. Ethereal energy is like water, not like the atmosphere: there's not an even coating of it everywhere

Ethereal energy can be densely packed into an area, within an object, or around a living being.

Or it can be stretched thin and patchy, or completely absent altogether.

Energy workers and Witches can tell you that powerful wellsprings of ethereal energy are not always available. In fact you may have to go through significant effort to find energies that are suitable to your needs (meaning that their qualities closely match the qualities of energy you need to get your job done).

This is why major tasks of the beginner energy worker (and Witch) are to learn how to discover free-flowing wellsprings of ethereal power which they can draw on in order to create energetic walls, objects, artificial spirits, and any other desired design.

This also means that it's more than possible for you to fuck up the energy balance within a place or especially within yourself, leading to potentially a great deal of discomfort until the place is rebalanced (which may happen automatically over time).

And this is why, if the first major task of the energy worker or Witch is to learn how to raise up energy, the second major task is to learn to put it down, or in other words dissipate, rebalance, diffuse, or send away energies. If this is not done, you can end up fucking up the ethereal plane around you so that your own spaces become flooded with dense energies of strange qualities, impacting you (and everyone else, including the spirits) in unexpected and unwanted ways.

(Or inversely, you can end up stripping ethereal energies out of a space, making it feel 'dead' and uncomfortable or even actively difficult to exist in).

5. Energy sensing and manipulation is going to be a lot easier if you accept that it's regularnatural and it's been around you this entire time

Once we're used to the idea that we innately exist beyond the physical, beginning to identify the energies around us becomes relatively trivial when we remember that we're already very familiar with those energies!

Ethereal energies are not exotic, they are ordinary. I believe that it's more difficult to find these energies by looking for something new or strange. It's easier to find them by seeking out the commonplace qualities of daily living.

Whether or not you want to be an energy worker, energy is a part of your life and it has an impact on you, just as the weather outside and the temperature and humidity in your house has an impact on you.

This is because it's around us all of the time! It's just a part of our life.

When trying to learn energy sensing, remember that you are a fish in the ocean looking for water. You're not going to be running into exotic energies with bizarre qualities - not at the beginning.

What are the qualities of elemental fire? Remember the last time you sat before a bonfire or a hearth fire. Remember how it felt to be near that fire - the experiences the fire gave you that you would not have experienced if not but for that fire. Those are some of the qualities of elemental fire. That was your energy sensing self, tasting the fire the way the chef tastes a strawberry.

When looking for elemental fire to raise up, look for something that feels the same way as the bonfire did. It's that easy. Do you want to drain elemental fire out of a situation? Keep working until every last trace of the bonfire experience is drained away, until you can't find any subtle reminder of a bonfire in that place.

[yuma-mukami-garden-god]

Reiji with a (kind and warm) gf, the "problem" is that she has big breasts, the man is so down bad for her but he tries with difficulty to hide his degenerate mind and actions for his "correct" composure and for the sake of respecting his gf. He loves her boobs but he's quite... Tsundere, let's just say, to admit it...

The Gravity of Composure

To say Reiji Sakamaki prided himself on control would be a grotesque understatement.

He was control. Precision incarnate. His movements, his thoughts, his words—measured, refined, deliberate. There was no room for impulse. No tolerance for… crudeness.

Which was why he found his current predicament utterly humiliating.

You sat across from him in the tea room, dressed in something so innocently modest it shouldn’t have distracted him. But the cut of your blouse, despite its high collar, still strained ever-so-slightly over the soft swell of your chest. Your posture—graceful, unassuming—only emphasized it. And that… that damnable softness was the center of every unspoken, feral thought in Reiji’s overworked mind.

He sipped his tea with surgical elegance, pretending he wasn’t watching your every movement through his lashes. You poured more for him, leaning slightly, unaware—or too aware—of how the simple motion made his composure falter.

Control yourself, Reiji. For the love of all that is holy, you are a scholar. A gentleman. A man of dignity—

“Reiji?” you tilted your head with that warm, gentle smile that made his chest feel like it was being gently incinerated. “You’re staring again.”

He choked on his tea.

“I-I was not,” he snapped, face reddening beneath his glasses. “Don’t be absurd. I was merely… distracted. Reflecting.”

“Oh?” you leaned on your hands, resting your chest innocently against the table edge. “About what?”

Dear God. He had memorized books in foreign tongues, understood metaphysical theory, could calculate alchemical equations from memory—yet in the presence of your cleavage, this towering intellect was reduced to a stammering mess.

“I—I was considering the… the inefficiency of the current tea set,” he lied—lied, and Reiji hated lying. “The handles are poorly weighted. Terribly balanced craftsmanship.”

You blinked, utterly unbothered, and giggled.

Reiji flinched.

That sound—that kind, bell-like laugh—shouldn’t have made him feel like his cravat was too tight.

"You’re cute when you get flustered," you said sweetly.

“I am not flustered,” he snapped, standing a little too quickly. “I am simply going to retrieve a different teapot. One with proper— architecture.”

He turned so fast his coat swirled behind him like a cape.

Behind him, you sighed, resting your cheek on your hand with a mischievous smile. You knew. Of course you knew. Reiji wasn’t exactly subtle, not when he dropped things every time you wore anything remotely snug. Not when his eyes accidentally drifted down in the middle of a lecture. And definitely not when he awkwardly left the room muttering about “restraint” and “restorative meditation.”

He returned moments later, cooler, stoic… and completely avoided eye contact as he placed the new teapot on the tray.

"Will this suffice?" he asked stiffly.

You nodded. “Mmhm. Though I think the old one was perfectly fine.”

“I beg to differ.”

“You would.”

There was silence. Then:

“…Would you like me to adjust the fit of your clothing?” he asked abruptly, and then froze, realizing what he’d just said.

You raised an eyebrow, amused. “My… clothing?”

“I meant—tailoring. Yes. Yes, clearly that top is—structurally unsupportive.” He was rambling now, flustered. “You could injure your spine. Ergonomics must be considered. As your partner, I simply—care. About your… vertebrae.”

You couldn’t help it—you laughed again. He was red all the way to his ears.

“Thank you, Reiji,” you said with that soft, warm tone that always melted his icy exterior. “I love that you care so much about my… posture.”

Reiji adjusted his glasses, clearing his throat with exaggerated composure.

“Indeed. It is my responsibility, after all… as your respectable and honorable boyfriend.”

He turned away, muttering under his breath.

“…Damnable temptress.”

You heard that. And grinned.

He was down bad. And he was adorable.

[matthew2641]

"They know."

The entanglement between Will Graham and Hannibal Lecter is one fraught with manipulation, empathy, and a gradual dissolution of moral boundaries. Among the many manifestations of this dynamic, few are as structurally and thematically potent as the phone calls between Hannibal and Garret Jacob Hobbs in Aperitif, and Will to Hannibal in Mizumono. Although temporally and circumstantially disparate, these moments are deliberately interwoven, functioning as temporal markers in the evolving narrative of their mutual ensnarement. By examining the layered substrata embedded within these interactions, we discern the cyclical nature of influence and manipulation that constitutes the linchpin of Hannibal’s ontology: wherein power is neither imposed nor seized, but transacted—an unspoken recognition of each other’s latent capacities for violence, empathy, and control.

In order to grasp the profundity of both circumstances, there must be an understanding of the motivations that precipitated them. Hannibal’s call to Garret Jacob Hobbs, though executed with pragmatic brevity, belies a far more intricate set of intentions than initially suggested. At this stage in the narrative, the dynamic between Hannibal and Will is embryonic, subsisting on clinical curiosity—a regimen of dispassion Hannibal had grown accustomed to maintaining within the structure of his professional life. However, Will’s exceptional capacity for empathy was an anomalous force disrupting the measured architecture of Hannibal’s world, compelling him to consider avenues of a far more intimate nature. He saw in Will not merely a mind of peculiar brilliance, but a mirror—a potential companion. A conception potent enough to stir the abyssal ache of loneliness lurking beneath his polished exterior. This metaphysical hunger did not seek communion through the banalities of camaraderie, but the language with which he is most conversant: brutality. Crucially, this longing is filtered through Hannibal’s inability to engage with intimacy in any customary sense. Those loved by Hannibal are transformed, Abigail, Will, and even Alana endured respective reshapings under his hand. Love, as he conceives it, is not an act of gentle affection, but of sacramental violence—of devouring, refining, and rebirthing.

The phrase, "They know," offered under the pretense of courtesy, serves not Garret Jacob Hobbs, but Hannibal’s design. Affording Hobbs all the information necessary to ensure that his reckoning would be one of ferity, Hannibal sets the stage for the inciting act of Will’s initiation. Merely witnessing atrocity was insufficient—Will, no stranger to bloodshed, had to be implicated in its logic for the grimmer recesses of his psyche to resurface. The murder committed in the wake of the call is not merely an act of violence but a rite of passage—a trial by blood marking Will’s induction into the realm of existential violence Hannibal inhabits. 

By the second season, the perilous symbiosis between Will and Hannibal has undergone an irrevocable shift, with Will now occupying a position of greater understanding and, to some extent, complicity. No longer a nescient pawn in Hannibal’s artifice, Will found himself reshaped by betrayal, incarceration, and the slow insidious seep of Hannibal’s influence—beholding his former confidant with tragic appreciation. What was once a relationship predicated on deception and power now throbs with an unsettling intimacy, of knowing and being known in a way that strips pretense to the bone, heedless of the ruin it invites. And so, as the loom of Hannibal’s retribution tightens its threads, Will acts in yet another betrayal of his espoused ethics, warning Hannibal with the very words that heralded his undoing: “They know.”  

These mirrored phone calls do more than establish a warped parity; they elevate betrayal into an act of profane devotion. Superficially, the phone call suggests mutual recognition, a begrudging respect of each other’s prowess, their intellects so utterly interwoven that opposition and alignment have become indistinguishable. Yet, beneath this veneer of mutual acknowledgment roils an emotional undercurrent of unbearable complexity. Will’s call is not a simple warning—it is a moment of existential confirmation. Betrayal, in its conventional sense, implies a sundering. Though, in the case of Will Graham and Hannibal Lecter, betrayal is the mechanism that binds them. The call provides more than just a warning, it’s a gesture of terrible, inexorable recognition. Granting Hannibal something far more ruinous than treachery: understanding.

There is an aching irony in Will’s final call, a cruel paradox woven into the fabric of their bond. He, who has been both victim and agent of Hannibal’s machinations, now mirrors his adversary so exactly that the distinction between captor and captive collapses into irrelevance. In this fleeting moment, Will is not simply playing a part in the narrative Hannibal has orchestrated; he becomes its co-author. His warning is an unspoken confession, a testament to their enmeshment. Whatever semblance of love remains between them has been flayed to its barest form, pulsing with raw, excruciating knowing. Similar to the ouroboros, they are both devourer and devoured, their betrayals spiraling into one another in an endless recursion of destruction and genesis. There is no resolution, no terminus to their dance—only the certainty that in wounding one another, they are made whole, bound ever tighter in the embrace of ruin.

[hrizantemy]

If the Dusk Court still existed alongside the other courts, what do you think it would look like? As well as its clothing and architecture. What would you want its culture to be like and what language do you think they would have?

If the Dusk Court still existed alongside the other courts, I imagine it as one of the most culturally profound and symbolically layered courts—the bridge between light and dark, life and death, change and permanence.

The Dusk Court — The Realm of Twilight and Transcendence

Dusk is neither day nor night—it’s a threshold, a liminal space. I see the Dusk Court as a place that thrives on balance, introspection, and reverence for the in-between. It’s a society that embraces ambiguity, transformation, and cyclical patterns—where nothing is static, and every ending is honored as a beginning.

1. Architecture: Inspired by Ancient Petra, Moroccan Riads, and Byzantine Influence

I picture the Dusk Court as a city carved into nature itself, much like Petra in Jordan—rose-stone facades, seamlessly blending into cliffs and canyons. The structures wouldn’t dominate the landscape, but emerge from it, reflecting the Court’s philosophy of harmony and transience.

From Moroccan architecture, I’d borrow the idea of hidden beauty—plain exteriors that open into stunning inner courtyards (riads) filled with fountains, tiled mosaics, and shaded gardens. Privacy and inner reflection would be key values, so homes and public buildings would focus inward, designed for contemplation and peace.

The spiritual heart of the court could resemble Byzantine basilicas, with grand domes, intricate mosaics of twilight skies, and soft light filtering through stained glass in muted golds, purples, and blues. The Hagia Sophia comes to mind—an architectural testament to both earthly grandeur and spiritual transcendence.

Key Features:

Sandstone cities glowing at sunset.

Reflective pools and labyrinthine streets, symbolizing life’s winding paths.

Open-air temples honoring celestial cycles, with no roofs to separate them from the skies.

Use of geometric patterns, similar to Islamic art, representing the infinite and unknowable.

2. Clothing: Rooted in Desert Cultures, Byzantine Luxury, and Japanese Minimalism

The Dusk Court’s fashion would blend practicality with philosophical symbolism.

Inspired by North African and Middle Eastern garments, they’d wear flowing robes and light, breathable fabrics—perfect for climates where days are hot and nights are cool. Think djellabas, kaftans, and abayas layered in soft gradients, echoing the shifting colors of twilight.

From Byzantine culture, I’d imagine intricate embroidery—threaded in gold and silver—depicting cosmic motifs: setting suns, crescent moons, stars, and cyclical patterns.

But there would also be a hint of Japanese aesthetics—a respect for simplicity, impermanence, and nature. Perhaps elements of wabi-sabi, where beauty is found in imperfection and age. Faded fabrics, hand-stitched repairs (like boro), and heirloom garments passed through generations would be common.

Color Palette:

Muted violets, soft ochres, deep indigos, dusty rose, and shimmering golds—colors that shift depending on light, embodying the transient beauty of dusk.

3. Culture: A Society of Philosophers, Mystics, and Keepers of Balance

The Dusk Court would be deeply philosophical—drawing from traditions like:

Taoism: The belief in balance and the flow of natural forces (yin and yang). They’d reject extremes, favoring harmony and the acceptance of life’s dualities.

Sufi Mysticism: A culture of poetry, dance, and music as forms of spiritual expression. Imagine whirling dervish-like rituals, where movement becomes a meditation on the cycles of life.

Ancient Egyptian View of Ma’at: The concept of cosmic balance, truth, and order. The Dusk Court might view themselves as guardians of Prythian’s metaphysical equilibrium, ensuring no court tips too far into chaos or tyranny.

Mesoamerican Calendar Culture: A deep reverence for time and celestial events. Festivals would align with equinoxes, solstices, and rare astronomical phenomena. Every citizen would know their place within cycles of renewal and decay.

They would embrace mortality—not fearing death, but seeing it as a sacred passage. Funeral rites would be grand, but not mournful—celebrations of completion.

4. Language: A Blend of Arabic Poetics, Sanskrit Philosophy, and Indigenous Symbolism

The Dusk Court’s language would be highly metaphorical, designed to convey layers of meaning in few words—similar to how Arabic or Persian poetry can express vast emotional landscapes through symbolism.

They might have untranslatable words akin to:

“Tarab” (Arabic): The ecstasy from music.

“Saudade” (Portuguese): A longing for something lost.

“Ikigai” (Japanese): A reason for being.

Like Sanskrit, their language could be tied to philosophy and ritual, with precise words for spiritual concepts and cosmic forces. Perhaps they use pictographs or glyphs in writing, resembling Mayan or Egyptian scripts, where a single symbol encapsulates complex ideas.

Communication wouldn’t be rushed—silence could be as important as speech.

5. Political & Economic Structure: The Court of Mediators and Memory

Politically, the Dusk Court would serve as Prythian’s neutral heart. A place where courts send emissaries to settle disputes, guided by ancient laws older than any High Lord.

Leadership might not be a singular ruler but a council of elders—chosen not for power but for wisdom and life experience. Perhaps titles aren’t inherited but earned through deeds reflecting balance, insight, and service to the community.

Economically, they’d thrive on:

Artisan goods: Glasswork that captures twilight, enchanted scrolls, and twilight-blooming plants used in rare potions.

Knowledge trade: Selling maps of ancient ley lines, star charts, and philosophical treaties prized by scholars of other courts.

Hosting diplomatic summits and neutral trade agreements.

Final Thoughts:

If the Dusk Court still existed, it would be the soul of Prythian—not the most powerful, not the richest, but the wisest. A court that understands that strength isn’t just about armies or magic, but about knowing when to let go, when to endure, and when to stand as the quiet force holding everything together.

It would draw from cultures that value introspection, balance, and spiritual depth.

[northopalshore]

Just find out a set of education/wisdom Asteroids & it really worked.

Academia, Educatio, Universitas, Talent, Wisdom Myougi(exquisite skill), Sophia, Sapentia, Scientia, Skepticus, Abstracta, Quaoar, Pallas, Athena, Minerva, Themis,Metis,Mathesis,Quetzalcoat,Imhotep

829,2440,905,33154,6462,251,275,7756,6630,6805,50000,2,93,881,24,9, 454,1915,1813

𝄞⨾𓍢ִ໋ Interesting! We can sort of guess what they mean by understanding the name or reference it makes. Most asteroid/planet names are sort of eponyms, so the asteroid adheres to the characteristics of the story it's referring to in the first place.

Wisdom asteroids:

a brief breakdown

₊ ˚ ⊹ ࣭ ⭑ . ₊ ⊹ .₊๋‧₊ ˚ ⊹ ࣭ ⭑ . ₊ ⊹ .₊๋‧₊ ˚ ⊹ ࣭ ⭑ . ₊ ⊹ .₊๋‧₊ ˚ ⊹ ࣭ ⭑ ⊹ .₊๋‧₊ ˚ ⊹ ࣭ ⭑

Academia (829), Educatio (2440), Universitas (905), Sophia (251) :

Literally places of education, traditional knowledge, structural/institutional knowledge, your performance when enrolled in such placement, you could do better in university if they are well placed. Sophia literally means wisdom.

Scientia (7756), Sekpticus (6630), Mathesis (454), Themis (24), Minerva (93):

Wisdom based on reality. There's a philosophical term for this, realism was it? It can manifest through a person's sense of doubt or problem solving skills based on critical analysis. Whether that'd be through deductive or heuristic processing. For Mathesis it could literally also mean good at math if well aspected lmao. Themis references the Greek Goddess of law, so naturally this shows potential strengths of an individual when concerning law or good judgement. Minerva also relates to law and strategy. These are the literal planners, "intelligent" placements.

Sapentia (perhaps refers to sapientia?) (275), Abstracta (6805):

Roughly meaning tasteful perspective. Someone who is able to comprehend things in a meaningful way. Looking at things from multiple perspectives, seeing the inner meaning.

Talent (33154) & wisdom myougi (6462):

Self explanatory. The first thing I thought of is Mr. Miyagi??? But no, both mean skill/talent.

Imhotep (1813):

The famous Egyptian architect, sage & astrologer. Literally every mummy movie includes him. It can show how adept someone is at matters concerning architectural, astrological, and metaphysical knowledge.

Pallas (2), Athena (881), Metis (9):

All connected to Greek/roman mythology. Pallas & Athena are tied to wisdom or strategy within battles and later (mostly Athena) tied to great wisdom. Metis was an advisor and first wife of Zeus.

Quetzalcoatl ( 1915):

This one is unique because it's derived from Aztec beliefs/mythology instead of roman/Greek. Mostly related to knowledge over creations, crafts, creativity but also knowledge & learning in general.

₊ ˚ ⊹ ࣭ ⭑ . ₊ ⊹ .₊๋‧₊ ˚ ⊹ ࣭ ⭑ . ₊ ⊹ .₊๋‧₊ ˚ ⊹ ࣭ ⭑ . ₊ ⊹ .₊๋‧₊ ˚ ⊹ ࣭ ⭑ ⊹ .₊๋‧₊ ˚ ⊹ ࣭ ⭑

Hope this helps other readers!