#sloth log | Explore Tumblr Posts and Blogs

lu-is-not-ok · 9 months

Note

hello i have no idea if you have analyzed Impending Day Sinclair yet or not (or if u r even still doing analyses) but if you are.... perchance could you analyze Impending Day Sinclair??

Aaaalright, let's get right into it. This is... gonna be an interesting one.

So, as always, let's start off with the Abnormality - Doomsday Calendar. And, my god, what an Abnormality it is. Four whole phases in its fight, each one with unique passives and attacks and mid-battle events (which, mind you, the Fandom Wiki still doesn't list)... I've got my job cut out for me here.

Now, because of just how many phases this fight has, I'm going to go in a slightly different order than I usually would for Abno analysis. We're gonna go Phase by Phase, as I personally think that's a slightly better way of analyzing it than throwing all the Attacks on the table at once and trying to dig for a meaning there.

Got that? Alright, cool.

The fight against Doomsday Calendar starts with Phase 1, which for the sake of the Analysis I'll call the Prelude.

During the Prelude, we're met with a couple of Doomsday Clay Dolls, a sort of "minion" entity to the Abnormality proper.

Let's briefly talk about those Clay Dolls so as to not get distracted later. First of all, it's not really shown to us how these Dolls are made so to say, but we do get to see the Calendar revive these Dolls with every progressing Phase. This is confirmed by their passive, Idolatry, which says that they don't die when reaching 0 HP, simply staying there untargetable and immobile until the next phase, or until the Abnormality is fully surpressed.

Interestingly enough, the Abno Logs describing the Clay Dolls never explicitly say that they're made of clay, but there is that implication that that's the case as their bodies are describes as resembling muscle fibers, and with their name being corrected from "flesh dolls" to "clay dolls" in an Abno Log later on. I don't think it's too important to Doomsday Calendar itself, but I did notice that just now and have a feeling it connects to some wider themes that are slowly being presented throughout Limbus Company.

Beyond that, their passive name and Lust skills imply they only exist to admire, love, and serve the god-like figure that is Doomsday Calendar.

Looping back to the Prelude, during this phase Doomsday Calendar does not act and is completely unargetable. It has only one Passive during this stage - Let the Blood Festival Flow, describing what has to be done to progress to the next phase.

This gives us a very interesting image already. Each of the phases after the Prelude are "Festivals", or specifically religious celebrations. A very dark and ironic take on this idea, seeing as each of these Festivals requires a human sacrifice, though I may be getting a little ahead of myself.

Once the Clay Dolls are defeated, Phase 2, the Blood Festival begins. The Clay Dolls are revived, with an extra one joining in. Doomsday Calendar awakens, sprouting arms that it uses to attack the Sinners.

Here, Doomsday Calendar makes use of two different Sin Affinities. Sloth for the attacks Quake and Slam, the animations of which are the Calendar literally just slamming its fists against the ground as if having a tantrum; and Lust for Live Offering, in which the Calendar grabs a Sinner and puts them in its... uh... Mouth? Facehole? Basically, the Calendar is hungry and needs to be fed.

The first mid-fight event happens after one turn. Immediately, the text here paints a specific image. The sacrifice done to appease is called a gift, a tribute if a Clay Doll is offered. It's described to be the way to calm someone down that the Abnormality likes the most. The gift it specifically seeks here is fresh blood, and it becomes satiated once it recieves what it wants.

Perhaps the phases are Festivals to the Calendar as it's recieving gifts in the form of these offerings, but to the people around it they're really more like Rituals meant to stave off whatever calamity this god will bring.

Something else to note here is an interesting sense of inevitability. Doomsday Calendar becomes satiated by the blood, yes, but it only calms down "for a moment". It will inevitably grow hungry once more, and will need to be fed again to quiet down its tantrums.

Once again, the Calendar's Passive here gives us an idea of the next phase - Let the Fire Festival Ignite.

Upon being damaged enough, Doomsday Calendar's phase 3 begins, the Fire Festival.

In this phase, all of the Clay Dolls begin Burning, creating fire within their masks and gaining the Wrath Affinity skill to belch out the fire, perhaps expelling it out as if trying to get rid of it.

Additionally, Doomsday Calendar takes on some interesting behavior here. It doesn't actually attack, only using a guard skill named Stalwart Altar, something that further exemplifies its role as something to give Ritualistic offerings, as well as adding to the idea of it being inevitable, indestructible. Something that will always come back, no matter how many times it's staved off.

Beyond the Phase-changing Passive, Doomsday Calendar also has a second Passive during the Fire Festival - Frenzy, which inflicts burn to all its enemies.

If the Blood Festival was about satiating the Calendar's hunger for blood, then the Fire Festival is about cooling down its simmering rage and raging fire.

The second mid-fight event takes place two turns into this phase. The text says that to weaken the Abnormality's flames, one would use cool water, before noting that the Sinners don't just carry buckets of water around. Does this imply that the 'proper' Ritual here would have been to offer up water as a gift? It would make sense, after all during the Blood Festival the Calendar only wants blood, not specifically human blood. Perhaps in that case, just animal sacrifice would have sufficed as well.

Tangent aside, if a Sinner is chosen to be offered up, the prompt for the skill check specifically asks for someone with a "cold heart", and even beforehand the text asks for someone "cool" to be offered up instead of water. Upon success, the Abnormality's fervor is cooled, and its flame shrinks to a flicker.

Note again the idea if only pushing back the inevitable. The Abnormality's flame isn't fully put out, it only shrinks to something much more manageable, something that will need time to build up again. These Festivals aren't really solutions to the problem, they're merely bandaids and duct tape meant to give people a little bit more time.

The last part of this phase is the Passive that tells us of the next one - Let the Star Festival Fall, which activates when Doomsday Calendar is hurt enough.

During Phase 4, the Star Festival, none of the Clay Dolls act, and the Calendar only uses one attack - Universe Aflame, which has Envy Affinity. First, it uses them on its allies, and if the last mid-fight event, it uses it on all the Sinners, which causes a unique death animation when it kills. And uh, it will Very Likely kill, because that shit is a 35-45.

As for the reason it's an Envy attack... I believe the event that happens after it kills its allies explains it well.

The Abnormality isn't the one being given an offering here, and it's not the one causing the calamity, rather it's only a gateway, a vessel for the actual cause of the Doomsday - the stars.

Stars are... an extremely important theme in Limbus, and it began as far back as Lobotomy Corporation. I don't want to go on too long of a tangent about that here, since it's only a small part of Doomsday Calendar, but let it be known that the stars in this series seem to be entities of unimaginable power in their own right.

Back to the event at hand, the text here describes the stars as "twinkling", saying that when they shine, they will rob the Sinners of their sight.

That specific idea makes me think of the sun specifically, as its (hopefully) common knowledge that staring directly at the sun could blind you. This is fitting for Doomsday Calendar, which includes a sun-like design as part of its stone plate. Doomsday Calendar being related to the sun also explains a lot of its other quirks, such as its connection to fire and even the whole thing with human sacrifices, as that connected with it being clearly inspired by Aztec stone calendars further relates it to the idea of a sun god.

Just like with the other sacrifices, this offering is also called a "gift", though here it is explicitly given to the stars rather than the Abnormality. This event also forces you to pick a Sinner rather than a Clay Doll, and the skill check prompt explains why - the person being offered up needs to have a voice that could "lull the stars to sleep". If this lullaby succeeds, the stars are put into a deep slumber, their light leaving people be "for a while".

For a while... again with that idea of inevitability. Putting the stars to sleep only puts off their awakening for later, it doesn't actually stop it. With time, they will inevitably twinkle once more, and their starlight will again threaten to "blind" everyone.

While this may not be enough to fully stop the stars, succeeding at this skill check is enough to suppress Doomsday Calendar.

That was... a lot. Let's take a look at the Abno Log before we try to come up with some themes for this thing.

The main details that we learn from these Logs are as such:

The pedestal the stone plate is on is actually made of wood, it only looks like it's woven from muscles.

The plate is confirmed to be a form of calendar, tying into the idea of foretelling some inevitable calamity.

The plate physically changes with each progressing Festival, being noted as becoming more ominous with each change.

Being killed via offering to the Calendar doesn't seem to kill in the traditional sense, rather it seems to disconnect the consciousness of the offered from their body and... it's unclear what exactly they see since Yi Sang's too traumatized to make sense in the Log, but it's clear it's some form of End of Everything.

Now then... What the hell kinda themes can we extract from all this?

The biggest one that I've probably spoiled in this write-up is the theme of some inevitable calamity. An End of the world, whether literal or metaphorical, that can never be truly stopped, only delayed indefinitely.

Another theme I can see here is this dissonance between two parties. Something that one sees as a horrible act being seen as something to celebrate by someone else. Sacrifices seen as gifts, Rituals seen as Festivals, the stars' light bringing forth darkness for others.

Last theme I want to bring up here is the concept of a harbinger. A calendar with a deadline on it isn't what's causing that deadline, it's only warning you of that deadline approaching. Likewise, the Star Festival shows us that the Doomsday Calendar isn't the one directly causing calamities, it's only a vessel through which other forces act, and through which they can also be calmed to delay the inevitable.

With all of that laid out... Impending Day Sinclair. Oh man, Impending Day Sinclair.

Let's start off with the Awakening attack, shall we? Here, the... staff? Mace? Hammer? The weapon that Sinclair uses takes on a form mimicking the shape Doomsday Calendar's plate has during the Blood Festival phase. This corresponds nicely with the effect this attack has, being healing and granting a buff on a kill, as if devouring the target similarly to how Doomsday Calendar needs blood to be satiated during the corresponding phase.

The dialogue line, "I’ll crush you��", doesn't really tell us much by itself. Sinclair's delivery here is sort of strained, not exactly scared but not angry either. Anticipating, perhaps? Readying himself? Trying to show restraint? It's a little bit hard for me to tell. What I do find interesting is how this line seems to roughly correspond with the type of attack Doomsday Calendar does during its Blood Festival phase - pounding and slamming the ground with its arms. Likewise, the type of attack Sinclair goes for here is slamming down onto the target, pushing them further down to the ground.

Considering how the Blood Festival phase shows us Doomsday Calendar seemingly having a tantrum out of impatience, is this meant to be a reflection of Sinclair in some way?

Of how he acted out, not exactly out of impatience but more so out of the anxious anticipation of his upcoming prosthetic procedure, leading to him breaking his family's trust and indirectly causing them to be "crushed" by Kromer?

Then, there's the Corrosion attack. Sinclair's weapon here takes on a form mimicking that of Doomsday Calendar's plate during the Fire Festival phase, showing the progression of intensity. The mechanics and animation aren't as close of a parallel to that fight's phase, considering Doomsday Calendar only guards during it, but I think there is still something to be noted here.

During the Fire Festival, Doomsday Calendar can be best described as "simmering" in my opinion. Letting its raging flame be known while also seemingly calmly waiting for an offering to be given. Likewise, Corroded Sinclair could also be described as simmering in this attack, gaining a buff but also being hurt if he fails to kill. His dialogue line's delivery also gives off that vibe of a controlled frenzy - sounding calm yet at moments being so intense it almost makes him sound ecstatic.

His line here, "You, too, will be a live offering.", is... interesting. It's as direct of a reference to the Abnormality as it can get, but there's just something about it that makes me wonder. The wording of 'You, too' brings to mind the image of someone having already been offered up beforehand. Who was this previous offering? Who is this current one?

In the Fire Festival phase, the offering given to the Abnormality is meant to weaken its flames, to cool its fervor. It patiently waits for it, like an Altar, while damage is caused all around it. Perhaps, just like in the Awakening the calamity being brought forth represents Kromer, the Corrosion represents how Kromer patiently waited for the second 'offering', Sinclair himself, to show up at her altar, while N Corp's Inquisitors burned down everything for her in the meantime.

Finally, we have the Sin Analysis portion of this post.

Impending Day's Sin Affinity is Wrath, the Sin of defiance and the audacity to try and change the world. I think that perfectly represents what sort of 'impending day' this E.G.O represents. By acting with Wrath, by trying to delay the inevitable procedure and trusting Kromer, Sinclair became the harbinger of the calamity she brought.

Just like how in Doomsday Calendar's fight delaying one calamity only brings forth another, Sinclair delaying the end of his world that losing his organic body meant to him only brought forth a different kind of end to his world.

When it comes to Sin Resource Cost, Impending Day requires two Sins - Wrath (3 of them) and Lust (2 of them).

Wrath requirement is already partially explained by the Affinity. Sinclair needs to wish to defy his reality, to delay the seemingly inevitable, to be willing to rebel against his family, for the Kromerity (that is, Kromer calamity) to take place.

Lust is an interesting Sin requirement here. I believe it's meant to represent Sinclair seeking fulfillment, specifically a fulfilling life and a form of social fulfillment. On one hand, he's seeking a way to continue living this his organic body, as it's the way of being he finds far more preferrable and comfortable to the cold prosthetics he sees his family using. On the other hand, there's the social fulfillment that comes from befriending Kromer and listening to her further justifying his own disgust. Both of those contribute to him being compelled to trust Kromer, thus bringing forth the Kromerity.

When it comes to Sin Resistances, interestingly enough the only one Impending Day Sinclair shares with Doomsday Calendar is being Fatal to Sloth. By resigning himself to his fate, to the initial calamity, Sinclair could have avoided this whole situation, which is something he's painfully aware of.

Impending Day Sinclair being fatal to Gloom is also a reflection of his regrets. If only he had listened to his doubts and worries in the moment, if only he had let his initial anxiety around Kromer lead him away from her, perhaps this all could have been avoided.

On the other hand, Wrath is ineffective against Impending Day Sinclair. After all, Wrath is what led him into this situation in the first place, but it's also what can get him out right now. By directing that Wrath against Kromer, by defying what she wants, he can delay her next inevitable calamity.

To properly summarize, since I really should summarize these posts more often, Impending Day represents Sinclair's role as a harbinger of the calamity Kromer would bring, and how his attempts at delaying his own prosthetic procedure led to him and his family becoming 'offerings' to her. It's a reflection of his guilt, of the role he believes he played in this tragedy.

So... yeah. Hope that was enjoyable to read, I don't know how long this post turned out to be and at this point I'm afraid to ask!

#ask #impending-day-sinclair #lu speaketh #limbus company #lcb analysis #sinclair #sinclair lcb #impending day sinclair #something something target audience

87 notes · View notes

featherandferns · 10 months

Text

slipping (fic) teaser

a teaser for the upcoming 'slipping' fic next thursday | fem!barry's sister!reader x JJ (canon adopted so all my POC readers are not excluded of course!)

Turning around, back now against the wall, you loop your arms around his bare chest and lean against him, the way a sloth might wrap itself around a tree. JJ sniggers, brushing a hand through your hair. He feels you press a tender kiss to his chest that’s still struggling to catch breath.

“You tired, huh?”

“Mhm,” you hum. “You came at the perfect time. I was like one minute away from throwing that motor out into the marsh.”

JJ quietly grunts as he lifts you up – your legs hooking loosely around his waist – and he walks the two of you back to your bed. The pair of you cuddle up atop of the sheets, letting the few rays of sunlight that leak into the room warm strips of your skin. He finds himself drawing mindless patterns on the skin of your thigh, and you appear to be doing the same on his chest.

“Who you fixing it up for? The motor?”

“You know Mr Lewis?”

“Is that the guy who works at the deli?” JJ checks.

“Mhm. It’s from the delivery van. I told him I’d have it done by Thursday,” you reply, yawning. It’s currently Tuesday.

JJ forgets sometimes that you’re a high school dropout. You’re smart enough to graduate. Easily smarter than him. One time, when he was losing his mind over some algebra homework that his teacher insisted he do (that was, if he wanted to skip out on retaking a year), you had taken the time to explain it to him. The way you laid it out was so simple and easy, like reciting the alphabet or counting to ten. But whenever he asked why you dropped out you would just reel off the usual self-deprecating excuse. That people from your family don’t get high school diplomas - it just wasn’t a thing.

“How’s school?” you ask as if you’d been following his line of thought.

“Boring,” JJ sighs. “Bit more fun now that John B’s back though.”

“Still can’t believe they survived,” you say. Then, shifting to meet his gaze, you add, “not in a bad way, just-”

“No, no, I know what you mean,” he eases. One of his fingers comes to tease at a strand of your hair, smiling down at you. “I mean, I wouldn’t believe it either. Hell, I didn’t, for a while.”

You chuckle at that, nodding, lowering your head back down onto his chest.

This is good. This is good for JJ and good for you. Not only is it good, but it’s fun. A secret is fun. Nobody else knows: not even the Pogues or your brother. These clandestine meetings and rendezvous and unknown dates are the definition of excitement. Nobody knows that JJ spends nearly every night buried in you, and that the unsaved number on his phone is filled with sweet, soft and sometimes sensual texts that came from you. Inside jokes than have accumulated over the seven months of your relationship. Nobody knows that JJ knows Barry’s younger sister as more than just that flippant title. That he knows your favourite television show and your favourite singer, and he knows the way to twist his fingers just right to have you bordering on screaming. He knows what it feels like to have your mouth on him and your teeth biting down onto the skin of his shoulders, but also what it feels like to make you laugh and to see you work. What it feels like to be at the mercy of your stare. He’s lucky enough to be in your light and be acknowledged by someone so strangely pure for all the shit the universe had thrown your way. If JJ got dealt a bad hand, then you got dealt fake cards. But all the darkness and grit hadn’t made you mean or distant. Instead, it made you glow, like tossing logs into an open flame.

#jj #jj x reader #jj maybank #jj maybank x reader #teaser #coming soon #coming soon?#slipping #thursday teaser #obx #outer banks #obx fic #outer banks fic #jj fic #jj maybank fic

55 notes · View notes

hungryslothwrites · 5 months

Text

discworld good

#sloth log #discworld #freezing cold take i know but i have finally read my first discworld book and hot damn #now to the task of finding more in this economy

24 notes · View notes

sloth-sloth-sloth · 5 months

Text

"And in today's episode, one of the first priorities is to make friends. Also, i've got bad omen."

#“don't know what to do with that but i'm sure we can come up with something rather fun” oki scar #secret life #sloth log #goodtimeswithscar #rip this is an omen. this is an omen #also yes i'm still on episode 7

7 notes · View notes

yarrayora · 1 year

Text

Sloth Subclass Chuuni3 Log

#servamp #sloth pair x chuuni3 #shirota mahiru #mahiru shirota #servamp kuro #kuro servamp #sleepy ash #kamiya tsurugi #tsurugi kamiya #tsukimitsu yumikage #yumikage tsukimitsu #kurumamori junichiro #junichiro kurumamori #children's war au #yarra draws stuff #yarra makes comics #yumimahi

80 notes · View notes

burningvelvet · 11 months

Text

more random excerpts from lord byron’s diaries (here’s the first post)

“When one subtracts from life infancy (which is vegetation), — sleep, eating, and swilling — buttoning and unbuttoning — how much remains of downright existence? The summer of a dormouse.”

“If this had been begun ten years ago, and faithfully kept!!! — heigho! there are too many things I wish never to have remembered, as it is.“

“Dined — (damn this pen!)”

“Oh! there is an organ playing in the street — a waltz, too! I must leave off to listen. They are playing a waltz, which I have heard ten thousand times at the balls in London, between 1812 and 1815. Music is a strange thing.”

“How strange are our thoughts, &c. &c. &c.“

“It has been said that the immortality of the soul is a ‘grand peut-être’ — but still it is a grand one. Every body clings to it — the stupidest, and dullest, and wickedest of human bipeds is still persuaded that he is immortal.”

“I wish one was — I don’t know what I wish. It is odd I never set myself seriously to wishing without attaining it — and repenting.”

“Came home — my head aches — plenty of news, but too tiresome to set down. I have neither read, nor written, nor thought, but led a purely animal life all day. I mean to try to write a page or two before I go to bed. But, as Squire Sullen says, ‘My head aches consumedly: Scrub, bring me a dram!’ Drank some Imola wine, and some punch.”

“Read — rode — fired pistols — returned — dined — wrote — visited — heard music — talked nonsense — and went home. Wrote part of a Tragedy — advance in Act 1st with ‘all deliberate speed.’ Bought a blanket.“

“The only pleasure of fame is that it paves the way to pleasure; and the more intellectual our pleasure, the better for the pleasure and for us too.”

“I flew into a paroxysm of rage, which almost made me faint. I have not been well ever since. I deserve it for being such a fool.”

“Lewis [..] seems out of humour with every thing. What can be the matter? he is not married — has he lost his own mistress, or any other person’s wife?”

“Scrawled this additional page of life’s log-book. One day more is over of it, and of me; — but ‘which is best, life or death, the gods only know,’ as Socrates said to his judges, on the breaking up of the tribunal.”

“The respectable Job says, ‘Why should a living man complain?’ I really don’t know, except it be that a dead man can’t; and he, the said patriarch, did complain, nevertheless, till his friends were tired and his wife recommended that pious prologue, ‘Curse — and die;’ the only time, I suppose, when but little relief is to be found in swearing.”

“The lapse of ages changes all things — time — language — the earth — the bounds of the sea — the stars of the sky, and every thing ‘about, around, and underneath’ man, except man himself, who has always been, and always will be, an unlucky rascal. The infinite variety of lives conduct but to death, and the infinity of wishes lead but to disappointment. All the discoveries which have yet been made have multiplied little but existence.”

“At five-and-twenty, when the better part of life is over, one should be something; — and what am I? nothing but five-and-twenty — and the odd months. What have I seen? the same man all over the world — ay, and woman too.”

[talking about his experience at a circus] “There was a ‘hippopotamus,’ like Lord Liverpool in the face; and the ‘Ursine Sloth’ had the very voice and manner of my valet.”

[after seeing Shakespeare’s Antony and Cleopatra] “Cleopatra strikes me as the epitome of her sex — fond, lively, sad, tender, teasing, humble, haughty, beautiful, the devil! — coquettish to the last, as well with the ‘asp’ as with Antony.”

[on German] “Of the real language I know absolutely nothing, — except oaths learnt from postilions and officers in a squabble. I can swear in German potently, when I like — ‘Sacrament — Verfluchter — Hundsfott’ — and so forth; but I have little of their less energetic conversation. I like, however, their women (I was once so desperately in love with a German woman, Constance).”

“Dined — news come — the Powers mean to war with the peoples. The intelligence seems positive — let it be so — they will be beaten in the end. The king-times are fast finishing. There will be blood shed like water, and tears like mist; but the peoples will conquer in the end. I shall not live to see it, but I foresee it.”

“Why, at the very height of desire and human pleasure, — worldly, social, amorous, ambitious, or even avaricious, — does there mingle a certain sense of doubt and sorrow — a fear of what is to come — a doubt of what is — a retrospect to the past, leading to a prognostication of the future. (The best of Prophets of the future is the Past.) Why is this? or these? — I know not, except that on a pinnacle we are most susceptible of giddiness, and that we never fear falling except from a precipice — the higher, the more awful, and the more sublime; and, therefore, I am not sure that Fear is not a pleasurable sensation; at least, Hope is; and what Hope is there without a deep leaven of Fear? and what sensation is so delightful as Hope? and, if it were not for Hope, where would the Future be? — in hell. It is useless to say where the Present is, for most of us know; and as for the Past, what predominates in memory? — Hope baffled. Ergo, in all human affairs, it is Hope — Hope — Hope.”

[written when he was a chief in the Carbonari mob during the (ultimately failed) Italian Revolution] “To-day I have had no communication with my Carbonari cronies; but, in the mean time, my lower apartments are full of their bayonets, fusils, cartridges, and what not. I suppose that they consider me as a depôt, to be sacrificed, in case of accidents. It is no great matter, supposing that Italy could be liberated, who or what is sacrificed. It is a grand object — the very poetry of politics. Only think — a free Italy!!!”

“I carried Teresa the Italian translation of Grillparzer’s Sappho, which she promises to read. She quarrelled with me, because I said that love was not the loftiest theme for true tragedy; and, having the advantage of her native language, and natural female eloquence, she overcame my fewer arguments. I believe she was right. I must put more love into ‘Sardanapalus’ than I intended.”

“Wrote some more of the tragedy. Took a glass of grog. After having ridden hard in rainy weather, and scribbled, and scribbled again, the spirits (at least mine) need a little exhilaration, and I don’t like laudanum now as I used to do. So I have mixed a glass of strong waters and single waters, which I shall now proceed to empty. Therefore and thereunto I conclude this day’s diary.”

“I have been turning over different Lives of the Poets. I rarely read their works, unless an occasional flight over the classical ones, Pope, Dryden, Johnson, Gray, and those who approach them nearest (I leave the rant of the rest to the cant of the day), and — I had made several reflections, but I feel sleepy, and may as well go to bed.”

43 notes · View notes