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kyrieren · 14 days

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Umbrella vs. Rain: The Driving Forces of Saezuru (3)

Note: my analysis relies heavily on visual elements

III. Aiai gasa (相合傘) - Under the shield of love

"相合傘 - Aiai-gasa" is a combination of the word "相合 - Aiai" - doing something together, and the word "傘 - gasa" - umbrella. Literally, it refers to the act of two people sharing an umbrella. However, as the word "Ai" is homophonic with "愛 - Ai" - love, "Aiai-gasa" connotes a derivative meaning: Love Umbrella. In "Saezuru", empathy and love are the umbrella that shields characters from the rain (or I believe so).

Yashiro vs. Mother & Child

The five panels on this page vividly embody the adage "A picture is worth a thousand words." Following Yashiro's forceful removal of Doumeki from the car, a profoundly expressive and iconic scene unfolds. The stark contrast presented is striking: Yashiro isolated in the car versus the Mother & Child duo outside, together under the rain. While Yashiro remains sheltered within the car, impervious from the rain, Mother & Child rely solely on an umbrella for protection. Yet side by side, the prowess of their bond shines through against the glooming backdrop. Their love acts as an impenetrable shield, leaving them unscathed. In stark contrast, Yashiro, who has just pushed away the person he loves and loves him back for mutual protection, finds himself alone. Despite the physical safety of the car, the rain metaphorically pierces through him in the darkness. It’s not the umbrella itself, it’s love that defends people against the rain. Yashiro has never had love before, but as soon as he has, he’s got no other choice than to let it go. That look in his eyes gives a mix of tragic resignation to his fate, the paradoxical coexistence of envy over and disdain for love, and the determination to give up love.

Fortunately, Doumeki refuses to give up on Yashiro, despite his cruel words. He quickly returns, bringing along an umbrella and water for medicine. His determination to stand by Yashiro's side and shield him is palpable. As soon as he enters, the car is brightened up and the rain retreats back to be outside of the car.

In this scene, Doumeki's arrival with the umbrella not only shields Yashiro from the rain's darkness but also symbolizes his loving presence guarding Yashiro off from his turmoil.

Although Yashiro may not yet be brave enough to acknowledge or confront his feelings, his expression subtly transforms from a frown in the first panel to something softer in the last. This instant change reveals the other side of Yashiro genuinely doesn't protest Doumeki's return, hinting at a hidden vulnerability beneath his tough exterior."

2. Moratorium

This cover is the scenery illustration of an extra where Yashiro has Doumeki run an errand to buy him an umbrella. For Yoneda sensei never half-asses anything, I'd like to take an approach regarding the characters' setting and the story's developments on this painting.

This marks the beginning of Yashiro and Doumeki's journey towards each other, as Doumeki endeavors to stand by Yashiro's side. Amidst the pouring rain, their bare heads stand out starkly in a sea of umbrellas, emphasizing the pain they both endure. In the bustling crowd, Yashiro remains motionless, a solitary figure amidst the chaos. The red light he is leaning against represents his childhood trauma and the yakuza world. Literally and metaphorically, Yashiro can't go even if he wants to. Yashiro's relaxed posture against the crimson glow signifies his reluctant acceptance of his date, a tragic resignation to his circumstances.

On the other side, Doumeki opts not to shield himself with the umbrella he carries and dashes to Yashiro with big strides. This bold act underscores Doumeki's unwavering commitment to protecting Yashiro, even at the cost of his own comfort and well-being. He willingly discards himself. That's why it doesn't end well.

3. Not yet Aiai gasa (相合傘)

When Doumeki returns, Yashiro's intuition clicks when he sees only one umbrella with him, but screws the idea of Aiai gasa right away by forsaking Doumeki drenched in the rain.

The 7th and 8th panel summarizes Saezuru until the end of the Hirata's arc - Yashiro pushes him away through assault, while Doumeki endures it all to remain by Yashiro's side. Aiai saga is meant to be two people under the umbrella, not one. Ironically, despite their deep affection and fierce desire to protect each other, their relationship falters due to a lack of mutual commitment to being together. Another significant contributing factor is their profoundly low self-esteem: Yashiro, feeling undeserving, violently pushes Doumeki away to protect him, while Doumeki, undervaluing his worth, tolerates mistreatment and violence for Yashiro's sake. In this sense, they both push Doumeki away, unable to bridge their emotional barriers.

In the 9th panel, Yashiro blames Doumeki for his tardiness. While Doumeki is indeed late, it's evident that it's not his fault. His arrival into Yashiro's world comes after Yashiro has endured immense suffering alone for a long time, leading to a coping mechanism that rejects Doumeki's presence. However, Doumeki's entry into Yashiro's life marks the end of the Moratorium. Yashiro can now begin to move forward, although the process is slow and painful, signifying a gradual progression towards healing.

By all accounts, in their complicated case, love love alone is not sufficient. Acceptance, self-appreciation, and the mutual wish to be together are essential components for Aiai gasa to work for them.

4. Aiai gasa (相合傘) - Under the shield of love

I'll be positive saying that Yoneda sensei has hinted at their happy ending in this poster for the Rain event, or at the very least, a phase where they accompany each other out of love.

This is Doumeki and Yashiro post-time-skip. The image of them under the umbrella signifies a mutual desire to be together at last. Doumeki holding the umbrella for Yashiro, who is already slightly damp from rain droplets, symbolizes Doumeki's belated but meaningful presence in Yashiro's tumultuous life. This time, Yashiro allows Doumeki to take care of him, indicating a shift in their dynamic. Doumeki's actions also suggest a growth in his self-esteem, from nothing to something.

Their interaction speaks volumes. Despite Yashiro's sulky expression and bombastic side eyes, Doumeki meets his gaze directly. This subtle interaction hints at their ongoing communication and mutual efforts to understand each other better.

Under the shield of love - Aiai gasa, they are navigating their complexities. Under the shield of love, anything is possible, I believe. The mutual understanding, if they successfully arrive, would not only empower them but also serve as a shield, safeguarding and freeing them from their birdcage.

Read the previous parts here:

Part 1:

Part 2:

#saezuru tori wa habatakanai #saezuru #twittering birds never fly #yashiro #doumeki chikara #doumeki x yashiro #囀る鳥は羽ばたかない #analysis #rain #umbrella #yaoi manga #yoneda kou #moratorium #モラトリアム

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screaming-sparrow · 2 months

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Jack Harkness' Tarot Reading in Torchwood S2EP12: "Fragments"

Listen, I've been DYING to talk about this scene and yesterday on call with @seenonacid I finally figured out what it all means.

Disclaimer: I'm not a tarot expert, I'm just deranged about Jack Harkness and I like tarot readings.

Let's start with figuring out what type of spread this is exactly. I couldn't find any with only 6 cards that looked anything like this, so I landed on it being a modified version of the Celtic Cross Spread:

Now, that means the card representing the things that are behind him is The Tower, which represents disaster, destruction, upheaval, trauma, sudden change and chaos.

This definetely corresponds with both him losing his place with Rose and the Doctor as well as his ability to travel time at all (because of his wriststrap not working properly anymore). The biggest changes are his immortality and him now having to walk the slow path, waiting until he can meet the Doctor again.

The card that represents him is one that does so quite literally, depicting him in armor: the Jack of Swords (aka the Knight of Swords). The Knights keywords are assertive, direct, impatient, intellectual, daring, focused, perfectionistic and ambitious, all of which definetely fit Jack as a character quite well.

I like the way the card is described on labyrinthos.co: "Once the knight sets forth towards his goals, there is absolutely no stopping him. He doesn’t see - and he doesn’t care - about any upcoming challenges. " I also really love the way that him being the Knight of Swords supports the soldier motif his character has had since his first appearance in Doctor Who.

The card that describes what is before him is a bit ominous as well, Three of Swords. It represents heartbreak, separation, sadness, grief, sorrow, upset, loss, trauma and tears. Compared to the Tower, this card isn't as lifechanging and negative though, the type of grief it describes is one that simply comes with being alive.

It definetely matches Jack and his immortality, because, as Torchwood shows as well, loss, seperation and trauma are constants in his life. Whenever he gets knocked down he gets back up though, which is what Three of Swords symbolizes.

I assume that the card in the bottom right represents the people influencing Jack, because it's The World, a card that symbolizes completion, achievement, fulfilment, sense of belonging, wholeness, harmony and travel.

I assume it refers to the person that influences Jack the most, even in his abscence: the Doctor. He brought Jack this sense of belonging and fulfilment that the card refers to and changed him into the more caring and self-sacrifing person he is in Torchwood.

Above it is The Moon, which represents illusion, intuition, uncertainty, confusion, complexity, secrets and the unconscious. This card shows Jack's hopes and fears.

It's meaning of uncertainty especially makes sense, considering Jack is newly immortal with no one to help him figure out what happened to him or how to cope. This uncertainty never goes away, even after meeting the Doctor again so many years later.

The last card is the outcome: Ace of Cups. It symbolizes love, new feelings, emotional awakening and creativity.

I love this card as the final part of the spread because it's so optimistic compared to the rest of it, yet it rings incredibly true. After everything, Jack did find love again in form of the Torchwood team and will probably continue doing so until he eventually finds his end. The eventual outcome of everything horrible that happens to him is always love.

#torchwood #jack harkness #doctor who #tarot cards #torchwood s2ep12 #torchwood fragments #torchwood analysis #sparrow speaks

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scarlet--wiccan · 5 months

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Do you think there’s a meaningful distinction between “witches” and other magic users in the marvel universe (beyond, potentially, gender)?

Witch and warlock are obviously treated more or less as gender-swapped synonyms and both have somewhat negative connotations that don’t get associated with people like Dr Strange (afaik), but I feel like there might be more to it, I’m just not sure. Calling Nico or Billy a witch feels more accurate than calling Cleo or Victor a witch, but I can’t figure out if this is grounded in anything besides my own opinion

Yes, actually! We can identify social, cultural, mythical and practical factors distinguishing "witches" from other types of magicians. However, those distinctions are not always clear. As you noted, the word "witch" is often used very broadly to describe any female spellcaster. As a reader, you'll have to rely on context to determine whether the writer is denoting a specific type of magician, or just using gendered language.

Functionally speaking, all forms of magic are basically interchangeable. Most spellcasters have the same powers and abilities, and writers don't always put in the effort to make them feel unique. That doesn't necessarily bother me, so long as they are tailoring the language and imagery to suit each character's background, but that doesn't happen as often as I'd like. Again, you'll just need to use critical thinking to figure out when a lack of distinction is really just a lack of creativity and effort.

With that out of the way, let's break down what we do know about witchcraft, and the history of witches, in the Marvel world!

Social: Witches have historically gathered in covens, settlements and societies, and have even endured literal witch-hunts. In real life, this is not quite the truth, but it Marvel comics, we can say that witches comprise distinct societies which suffer distinct forms of persecution. We also know that many witches belong to a magical lineage, and that these witch families often use a special naming convention to identify themselves with unique colors and symbols, indicating that witches have unique customs and traditions setting them apart.

Cultural: In Marvel comics, all forms of magical or spiritual folk practice are literally real, in the same way that all mythologies and polytheistic religions are literally real-- Asgard is a real place, Thor is a real person, and spells have real power. Witchcraft is typically represented as a form of European folk magic. Other traditions, such as vodou, voodoo, and multiple forms of Indigenous spirituality have also been demonstrated, and are often grouped together, along with witchcraft, under a broad category of "cultural magic." As shown in Midnight Suns, many of these traditions from around the world have a certain shared history, as the Coven at Mount Wundagore included representatives from numerous cultures.

Mythological: "Witchcraft" itself exists as an abstract entity, like Death, Nightmare, or Eternity. She is the source of witchcraft's power, but also a symbolic representation of all witches and the natural balance of magic, and she is sometimes worshipped as a goddess. Witchcraft resides at the heart of the Witches' Road, an Inner Plane uniquely accessible to witches that transcends time and is connected to many of the mythical realms. Witchcraft may also be intrinsically connected to chaos magic-- ancient witches were responsible for binding and harnessing Earth's natural chaos magic; Witchcraft, the entity, is shown consorting with an abstract Chaos entity; and we know that Wundagore and the Darkhold are connected to many cults and covens throughout history.

Practical: Unfortunately, this is the weakest area. For a brief time, Wanda's magical practice borrowed a lot of Wiccan motifs, which was problematic in its own right, but in modern comics, we just don't get to see enough of how witches, specifically, do magic. Most characters who practice some form of traditional magic have a closer connection to natural elements and the spirit world, and they may have particular powers related to their background. Doctor Voodoo is a great example, although the actual depiction of his culture is deeply flawed. Scarlet Witch (2015) introduced certain unique abilities, such as witches' sight; specific mechanics around the cost of magic; and a style of spellcasting that relied on Wanda's knowledge of real-world languages and magical symbols. Billy and Nico also use varying degrees of wordplay, so I like this approach and I would focus on building that into a cohesive magical system if I was a writer.

#wanda maximoff #scarlet witch #agatha harkness #billy kaplan #wiccan #nico minoru #jericho drumm #witchcraft #magical theory

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luciehercndale · 10 months

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TLH/TDA Cover Parallels and Analysis

The TSC cover poll by @kaitcreates made me realize how the TSC covers are so well intertextually connected between each other, especially the TLH and the TDA ones. So, I analyzed them.

We have Cordelia on the cover of Chain of Gold, while Emma, who is her descendant, is on the cover of Lady Midnight. The tone of TLH is warmer autumn colors compared to the blue and green (like the sea, an important symbol of the series and LA) hues of TDA. Also, the way the characters pose is different: Cordelia is standing before a palace's gate, supposedly, the London Institute, and she's starting her new life, Cortana ready to slash whatever comes her way. Emma, on the other hand, seems like drowning and Cortana is slipping from her hands. At some point of the story, both had to give up on their precious weapon.

Chain of Iron features Lucie facing a forest at night which has colors I associate with winter, the season in which it should be set. The moths are a symbol of change, mystery of the night, and death/endings and you can understand why they were on her cover. Coi ends with Jesse's soul disappearing after Belial is cast out of his body. But it's also a beginning because Jesse comes back to life by the end. And it all matches perfectly with the cover of Lord of Shadows, with Julian on it. I think we can safely say that Julian is Lucie and Jesse's descendant. The mood is very dark and he's also underwater like Emma. Water is a symbol of life but also of chaos and healing. In Qoaad, Julian turned off his emotions in order not to fall deeper for his parabatai Emma and endanger both their lives because of the parabatai curse. He holds the Blackthorn sword which we know it's destroyed in CoT, while Lucie holds the Blackthorn locket. The LoS ending matches the CoI one because in the former Jesse comes back to life, while in the latter, Livvy dies. She was the Blackthorn character that until her death wore the Blackthorn locket, which was worn by Jesse before he gave it to Lucie. Full circle, again with the descendants!

Cordelia faces a pretty London palace on CoG. Lucie faces a dark forest full of unknown creatures. On the Chain of Thorns cover, Grace faces a place in ruins (Blackthorn Manor?). The colors of this cover give spring vibes and in fact, if we consider the epilogue, it ends in spring, the season of new beginnings and where everything blooms again. While Emma and Julian are in a place underwater where they can be saved (they aren't too deep), the last character featured on the Queen of air and darkness cover, Annabel Blackthorn, has pretty much sunk to the bottom of the ocean and she is beyond saving. We can tell from the Titanic-esque ruins behind her feet that she's hit the bottom, literally and figuratively. Annabel was angry because she was brought back against her will, and in her fit of anger, she ended up killing Livvy and she lost her life for good after. Grace has the opposite features as Annabel, and for good reason. While Annabel can only go back to the world of the dead, Grace has a change at getting her life back and start anew. We can say both Annabel and Grace shared a similar fate: their so called Blackthorn "parents" manipulated and abused them and they both lived half a life. Unlike Annabel, who, I said, is at the bottom and is hopeless and gone for good, Grace facing the ruins of the place were she used to live also means starting anew. Starting from the bottom, from the ashes, but in the hopeful way. It means finally living the life she wants to live.

I know that "the last hours" is taken from Great Expectations and is also a quote Magnus says. But this quick analysis also brings to the surface how the last hours could indeed be the last moments of sadness and desperation, before getting through and making it out alive. In comparison, TDA's tone is darker but it also shows that humans are able to survive the worst and going above water to breathe again after tragedy and tough life choices they have to face.

#tsc #tsc parallels #tlh #tda #cordelia carstairs #lucie herondale #grace blackthorn #emma carstairs #julian blackthorn #annabel blackthorn #tsc meta #chain of gold #chain of iron #chain of thorns #lady midnight #lord of shadows #queen of air and darkness #tweety writes analysis

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akanesheep · 1 year

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Who is Levi?

Leviathan, Hebrew Livyatan, in Jewish mythology, a primordial sea serpent. Its source is in prebiblical Mesopotamian myth, especially that of the sea monster in the Ugaritic myth of Baal (see Yamm). In the Old Testament, Leviathan appears in Psalms 74:14 as a multiheaded sea serpent that is killed by God and given as food to the Hebrews in the wilderness. In Isaiah 27:1, Leviathan is a serpent and a symbol of Israel’s enemies, who will be slain by God. In Job 41, it is a sea monster and a symbol of God’s power of creation

Etymology:

Gesenius (among others) argued the name לִוְיָתָןwas derived from the root לוה lwh "to twine; to join", with an adjectival suffix ן- ָ, for a literal meaning of "wreathed, twisted in folds". If it exists, the adjectival suffix ן- ָ (as opposed to -ון) is otherwise unattested except perhaps in Nehushtan, whose etymology is unknown; the ת would also require explanation, as Nechushtan is formed from neḥšoeṯ and Leviathan from liveyah; the normal-pattern f.s. adjective would be לויון, liveyon. Other philologists, including Leskien, thought it a foreign loanword. A third school considers it a proper noun. Bauer proposed לוית+תן, for "wreath of serpent."

Both the name and the mythological figure are a direct continuation of the Ugaritic sea monster Lôtān, one of the servants of the sea god Yammu defeated by Hadad in the Baal Cycle. The Ugaritic account has gaps, making it unclear whether some phrases describe him or other monsters at Yammu's disposal such as Tunannu (the biblical Tannin). Most scholars agree on describing Lôtān as "the fugitive serpent" (bṯn brḥ) ,but he may or may not be "the wriggling serpent" (bṯn ʿqltn) or "the mighty one with seven heads" (šlyṭ d.šbʿt rašm). His role seems to have been prefigured by the earlier serpent Têmtum whose death at the hands of Hadad is depicted in Syrian seals of the 18th–16th century BC.

Mythology:

Sea serpents feature prominently in the mythology of the ancient Near East. They are attested by the 3rd millennium BC in Sumerian iconography depicting the god Ninurtaovercoming a seven-headed serpent. It was common for Near Eastern religions to include a Chaoskampf: a cosmic battle between a sea monster representing the forces of chaos and a creator god or culture hero who imposes order by force. The Babylonian creation myth describes Marduk's defeat of the serpent goddess Tiamat, whose body was used to create the heavens and the earth.

—all art was found via Google, it doesn’t not belong to me, but to the artist who created it. If you see any art depicted on my channel that is yours and you do not want it shared, just tell me, I’m on your side ^_^-

#obey me #obey me shall we date #obey me leviathan #obey me!#obey me demonology #obey me origins #3rd husband

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oscconfessions · 1 month

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Oh my gosh, this community is giving me nightmares!! Literally!!

I was having a completely normal dream about two of my favorite games. There were dodos and dinosaurs wandering around and I was trying to tame a megasloth/wolf creature, just minding my own business. Suddenly, there's an awful screeching noise echoing through the air. I look to my right and there's this GIANT insectoid looking creature covered in brightly glowing dark blue markings that's appeared out of nowhere. All of the animals are scared of it, even the rexes and thrumbos back away from the thing. It takes notice of me and once again screeches before bolting in my direction. I start running away from it and maneuver over a wooden trap (that I don't remember constructing) which it passes over but utterly destroys, continuing to run unhindered. It eventually catches up and impales me in the torso, killing me.

I respawn in a city where absolute chaos is breaking out among the human and object people around me. Several of those monstrous insect creatures are running around, terrorizing and killing whoever they can. If they kill someone the body turns radioactive blue before transforming into another one of those things. If they only injure/touch someone that person gets infected and another horrific insect rapidly incubates inside of them for a few minutes before bursting out. Then the leftover corpse also morphs into a glowing blue beast, effectively creating two more of the blue horrors. The eldritch noises the creatures were making had some kind of cryptic symbol language, you could see the letters around them every time they "spoke". I was too busy trying to escape to figure out what they meant, everything had fallen to complete insanity.

The dream went on for a good while after that, mostly just survivalist stuff. I think towards the end of it I got pretty good at understanding the monster's behaviors and even managed to kill a few of them. Anyway, it was obviously derived from both Objectified and The Four Moons Initiative, maybe a bit of that one PPT2 episode with the jumpscaring monster objects. Some of the things people said and did were very similar or exactly the same as what happened in either comic. I recently found out about them both at the start of March and got a little obsessed, I've fully read each one multiple times. Maybe a little too obsessed if this nightmare means anything.

I usually really enjoy dreaming about objects, but wow, I've never previously dreamt something quite like this.

#confession #/objectified #/tfmi #/pp

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tenshiharmonia · 9 months

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I was browsing through the Sonic Unleashed tag when I saw someone who was making a tarot deck themed after the blue hedgehog's universe, and I must say, it kind of inspired me. So I wanted to give it a try and imagine what my own version of such a deck would be like. Not that I have the artistic skills needed to concretize my vision, but hey, it makes for a fun exercise. I mean, I've always been a fan of tarot iconography, and it just so happens that one of the franchise's main characters has a canonical interest in the matter (as Frontiers reminded us not so long ago), so it seemed appropriate. XD With that being said, let's see what I came up with. (Note that I'll mainly focus on the major arcana. I know that the minor ones are much richer in terms of meaning, but let's be honest, they don't stoke the imagination as much as their "greater" siblings. :p )

0 - The Fool : Sonic himself. Now, calling him a fool is obviously a gross misnomer, but the card itself represents bright-eyed and free-spirited idealism. It is the start of a new journey, which - you will concede - resonates quite well with the eternal adventurer that the blue hedgehog is. (Besides, it's only natural for the franchise's main character to figure on the first card. :p )

I - The Magician : Tails. This card is all about limitless potential, so the two-tailed fox was an easy choice (besides, as Sonic’s right-hand man, it’s only natural for him to come just after the blue hedgehog :p ). Learning from the Fool’s mistakes and experiences, the Magician works towards manifesting its intentions into beings, which resonates pretty well with the genius boy’s heroic aspirations and constant quest for self-improvement... Also, he is quite the tech wiz, and you know what they say : any sufficiently advanced technology is indistinguishable from magic. :3

II - The High Priestess : Tikal. In tarology, the Priestess embodies feminine wisdom and intuition, perfectly echoing Tikal’s own role as the Echidna tribe’s voice of reason (even though nobody listened to her). Moreover, the Priestess is also regarded as a mentor figure, bringing to mind how the girl’s spirit acted as a guide for Sonic and his friends during their quest to stop Eggman and Chaos. Lastly, the Priestess is supposed to be quite knowledgeable about the universe’s secrets, which - once again - parallels Tikal’s ancient knowledge of the Chaos Emeralds and their powers...

III - The Empress : Aleena. I know, I know, Underground is probably a part of the franchise that most people would rather forget (except for its banger of a theme song). But I must admit, I’ve quite a soft spot for the way it depicted Sonic’s family (Manic, my beloved). As it happens, this card symbolizes motherhood. Both literally and figuratively. Since Aleena’s main characteristic is her status as both a mother and a queen, she seemed like a royal fit. :p Visually, I also like to imagine that the card’s illustration would take cue from the show’s opening and depict the gentle monarch, in her queenly attire, resting on a bed with her three playful newborns, highlighting both aspects of her character (I won’t deny that her design could enjoy a bit of a face-lift, though)...

IV - The Emperor : Eggman (featuring Sage). Naturally, as the Empress’ counterpart, the Emperor represents the figure of the father. Of course, they are merely symbols, so it’s less about their genders than what they stand for. While the Empress is kind and nurturing, the Emperor’s authority is harsh and severe. He isn’t devoid of affection, but he still views himself as reigning over his progeny, which I think echoes Eggman’s personality and the relationship he has with his creations pretty well. Also, he is at the head of the Eggman Empire, so he truly is the best suited for the job. :p

V - The Hierophant : Professor Pickle. Without going too much into the details, the Hierophant alludes to traditions, institutions, and to a certain extent, dogmatism. Like the High Priestess, he will often take on the role of mentor, providing wisdom and guidance. But he can also represents someone who is a little too set in their ways... All in all, I think you can see why I chose the professor. After all, he is an expert archaeologist who’s passionate about the planet’s many cultures and customs, counsels Sonic and his friends during their worldwide adventure, and who can be a little uncompromising on certain topics (like the making of cucumber sandwiches :3 ). Really, the guy checks all the boxes. One can imagine that the card’s artwork would depict the old chap enjoying a cup of tea and some (properly prepared) snacks while looking contemplatively through his office’s window…

VI - The Lovers : Sonic and Shadow. I mean, this is my tarot deck, so I can indulge myself as much as I want. :p No but seriously (not that I wasn’t serious, but you catch my drift), I would probably attribute this one to Amy. After all, she is the one with romantic aspirations, the one who yearns to experience the sweet embrace of love, waiting for her blue prince to notice her... That being said, instead of depicting Amy and Sonic as an actual couple, I like to think that the card would represent the young girl, bathed in a soft and summery light, simply daydreaming about her proverbial knight in shining armour. Indeed, the card itself is less about romance than fulfilling connections, in the broadest sense of the term. So the idea here would be that, even if her relationship with Sonic is not the passionate fairy tale she’d like it to be, it doesn’t prevent the two of them from sharing a meaningful and inspiring bond. :3

VII - The Chariot : The Tornado, soaring through the clear blue sky. This card stands for travels and freedom, so it was only natural for it to feature our heroes’ trusty mount. After all, it helped them discover so many new and exciting places... (As a bonus, I like to imagine that the card’s illustration would also include the three Babylon Rogues, racing through the sky around the plane. I don’t really know why, but I think it would be neat. I mean, in a sense, they do embody a certain form of freedom. A more abrasive and selfish variant than the one Sonic himself stands for, but still, it makes for an interesting contrast...)

VIII - Justice* : This one was admittedly a little tricky, but in the end, I think I’d go with Chaos. Let me explain. This card is about karma and retribution. It warns us about the consequences of our choices and actions. To put it simply, you reap what you sow. And I think that Chaos, standing impassively among the burning remains of the Echidna tribe, would make for an impressive illustration of that message. Because it’s also important to remember that the line is often thin between justice and madness, and that a righteous crusade can easily turn into a destructive vendetta if hatred and despair are allowed to fester. There is a time to punish, and a time to pardon. * Note that Justice (8) and Strength (11) are known to switch places depending on the deck. This numbering is the one I’m most familiar with, but feel free to procede in the order that suits you best. ;)

IX - The Hermit : Knuckles, sitting on the steps of the Master Emerald’s altar, contemplating the sky from his lonely island. Naturally, the Hermit represents the need to isolate yourself to reflect on your life and actions, which resonates quite nicely with the echidna’s "lone wolf" nature. This choice, however, carries a certain irony. Indeed, while the Hermit is supposed to be a figure of enlightenment, Knuckles’ solitary life has also led him to become a rather hot-blooded - and at times, naive - individual. In a way, it reminds us that maintaining some distance between yourself and the world can often be a double-edged sword...

X - The Wheel of Fortune : You’d think that in a series with so many casino-themed levels, this one would have been easy, but I had a surprisingly difficult time picking who - or what - would be adorning this arcane. Ultimately, my choice would probably be the Chaos Emeralds. As a card, the Wheel of Fortune naturally represents vagrant luck and the whims of fate, an idea that - I think - resonates pretty well with those miraculous jewels. Just like luck, they come and go as they please, and you have to seize them when they pass. And while they often seem to favour the heroes, they ultimately serve no master, meaning that they can be used to defeat evil just as they can help it rise. Their power will often shape the course of history, but there is no telling what awaits those who got caught in their crystalline spiral... Of course, the card’s artwork would depict the seven stones arranged in a neat circle, with the sharp ends all pointing towards the center, to mimic the appearance of an actual wheel. Incidentally, the center of the circle could be occupied by the sparkling silhouette of Super Sonic, to symbolize the ultimate and decisive power that the Emeralds bestow. Alternatively, I was thinking about having an image of the Phantom Ruby in this place, as the Chaos Emeralds’ sinister counterpart, a concept I wish had been explored more. In that case, the image of Super Sonic could be placed above the "wheel", while the bottom of the picture would be showcasing a nefariously grinning Eggman, emphasizing once again how the power of the Emeralds can affect the course of destiny... for better or for worse. (Of course, everything about this deck is merely hypothetical, so don’t take all those details too seriously. This is just brainstorming...)

XI - Strength : Cream. While this card’s name brings to mind the image of a fierce animal, it actually refers to inner strength, the force of the soul that manifests through courage and kindness. As someone once said, it takes a lot of strength to be kind. And I feel like there is no one better than the little rabbit girl to illustrate this message. For her sweetness and innocence hide a heart as strong as the mightiest of metals. A heart that is not afraid of standing against evil and injustice, but that will always choose to extend a hand to those who might need it, be they friends or foes. Brave, humble and generous, the little bunny is truly a shining example of fortitude. (Also, we all know what a punch she packs in spite of her age and daintiness, making her fits the literal definition of "strength" just as well. :p ) That being said, I must admit that I don’t really know what the card’s artwork could look like. My first idea would have been for it to feature Cream happily flying through the sky alongside Cheese while carrying an enormous - and adorably decorated - basket full of Chao*, but to be honest, I’m not entirely convinced... * One can even imagine Gemerl’s head sticking out of the pile, with an air of dumbfounded vacancy colouring his mechanical face, as if to say "I have absolutely no idea how I ended up in this situation, but I cannot say it's disagreeable". XD

XII - The Hanged Man : Big (featuring Froggy, of course). This card invites us to take a break and look at things from a new angle. So naturally, the feline fisherman was the number one candidate, considering how well his laid-back personality and tranquil outlook on life fits the arcane’s meaning. Besides, his passion for fishing provides us with the perfect excuse as to why he would be hanging upside down in the first place, having inadvertently got caught in somebody else’s line because of his clumsiness. :3

XIII - Death : The End. This one is actually deeper than it seems. Of course, the End fancies itself as an ineluctable embodiment of destruction, which already fits the card’s esthetic quite nicely. But those who know about tarot know that this card is actually about transformation and renewal, echoing the End’s role in the franchise’s narrative : by precipitating the fall of the Ancients’ civilization, it triggered the chain of events that would ultimately allow the entire series to happen (or at least most of it). In doing so, it also gave rise to the very hero(es) who would eventually defeat it. True to its name, its advent spelled the end of an era, but it also brought forth a new future, just like a decaying corpse will return to the soil and nourish the seeds that lie beneath... In fact, the card’s artwork would probably have the End’s moon form looming in the upper portion, while the bottom part of the illustration would feature a lonely flower, blooming in the middle of some verdant field (heck, said flower could even be growing out of the husk of a departed Koco, to really drive home the card’s message XD ).

XIV - Temperance : Mighty the Armadillo. This one was easily the most difficult for me to figure out, in part because I feel like there wasn’t really any obvious candidate. In the end, though, I think that Mighty would probably be the best suited for the job. As you can guess, Temperance represents the need for balance and moderation. It invites you to put a little water in your wine, and I feel like it resonates quite nicely with the armadillo’s character. Think about it, Mighty’s main attribute is that he is monstrously strong. Just like Equius Zahhak. He has to be extremely careful around other people, as even one single slip could result in him badly hurting those he cares about. Just like Equius Zahhak. Which is not always an easy feat, as he’s got a pretty extroverted and impetuous disposition. Just like... well, not really, but I think you see where this is all going. XD Mighty’s story is one of constant restraint and cautiousness, which - I think - echoes what this card stands for in a very interesting manner. Granted, I’m not really sure how to convey all that in a simple illustration*, but the idea is there. XD * Maybe having the armadillo rushing worriedly over to Ray - or helping the little guy up - after he accidentally sent the squirrel flying with a not-so-light jab on his shoulder, in reference to that one moment in the Sonic Mania animation (said scene greatly influenced my decision to pick Mighty for this arcane, so it wouldn’t be surprising)...

XV - The Devil : I actually have two different ideas for this one, so brace yourselves. :p - First of all, Solaris. I mean, a being of pure light hiding a heart as black as the darkest of nights ? Yep, that guy fits the bill like a glove. XD As a card, the Devil warns us about the dangers of materialistic obsessions, which could resonate with the all-consuming nature of the sun god’s flames. Not sure about which of his forms the illustration should depict, though. My main idea was for it to feature Mephiles with Solaris’ true form looming behind him, but it’s just one possibility (and even then, I’d still have to choose between the two different forms that the god takes during the final battle). Also, the Devil is usually depicted with a young couple chained at his feet, symbolizing his grip and power over mankind, so I was thinking it’d be interesting to have them be replaced by shackled silhouettes* of Silver and Elise, those whose lives were ruined by the flames of Solaris and the manipulations of his tenebrous half (alternatively, one of them could be replaced by Elise’s father, as it was his own obsession that kickstarted this whole mess)... * To represent how they are just unaware pawns on the fallen god’s chessboard. - Secondly, the Deadly Six. Now, I know what you’re thinking : "urgh, not those guys". But honestly, I don’t really mind them. Sure, Lost World’s writing was a little lackluster, to say the least, but in and of themselves, I don’t think they are that terrible (personally, I have a special fondness for the Zazz X Zavok pairing, but I guess that’s another story XD ). And more importantly, they would be perfect for this card. I mean, as I said, the Devil warns us about self-indulgence and earthly desires, which resonates so well with the hedonistic nature of the six Zeti. Truly, it’s no coincidence if the name of their group references the seven deadly sins. You have the glutton one, the vain and glamorous one, the one who revels in violence, the apathetic one, and Zavok himself is quite the epitome of pride. (And I’m not even taking into account their fittingly demonic, oni-like appearance...) As I said, though, I don’t really know which direction I’d rather take. Ultimately, I feel like the Deadly Six fit the card’s actual meaning better, but I also really like the gravitas that the fallen sun god brings to the table in terms of iconography. How can I put it, I feel like the Zeti would be better suited for the illustration of a minor arcane, if that makes any sense. I mean, the Devil is a figure that comes with a certain weight, and I’m not sure they’d be able to shoulder it. XD

XVI - The Tower : Imperial Tower, with the artificial sun created by Infinite looming over in the background. This card represents impending disaster, so it's only natural for it to feature a level from Sonic Forces. :p No but seriously, I think the choice is rather self-explanatory. In two different ways, actually : Eggman orchestrated the "false sun" battle as the ultimate demise of the resistance, but in the end, it spelled the fall of his own empire...

XVII - The Star : Maria. The Star’s message is one of hope for the future, so Maria felt like the best suited for the job. Her serene kindness and unwavering optimism certainly fit the bill. I mean, even as she was unjustly murdered by those whose role should have been to protect the innocents, her dying words were still for Shadow to not turn his back on humanity, to allow everyone living on the world below "a chance to be happy"... Truly, I cannot think of a better candidate to embody the Star’s promise of a brighter future. (Also, she spent most of her life in a space station, so she’d be right at home on this card. :p In fact, its artwork could easily depict the young girl gazing at the stars through a window aboard the Ark...)

XVIII - The Moon : Rouge. This card is associated with both feminity and deceitfulness, warning us that everything isn't always as it seems, so who better than our dashing femme fatale-slash-master spy to illustrate it. Besides, as a bat, she’d fit the card’s nocturnal esthetic pretty well. :p

XIX - The Sun : Charmy Bee and his two dads and the rest of Team Chaotix. The Sun stands for radiant joy and success, so I thought those three would make for a fitting choice. I mean, they are quite a lively and light-hearted bunch, run a detective agency, and even founded their very own band. Sure, they seem to be perpetually broke, and I don’t think that their musical performances attract that much people, but... what was the point I was trying to make, again ? XD No but seriously, the irony of having those three goobers as an illustration of "success" is not lost on me. In fact, this hilarious contrast is also partly what motivated me to pick them for this card. :p As for the "joy" part, I guess it’s pretty self-explanatory. In terms of visuals, the card’s artwork would probably depict Espio and Vector standing in a sunflower field as they watch Charmy flying happily in the sunny sky above them...

XX - Judgement : Shadow, standing in a flower field, with the Ark looming in the sky above him. Entrusted with the hope of an innocent soul, but turned into an angel of death by his creator, the black hedgehog is ready to pass sentence on humanity. Will he find us guilty, or will he have enough strength in his heart to forgive ? Damnation or atonement, it’s up to him to decide what form the future will take... Anyway, the Judgement card is tied to introspection, so Shadow felt like the best candidate. After all, his personal quest is one of identity, reflecting upon the mistakes that were made and learning the truth of the past in order to move forward and forge his own destiny...

XXI - The World : Chip and Dark Gaia. This one was a no-brainer. After all, those two carry the will of the planet itself. Moreover, the World is, as a card, a symbol of triumph and completion. The journey is over, and it’s now time to celebrate. But it also reminds us that every end is a new beginning. In a sense, it mirrors the glorious cycle of nature that Chip and his brother embody : day and night, death and rebirth, plurality and unity... Now, in terms of appearance, I like to think that the card would depict the little lad hugging an image of the world, in reference to that one panel from the comic, with the serpentine body of his dark counterpart forming like a mandorla around him, to mimic how the card is traditionally illustrated. (Moreover, in order to tie things up and emphasize once again the cyclical symbolism of a tarot deck, I like to imagine that on the illustration of the Fool - which can interchangeably be numbered as either 0 or XXII -, Sonic would be depicted wearing Chip’s necklace/bracelet, reflecting how the story has come full circle and it’s now time to begin anew. Really, Sonic Unleashed as a whole feels like it was tailor-made to illustrate that particular part of tarology...)

And it seems that this post has come full circle too. Haha, I hope that you enjoyed the ride. Some were actually trickier than I was expecting, but all in all, I’m quite pleased with my choices. Of course, there are still a few characters that I wanted to include but couldn’t find an appropriate spot for, like Blaze or Metal Sonic. But hey, for the most part, I’m pretty satisfied. Besides, we still have to tackle the minor arcana. I don’t know if I’ll ever get the courage to do the whole deck (as I said, the suit cards don’t really fan the imagination as much as the "greater mysteries"), but still, theoretically speaking, there is plenty of space left for all the characters who didn’t make the cut this time around. XD Anyway, it definitely was a fun exercise. I wish I had the artistic skill needed to materialize my vision, but alas, my puny words will have to do. Of course, feel free to comment if there is something you’d like to tell me about the content of this post. If you have a remark to make about one of my choices, for example, or if you’d like to share your own take on the premise. Who knows, my knowledge of the Sonic universe is not exhaustive, so I might have overlooked someone or something that would have otherwise been perfect for one of those cards… In any case, I’ll be more than happy to hear your thoughts. ^_^ Also, in spite of my fascination for its iconography, I’m far from being a tarot expert, so don’t hesitate to correct me if I made a mistake when talking about one of the arcana’s meaning. :p With that being said, I don’t think I have anything to add, so I guess it’s time to close this post. Once again, I hope that you had fun reading it, and to those who made it this far, thank you for your attention. Take care ! :3

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elegyoftheend · 23 days

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tw: gore, graphic violence, death, body horror, psychological distress(?). dead dove, do not eat.

Red. It flows like a river, saturating the once pristine white silk with a depth of crimson that seems to have a life of its own. Each thread is now a conduit for anguish, transforming the fabric into a tapestry of sorrow that permeates his very being.

The golden accessories, once adorning him as his people knelt before his divine statue, now lay broken and dull against his fair skin, unblemished other than the stain of crimson which he could not wipe away, by the corruption of chaos surrounding him. Even in his thorned throne, he lies still and beautiful; ethereal even on the verge of death.

Cyan eyes, radiant in sunlight, now bear the weight of dried blood and the droplets of fresh ones that seem never to cease their flow. With each drop that stains his cheeks, leaving a trail of crimson before falling onto the cracks of the marble floor, a macabre symphony echoes through the halls—a melody of death that he was all too familiar with but had never once sung.

Red splatters across the pristine white feathers of his wing, draped over his bloodied corpse. The other torn from his flesh, scorched and broken as it lies to remind him of the desperation of his people, while his feathers, once symbols of grace and beauty, now resemble shredded flesh, tangled in a grotesque dance with blood-soaked strands.

His throat hollowed—both figuratively and literally—a horrifying mess of flesh in place of vocal cords that gifted him a voice unmatched by heaven and earth. The one who sang the most beautiful melodies now lies voiceless, unable to sing his praises to his people; unable to scream in horror at his own fate.

Red, sullied the purity of his soul as they stripped him of his divine title, drawn forcefully from his veins by the very people he swore to protect. Red that covered the hands of those who ripped his wings away from him to fulfill the desires of something much greater than a god—fed with lies that by damning the deity of their nation, they would be saved from the fate that lies ahead for their kind.

Fate is by design, unfortunately, and theirs is to be damned by the color of red that seeped from their veins, drained out of life in a torrent of gore and agony, their bodies strewn across the marble floor like discarded husks, twisted and broken, a curse ignited by the savagery of their deeds.

Oh, how tragic. He could see yet he couldn't move from where they had chained him. He wishes to call for mercy from the greater being that damned him, yet he couldn't even utter his own name. He sits still, burdened by the weight of his kingdom's crumbling walls, surrounded by blood he couldn't distinguish as his or his people's. He could only watch as the sky collapsed into them, burying them under the ruins of the world that had cursed their nation and its god.

It was their own undoing that signed their fate; their palms were riddled with sin and bathed in blood, heads filled with guilt for the fate of their archon and the desperation to save themselves. But there is no way for the children of the wind to be saved, for, right from the beginning, they are damned by Celestia fate to fall with him.

#genshin venti #genshin impact #venti barbatos #mondstadt #dead dove do not eat #venti

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asetoblog · 4 months

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Blue-Eyes Chaos MAX Dragon and Deep-Eyes White Dragon.

Ever thought of these two dragons as the representation of Seto and Kisara (which can also be interpreted as the masculine and feminine side of BEWD, the original card)?

Look at their figures: Chaos MAX has a big and physically strong body, a masculine form; whilst Deep-Eyes has a very slender and feminine silhouette.

According to Jung and his Archetype theory, there are two energies inside us (among many others) which are, always according to him, the "masculine" and the "feminine". These can also be interpreted in a more mythological point of view like "chaos" or "darkness" (in religions and myths chaos has always been considered masculine, because it's a destructive force) and "order" or "light" (in religions and myths order has always been considered feminine, because it's a creative force) and looky here: Chaos is literally in MAX Dragon's name, also its attribute is Yami (= darkness), and Deep-Eyes' attribute is Hikari (= light), just like BEWD.

I think it's very interesting how their names, attributes and aesthetic fit everything: not only they're chaos and order, but they also respectively represent brute, earthly force (Chaos MAX) and some kind of otherwordly, ascended and goddess-like force (Deep-Eyes). Chaos MAX has harsh forms, it's very angular, like Kaiba's machines and jets; Deep-Eyes is more sinuous, serpentine and "round".

In the Pharaoh's Memories arc we are told BEWD's power can be compared to the power of a god (aka Divine Beasts) and here we see some kind of circle behind Deep-Eyes, which may represent the sun, the perfect divine symbol.

To add more to that, the way Seto summons them in the movie DSOD is pretty self-explanatory: Chaos MAX is summoned in a quick and brutal way, but it takes some more effort for Seto to summon Deep-Eyes on the field, because he needs to chant some kind of magic formula. Or he just wants to do that, but anyway, he even says Deep-Eyes is his "strongest dragon" (always referring to the original dub, not the american one!), meaning that he has higher regards for Kisara's godly power than his own, which is just physical strength.

These two dragons are absolutely beautiful and I think they perfectly represent Seto and Kisara separately, because BEWD can't do that alone anymore. BEWD needs to split to show us both its sides, because whilst we know it as Kisara's soul, in modern days it's considered to be Seto's "soul" too: he himself calls it in the original dub "ore no tamashi" ("MY soul"). That's why we now need two BEWD-surrogate dragons to represent them both.

#seto kaiba #kisara #bewd #blue eyes white dragon #blue eyes #deep eyes #chaos max #dragons #yugioh #yugioh dsod #dsod #archetypes

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al-hekima-madara-blog · 2 years

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Lord Indra, the natural hero who never was

or why Sasuke and Madara always shine despite the whole plot in their disadvantages.

Hero : a mythological or legendary figure often of divine descent endowed with great strength or ability. b : an illustrious warrior. c : a person admired for achievements and noble qualities. d : one who shows great courage.

Going out of my MGA writing retreat cave for a sec and share with you some of my researches...I don't have great knowledges of vedic texts and Indian culture but to what I read so far (correct me if I'm wrong) Indra is the King of the devas and Heaven. In similar fashion, Zeus king of other gods in Greek mythology. Indra controls storm, rain, and uses thunderbolt as one of his most deadly weapon. He is both the archetype of the mighty warrior, the slayer of great evil (asuras) and also the life-giver. Because you know, rain fertilises earth (if you get the metaphor 💦... 👀). One of his most famous story is how he destroys Vritra the monstrous snake/dragon, also called an asura, who was responsible for holding back waters and created drought. And by doing this, Indra slain the archaic forces blocking the creation of new lives.

As a Naruto fan, I get now the inspiration for Otsutsuki Indra. Sasuke's preference for raiton and kirin, Madara as a god of war and user of storm release, the symbol behind Sasuke killing Oroshimaru in his white snake shape, susanoo although a japanese god is still god of storm killing an other massive snake...

It's kind of funny because Indra is, based on the Vedas tradition, the allegory of the perfect hero. He comes alone, strong-willed, powerful, and slays any obstacles to the natural cycle of life, and by doing so he saves humanity from chaos. And it's precisely what is despise in the Narutoverse about the characters assimilated to him, namely Uchiha clan and Indra Otsutsuki. Indra opposing his unfair father is bad. The Uchiha clan defending themselves against oppression is devilish, Sasuke seeking revenge is detestable, Madara looking for a world purged of evil is absolutely hideous.

There is as well many shinto inspirations but I'm mostly reading here the story in a Vedic perceptive and you'll notice something else about the asura's. It's not a single god but a group of demons always confronting the devas. They are seen in a negative light, the anti-gods, the power-seekers ect... And it kind of makes sense with Naruto who can't progress on his own. He needs to be constantly help and surrounded by people. He is also notoriously possessed by a powerful demon who manifest himself in the beginning of the story when Naruto is corned to anger. Notice also that the only way to control this demonic force is either the sharingan assimilated to shinto spiritual strength or Mokuton from the Senju being assimilated with Buddhism spiritual strength.

So now you get where I'm going... isn't weird that mostly Narutoverse is respecting mythologies and adapt them to its own storyline. For instance the sannin legend, Kaguyahime story. But for Indra and Asura it's a total reverse of values. Intentionally, the good is bad and the bad is good.

Yeah but the plot Al Hekima, don't forget the plot ! I know, I know... If your main character is a boy possessed by a demon, befriends with 9 others demons and it's apparently normal, it will end up this way.

Maybe I'm not objective after all but even before going deeper into analysing the Narutoverse, Indra and the Uchiha clan being seen as cursed and evil by nature, the people who went astray and needed to be beaten into submission, always left me unsettled. Literally, I couldn't comprehend what was wrong with them which justify so much hate. And in opposite Naruto being possessed by a demon is blatantly black magic. His father is never questioned about doing it to his son, neither Hiruzen to the young Kushina, or Hashirama to his wife (in this case they may have both agree). I know it's just fiction, but art doesn't come out of the blue. It's ingrained in the artist's set of value, cultures, emotion ect... And the author stressed in interviews that he wanted to bring positive value to his younger audience. I'm just questioning sometimes what are actually those values? For the Uchihas the idea was to forgive, to not fall into hate, and move on. But forgive without justice? Putting the pressure of moving on solely on the victim and never put the perpetuator in a difficult position? Never ask any apology or reform from the aggressor? The victim needs to forgive with no assurance that it won't happened again. Believe it, right? and eventually the victim needs to help the system who harmed him to keep going... Anyway I'm rambling at this point but that's always my major philosophical disagreement with Kishimoto.

#Sharing with you some of my researches while writing my fic #madara golden age #it was suppose to be a short post but apparently I can't do that lol #and also those researchs explain why it's so easy to rewrite Madara/Sasuke as heroes because they ARE #Madara #Sasuke #Indra #Asura #Indra in vedic texts #Naruto #Sasuke's popularity almost overshining Naruto is logic #Even Naruto is obsessed with the true hero of the story

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babylon-crashing · 1 year

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tarot of syssk [booklet]

We live as we dream ... alone. ~ Joseph Conrad.

Originally I intended to use as many gender neutral terms as possible, settling on honorific titles like Sovereign, Ruler, Mx, Sonkeigo and Sensei (both Japanese terms for teacher), but I ran out of words, so I fell back on Mother, Crone, Lord, Lady, Master and Mistress as well. I am always open to suggestions if there are other ideas.

Each card is written in English, as well as Japanese and a made-up language called Galactic Basic (Syssk's mother tongue). Since a lot of choices that I made fall under the “Rule of Cool” heading (see: it seemed like a good idea at the time) in hindsight I see how foreign languages might be confusing, as if they're hiding vital information needed to understand each card. They're not. They could be removed entirely and the card would still be the same.

The decks I consulted in designing the cards were The Rider-Waite deck, The Barbara Walker Tarot, The Hermetic Tarot and Yonas Lunata's Qabalistic Tarot.

Since symbolism only works if a person can recognize the symbols being used here are my notes for cards that differ enough from The Rider-Waite deck as to be confusing:

[0] THE FOOL.

Childlike. Adventurous. Spontaneous. [R] Naive. Overly Optimistic. Not looking before the leap.

Notes: In Shintoism (Japan's native religion) the Torii Gate behind Syssk represents the border between the secular world and the sacred and acts as a passageway into a shrine's sacred space. It is the cliff in The Rider-Waite deck. The beckoning good luck cat is called Maneki-Neko, and ceramic versions can be found in shops and restaurants throughout Japan as a way of welcoming customers in.

[I] THE WITCH: Onibaba.

Self-confidence. Delight in Occult studies. Talented performer. [R] Manipulation. Lies. Power for the sake of power.

Notes: Onibaba literally means, “demon woman,” and plays many roles associated with European witches and witchcraft. The symbol behind her is a bagua, used in Taoist magic to represent the fundamental principles of reality. Because this card corresponds to the Magician, I included the four elemental symbols of water, air, fire and earth, as well as a cup, a coin, a wand and a pentagram to round things out. For more information on Onibaba, I suggest Kaneto Shindo's 1964 masterpiece of the same name.

[II] HIGH PRIESTESS.

Experience. Wisdom. Intuition. Teacher. [R] Using knowledge without wisdom. Two left feet. Unbalanced.

Notes: In The Rider-Waite deck the High Priestess is static; she sits in a chair, holding a book of wisdom and not really doing anything else. Learning wisdom, however, comes in many forms and here it is all about dancing as an ancient form of praying for rain. Dressed as dragons, people would dance and beseech the gods for another fruitful year.

[III] EMPRESS.

Motherly. Growth. Nurturing. Abundance. [R] Shallow. Ignoring the bigger picture. TERF.

Notes: While the Empress here is the same as found in The Rider-Waite deck, the background depicts what royal childbirth was like in ancient Japan, which I found fascinating.

[IV] EMPEROR.

Architect. Laws. Authority figure. [R] Loves chaos. Patriarch. Control freak.

[V] HIEROPHANT.

Blending of traditions. Knows some dance steps. Gives good advice. [R] Counseling needed. Can't think for oneself. Drowning in dogma.

Notes: One of the curious strengths of Shintoism is its willingness to blend in with other, outside religions. Like the dancing found in the High Priestess, here a Shinto priest dances to Syssk's drumming, while Buddha and a Taoist monk look on.

[VI] LOVERS.

Romance. Sharing. Equal partnership. [R] Separation. Arguments. Incompatible partnership.

[VII] PALANQUIN.

Drive. Ambition. Understands what makes things go. [R] Procrastination. Mind-forg'd manacles. Can't move forward.

[VIII] STRENGTH.

Confident. In control. Inner resources. [R] Drained. Depression. Fear.

[IX] HERMIT.

Meditation. Alone by choice. Finding answers in oneself. [R] Unwanted loneliness. Withdrawn. Need for introspection.

[X] WHEEL OF FORTUNE.

Prosperity. Windfalls. Paid your dues. [R] Stuck in a rut. Refusing change. Afraid of taking chances.

[XI] JUSTICE.

Fair assessment of oneself. Desire for equality. Karma. [R] Out of balance. Unfair treatment. Ill fate.

Notes: Taking a more psychological approach to this card, Syssk looks in the mirror and sees her shadow side looking back. Until we can be impartial in judging ourselves we are unfit to judge others.

[XII] GALLOW'S TRUTH.

Sacrifice for wisdom. Suspension of disbelief. Calm before the Storm. [R] Indecision. Literal hang ups. Impatience for outcome.

[XIII] DEATH.

Cosmic transformation. New outlook. Letting go. [R] Fear of change. Living in the past. Need to let go.

[XIV] TEMPERANCE.

Blending of Heaven and Earth. Compromise. Tolerance. [R] Need for moderation. Lack of indulgence. Addiction.

[XV] DEVIL: The Four Noble Truths.

Shadow self, unhealthy attachment, addiction. [R] Releasing one's own limiting beliefs, exploring dark thoughts, separation from the world around you.

Notes:In The Rider-Waite tarot, The Devil is all about unhealthy attachments, restrictions and fear of one’s own sexuality. In other words, all the negative aspects of your personality that you need to work on. Here I focused on an idea from Buddhism that there are four aspects of being human that no one can escape from: that [1] we all suffer, [2] our suffering has a cause, but also [3] there is a solution to end our suffering and it’s up to you to decide if you want to [4] do what it takes reach that end. The Four Noble Truths. The demon on the right side of the card comes from an ancient legend about an Oni (a mountain demon) who fell in love with Buddhism and decided to walk the path of enlightenment, even though everyone else would still only see a monster. This is, ironically, the same situation Syssk finds herself in but instead of seeing a kindred soul all she sees is an Other (an Other othering another).

[XVI] TOWER.

Chaos. Sudden Change. Destruction. [R] Time to grow and move on. Rebuilding with a clean slate.

[XVII] STAR.

Hope. Dreams. Goals. [R] Losing hope. Disillusioned. Depressed.

[XVIII] MOON.

Imagination. Visions. Infatuation. [R] Self-deception. Insecurity. Hazy understanding.

[XIX] SUN: Dancing for Amaterasu Omikami.

Dancing for liberation. Glee. Restoring cosmic order. [R] Dark days. Unfulfillment. Turning away from the light.

Notes: Another example of dancing for the divine. In the Shinto creation story, the goddess of the Sun, Amaterasu Omikami, (for complicated reasons) hid herself away in a cave and let the world grow cold and barren. The goddess of the dawn, Ame-no-Uzume, realizing that something had to be done, invited all the humans to the mouth of the cave and performed such wild dancing that the Sun goddess reemerged to see what all the laughter and dancing was about. Thus, burlesque dancing saved the world, once again.

[XX] JUDGMENT: Seppuku.

Self-annihilation only way to save face. Making logical decisions. Practicality. [R] Bad Karma. Poor Judgment. Dishonor.

Notes: Even if a person knows nothing about Japanese history they've probably at least heard of the warrior-class called the samurai and how they often committed hara kira (seppuku) ritualized cutting open of their stomachs to atone for some sort of sin. In The Rider-Waite deck, uses the Christian idea of divine judgment, with Archangel Gabriel blowing a horn and zombies rising up out of the ground, hungry for brains. Here, though, the day of judgment is always at hand since your lord might, for any reason at all, order you to commit suicide in one of the more painful ways imaginable. No salvation, no good deeds or bad deeds weighing down your soul, no sitting at the right hand of the Patriarchy, just the atrocious need to save face and the horrific lengths that some people will go to carry out their lord's wishes.

[XXI] RETURN TO THE VOID.

Endings and beginnings. Cycles. Success. [R] Delay in fulfillment. Lost. Unable to accept change.

Notes: In The Rider-Waite deck, the World is all about completion. Here Syssk's exile on Earth is over. Her rainbow UFO is fixed, she leaves terra firma for the celestial heavens, clutching her beloved katana sword, the only souvenir of her adventures that she takes with her.

[XXII] HAPPY RABBIT.

Wild Card.

Notes: This card can be left out, if one wants. It is modeled after the Happy Squirrel, a joke that appeared in an episode of The Simpsons, when Lisa goes to get a reading done. (“Is that bad?” “Perhaps, the cards are vague and mysterious.”) It has since shown up in actual decks, though for the life of me I cannot figure out what to do with it besides give a nod to Stan Sakai's epic tale of Usagi Yojimbo, a masterless samurai rabbit, who wanders the roads of Edo-period Japan and was a big influence in my formative years. I reused two of figures from the 10 of Wand's Mistress of Artful Trickery (a kitsune fox-spirit) and drummer.

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[COINS]

[0] ACE OF COINS: Sovereign of the Earth's Roots.

Magnetism. Ideas for making money. Working with hands. [R] Lack of creativity. Money woes. Singing the Blues.

[2] OF COINS: Ruler of the Syndicate.

Multitasking. Business partnership. Financial harmony. [R] Trouble juggling responsibilities. Distracted. Chaos.

Notes: Originally this was titled, “Ruler of Multitasking,” since the 2 of Pentacles in The Rider-Waite deck is all about balancing multiple priorities, except “multitasking” feels like such a modern term, it just felt off. I discovered, however, that one of the older definitions of the word, “Syndicate,” concerns itself with harmonious group work … though its modern usage is almost entirely mob-related. Perhaps there is a better term somewhere.

[3] OF COINS: Lord of the Joint Venture.

Communal work. Craftsmanship. Apprenticeship. [R] Unskilled. Unprepared for upcoming tasks. Problematic individualism.

[4] OF COINS: Mx of Earthly Powers.

Working the Earth. Honest labor. Financial stability. [R] Poor stewardship. Salting the Earth. Failure to understand growth.

[5] OF COINS: Master Destitution: the Ronin's Path.

Abandoned. Living paycheck to paycheck. No security. [R] Recovering from disaster. Temporarily unemployed. Returning to work.

Notes: If a samurai was a warrior who served a lord or lady, then a samurai who had (through many different ways) lost their lord or lady was called a ronin. Sakai's Usagi Yojimbo is such a person, wandering the land on a musha shugyo (warrior's spiritual pilgrimage), occasionally selling his services as a bodyguard. Sakai, in turn, was greatly influenced by samurai movies of his childhood, such as Akira Kurosawa's Yojimbo (1961), from which Sergio Leone heavily “borrowed” the idea for his Spaghetti Western, A Fistful of Dollars (1963). The term ronin means, “to be cast adrift upon the waves,” without family, friends or financial support.

[6] OF COINS: Sensei of Resources.

Asking for what you need. Gifts. Inheritance. [R] Not getting help from others. Having to quickly pay back debts. Bad credit.

[7] OF COINS: Mst of Bitter Profit.

Hard work leaves a bad taste in one's mouth. [R] Climbing to the top. Indifference in coworkers' suffering.

[8] OF COINS: Qy of Sagacity.

Wise in the way of Money Magic. Taking on an apprentice. Education is liberation. [R] Losing interest in school or work. World-weary.

[9] OF COINS: Sonkeigo of Abundance.

Reaping what you sow. Money is stable and growing. An sea of opportunity. [R] Unexpected expenses. Exhausting one's resources.

[10] OF COINS: Mistress of Uncanny Wealth.

Finding riches in odd places. Money is good or will be so soon. Secure and stable finances. [R] Major financial loss. May have to burn down the business and flee on foot. Crazy setbacks.

[11] ONNA-MUSHA OF COINS: Champion of a Rich Harvest.

Free market rules! Beginning a new career. Abundance of merchandise. [R] Village market starting to hate you. Delays in beginning the reaping. No one wants what you're selling.

Notes: Corresponding to the Page of Pentacles, here Syssk and a friend have come to sell the rich harvest of the 4 of Coins at market. There is some debate about whether female samurai existed (why it is important for some people to say that historical warriors, like Hangaku Gozen, ‎Nakano Takeko, ‎Niijima Yae and ‎Ohori Tsuruhime weren't samurai, but rather simply high ranking women from samurai families, trained in the Way of the Blade, who fought in battles, I don't know)‎ however, the term used to describe such people is Onna-Musha. The nice thing about telling a story of a xenomorph marooned on Earth is that no one will accuse me of being historically accurate; if you can suspend your disbelief long enough to accept Syssk you can also embrace Onna-Musha as samurais as well, I suppose.

[12] SAMURAI OF COINS: Knight of the Verdant Green.

Satisfaction from an important job. Moving up in the world. Trees love you. [R] Unexpected change in job. Boss out to get you. Coworkers can't wait to see you fired.

[13] SEISHITSU OF COINS: Lady of the Forced Profits of the Earth.

Materialistic. Gold digger. Trouble handling practical money matters. [R] Unselfishness. Generosity. Has the Golden Touch.

Notes: The Queen in The Rider-Waite deck and tying in with the 5 of Coins' concept of destitution, a wealthy elite is served the best food that the restaurant can offer while in the background, poor Syssk, without a single coin to her name, curls into a fetal ball and wishes (not for the last time) that she was back home.

[14] DAIMYO OF COINS: Lord of the Joys of Capitalism.

Good business sense. Making Robber Barons sexy again. Obsessively industrial. [R] Monopolizing power. Delights in inequality. Blind to the machinery of capitalism being oiled with the blood of the workers.

Notes: Daimyo is the term used for Kings in ancient Japan; in this case, the King of Merchants (for what it's worth.)

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[CUPS]

[0] ACE OF CUPS: Sovereign of the Root of Riotous Water.

New relationships. Sensuality. Birth. [R] New relationships delayed. Next step delayed. Troubled pregnancy.

[2] OF CUPS: Ruler of the Fertile Imagination.

Romantic passion. Equal and balanced relationship. Sharing mutual feelings. [R] Unbalanced desires. Unrequited love. Not attuned to one's harmony.

[3] OF CUPS: Lord of Dubious Company.

Wild celebrations. Orgies. Going all out. [R] Fear of overindulgence. Bad family gatherings. Addiction.

[4] OF CUPS: Mx of Heinous Phantasy.

Striving for more. Dreaming large. Feeding a healthy ego. [R] Unsatisfied. Not realizing the value of one's current state. Boredom.

Notes: In The Rider-Waite deck, the 4 of Cups deals more with issues of apathy and being so narrowly focused as to ignore the world around you. Here, Syssk really loves her blue cup, to the extent that she does not see the helpful Oni (mountain demon) offer up its own, nor the horrific shadow on the wall behind her. Daydreaming is wonderful, except when the world is out to get you and you need to focus.

[5] OF CUPS: Master of the Song of Regret.

Fear of avoidance. Facing unpleasant realities. Lost in nostalgia. [R] The need for struggle. Evolution. Growing pains.

Note: Apparently Syssk can play musical instruments. Even though lover's suicides did happen I see this card more as a cautionary tale about what not to do when you're filled with regret.

[6] OF CUPS: Sensei of Childhood Memories.

Making peace with one's childhood. Past returning with new meanings. Owning one's passions. [R] Horror of family. Outgrowing a relationship or person. Becoming your own toxic parent.

Note: The Barbara Walker Tarot talks about the 6 of Cups being about childhood traumas and memories. Of course Syssk would also have some sort of parent somewhere and in this case it is Xenomorph Queen from the Alien franchise. It's a side of her past that she doesn't like to talk about, probably because the only thing xenomorphs seem to do in these movies is drool and screech … so much alien drool. Some families are so embarrassing that the only thing you can do is change your name and flee to an utterly insignificant little blue-green planet whose ape-descended life forms are so amazingly primitive that they still think digital watches are a pretty neat idea. (Thank you, Douglas Adams)

[7] OF CUPS: Mst of Uncertain Opportunities.

Discovering your inner road map. Idealism. Loving all your children ardently. [R] Too many dreams without plans. Lacking passion. Dreams turn to whimsy.

[8] OF CUPS: Qy of Abandoned Dreams.

Leaving the past behind. Owning one's loneliness. Follow through. [R] Lack of closure. Imaginary slights. Settling for the mundane.

[9] OF CUPS: Sonkeigo of the Blade.

Achieved goals and dreams. Skilled master. Uniqueness of craft. [R] Smugness. Unrealistic goals. Not knowing one's limits.

Note: One of my goals with this deck was to make it easy enough to understand so that a reader wouldn't need to know about samurai, their Bushido code of ethics and/or Japanese history (so, naturally I slapped Japanese text on each card because being inconsistent is something that I apparently strive for). The Way of the Blade is, briefly, the idea that a warrior can and will cultivate an, “implacable fighting spirit to overcome their enemies.” How one wants to define an, “implacable fighting spirit,” is left up to the reader to decide; however, for me it means honing your skills until you are a master at whatever it is that you're doing. In that way it hearkens back to The Rider-Waite idea of contentment, satisfaction and gratitude.

[10] OF CUPS: Mistress of Sublime Harmony.

Dreams coming true. Love and familiar surrounding. Comfort. [R] Happiness delayed. Troubled commitments.

[11] ONNA-MUSHA OF CUPS: Champion of Rebellious Floods.

Crossing life's floods with help. Growth from self-reflection. [R] Lack of patience for ones own needs. Need for reflection. Immaturity.

[12] SAMURAI OF CUPS: Knight of the Purifying Cascades.

Willingness to heal. Emotional growth. Spiritual meditation. [R] Ignoring pain. Pushing oneself too hard. No sense of humor.

[13] SEISHITSU OF CUPS: Lady of the Sovereignty of Waters.

Powerful. Life-giving. Cyclical like the tides. [R] Oversensitive. Chaotic emotions. Destructive love.

[14] DAIMYO OF CUPS: Lord of the Turning Waterwheel.

Karmic completion. Just parent. Gentle law maker. [R] Weak nature. Unreliable. Natural born cheater.

__________________________________________________

[SWORDS]

[0] ACE OF SWORDS: Sovereign of the Root of the Air.

Beauty. New Ideas. Empire of the senses. [R] Lacking curiosity. Overbearing. Confusion.

[2] OF SWORDS: Ruler of Peace through Power.

No compromises. Battle of wills. Standstill. [R] Reconciliation. Compromise. Accommodating difficulties.

Note: During the late Edo period in Japanese history almost every large family had a family crest that was worn on the right and left sides of their kimonos. Samurai crests usually featured flowers of some sort, falling leaves, cranes in flight or sacred trees. At some point I decided that Syssk needed a crest as well, so I settled on a stylized version of the face-hugger parasite from the Alien movies (the first stage of xenomorph development after it leaves the egg). The purpose of this card was summed up nicely when Frank Herbert wrote, “Absolute power attracts the corruptible.” Under the right set of circumstances we are all corruptible, even visitors from the celestial kingdom.

[3] OF SWORDS: Lord of the Moon's Sorrow.

Balancing one's feelings. Healthy friendships. Riding the turbulence. [R] Love triangle. Jealousy. Heartache.

[4] OF SWORDS: Mx of the Respite before the Storm.

Recovery. Rest. Recuperate. [R] Sensing upcoming doom. Cutting recovery short. Dread.

Note: A trope that runs through some horror literature is the idea that monsters, while they can assume the shape of a mortal, are often undone when their shadows reveal their true, monstrous form. Of course this only works if a person is observant enough to pay attention to such things and not, as Syssk and her friend are doing, get caught up in fantastical story telling, oblivious to the danger sitting right in front of them. Often we think that the storm we must face is far off and we have time to recover, when, in fact, it has already consumed us.

[5] OF SWORDS: Master of Defeat.

Exile. Deceit. Hidden or old enemies surfacing. [R] Ugly truth revealed. Detachment emotions. Coldness.

[6] OF SWORDS: Sensei of Senseless Struggles.

Realizing the path forward isn't the best. Campaigning. Following your own path. [R] Blinded by bad directions. Out of the frying pan into the fire.

[7] OF SWORDS: Mother of Betrayal.

Getting played. Being used. Leaving yourself too open emotionally. [R] Trust issues. Skepticism. Suspicion. Uncertainty.

[8] OF SWORDS: Crone of Ambitious Passing.

Owning who you are. Speaking one's mind. Being fabulous. [R] Walking on eggshells. Fear of independence. Not being true to oneself.

Note: I am a horribly cynical person and this is, perhaps, the most cynical card in the deck. Syssk works hard to try and blend in with the unwashed masses surrounding her and it is a thankless task. She's mastered make-up and how to sit politely, poetry and tea ceremonies, the katana sword and the samurai code of ethics, Bushido. None of this changes the fact that when people see her all they can see is her monstrous appearance and not the enlightened soul. For some of us being an outcast is much more preferable than having to compromise or hide who we really are, but I suspect, for Syssk, that is not an option open to her and everything about this planet is hellish in one form or another. In a world that has yet to invent the steam engine, let alone FTL drive, the endless prattle that the Earth is the center of the universe and that humanity is some sort of beloved pet for a Creator god blew her mind the first time someone said it and every time since. An ancient Zen koan asks, “What is the ocean to a frog living in a well?” Or, to put it slightly differently, in The Hitchhiker's Guide to the Galaxy, Ford Prefect (also an alien marooned on Earth), “would often gate-crash university parties, get badly drunk and start making fun of any astrophysicists he could find till he got thrown out … fifteen years was a long time to get stranded anywhere, particularly somewhere as mind-boggingly dull as the Earth.”

[9] OF SWORDS: Sonkeigo of Malice.

Workplace stress. Worried sick. Enabling a bully. [R] Light at the end of a tunnel. Recovery. Burden lifted.

[10] OF SWORDS: Mistress of Painful Endings.

Betrayal. Stabbed in the back. Crash and burn. [R] Learning from mistakes or betrayal. Getting back on feet. Communicating well with others.

[11] ONNA-MUSHA OF SWORDS: Champion of Rejuvenating Zephyrs.

Attention. Grace. Source of springtime. [R] Premature autumn. Crudeness. Disregard.

[12] SAMURAI OF SWORDS: Knight of Typhoons.

Courage. Quickly and unexpected change. Riding out the storm. [R] Pointless violence. Change as disaster.

[13] SEISHITSU OF SWORDS: Lady of the Sea's Sovereignty.

Grace. Rectitude. Hidden powers. [R] Bitter. Delight in drowning fools. Indifferent.

[14] DAIMYO OF SWORDS: Lord of the Raging Winds.

Owning one's own power. Bending reeds and breaking oaks. Sharp mind. [R] Nasty and mean spirited. Abusive. Ball of agitation.

__________________________________________________

[WANDS]

[0] ACE OF WANDS: Sovereign of the Root of the Flames.

Passion. Starting point. Answering the call. [R] Lacking creative thinking. Uninspired. Tunnel vision.

[2] OF WANDS: Ruler of Foreign Influences.

Embracing the alien. Long-distance relationship. Synchronicity. [R] Traditionalism. Incompatibility. Old and moldy.

[3] OF WANDS: Lord of the Far Expanse.

Counseling. Returning home. Third party assistance. [R] Third party interfering. Impulsiveness. Lacking the initiative.

[4] OF WANDS: Mx of Martialed Armies.

Stability. Gathering one's forces. Firm foundation [R] Debilitated commitment. Troubles of cohabitation. Adynamic planning.

Note: This is suppose to be an army on the march but I am unsure if that's apparent.

[5] OF WANDS: Master of Strife.

Serving a fair and just ruler. [R] Serving a vicious and wicked ruler.

Note: The term “Bushido” has been referenced several times so far. I have been calling it a samurai code of ethics, concerning all aspects of moral attitudes, behavior and lifestyle. The best example of its essence comes from Stan Sakai's The Dragon Bellow Conspiracy, where the following conversation takes place between our rabbit ronin Usagi and a samurai who serves the antagonist of the story:

Usagi: You'd die for a lord who vilifies you? He doesn't deserve your loyalty!

Torame: I'm a devotee of Bushido, the samurai's code. Do you remember the warrior riddle I told you?

Usagi: “Which more exemplifies Bushido? The samurai who serves a good and fair lord, or the one who faithfully serves a wicked lord?”

Torame: The Samurai who is loyal to his unprincipled master because he who remains faithful even in adversity has the greatest warrior spirit. After all, “samurai” means “to serve” and devotion to your master is paramount.

[6] OF WANDS: Sensei of Nauseous Sacrifice.

Victory at a price. Losing by winning battles. Stress vomiting. [R] Unable to understand why you lost. Disillusioned. Rewards long delayed.

Note: In The Rider-Waite deck, the 6 of Wands deals with public recognition over one’s success. Here, however, the card has more to do having to preform some sort of task that you find personally abhorrent in order to succeed. That, too, usually has very public ramifications (think: selling out for money, or sacrificing a friendship to get ahead) but you’ve decided that failure is not an option, so the ends justify the means, as they say.

[7] OF WANDS: Mother of Valour.

Attacked from all sides. Win battles and playing well with others. [R] Attacked from all sides. Defeat. Feeling drained and stressed.

[8] OF WANDS: Crone of Swiftness.

Expanding horizons through travel. Talking to people or seeing new places. Reading new ideas. [R] Frustration and delays. Can't seem to communicate. How do you make this hawk go?

[9] OF WANDS: Sonkeigo o£ Tenacity.

Bad ass with a katana. Ready and prepared for what is ahead. Good at defeating others. [R] Paranoid from many past battles. All vain pomp. Sound and fury signifying nothing.

[10] OF WANDS: Mistress of Artful Trickery.

Duplicity as a positive thing. Getting others to carry your burden. Looks great with nine tails. [R] Overburdened. Too many responsibilities. Unable to see what is right in front of you.

Note: In Japanese folklore, Kitsune are trickster fox spirits that have the ability to shape shift into human form. The card speaks to the 4 of Sword's warning that a sinister shadow might be concealed in the most charming of outer appearances. In this case the Kitsune is using a life-size puppet to manipulate others, while Syssk, jamming on her biwa in the background, remains oblivious to any danger.

[11] ONNA-MUSHA OF WANDS: Champion of the Luminous Flames.

Companion. Assistant. Helper. [R] Refusing advice. Lone wolf. Getting foolishly burned.

[12] SAMURAI OF WANDS: Knight of Thunderbolts and Lightning.

Person with an inner fire. Using the storm to your advantage. Good at dodging the wrath of the gods. [R] Anticlimax. Thunderbolts and lightning very very frightening. Need for follow through.

[13] SEISHITSU OF WANDS: Lady of the Uncanny Glow.

Eroticism as creative power. Living life to its fullest. MILF. [R] Burns out quickly. Restlessness. Unsatisfied.

Note: The erotic nature of our lives is profoundly spiritual. Since Syssk is the avatar for the reader the question of where Syssk falls in the sexuality spectrum has come up and while she is certainly intersexual (bodies that fall outside the strict male/ female binary) trying to define an alien species in human terms will only take us so far. She identifies as a “she/ her,” and while she is curious about the concepts of sex and romance she has yet to find anyone willing to teach or share. Perhaps she is Panromantic (someone who can experience attraction to anyone regardless of gender identity, sex or anatomy) or perhaps she is Demisexual (someone who does not experience attraction unless they form a strong emotional connection first), but what is important is that it's something only Syssk herself can decide upon and, as of this writing, she is still weighing all her possibilities.

[14] DAIMYO OF WANDS: Lord of the Song of the Turbulent Fire.

Owning one's self. Charming. Legendary. [R] Forked tongue. Smooth talker who is massively insincere. Sucka MC.

__________________________________________________

Originally the deck was going to feature astronauts and their Alien familiars. But that path would lead only to issues of copyright infringement, which is why Syssk ended up looking the way that she does and not like this:

[Magician]

[The Hanged One]

#syssk #tarot #tarot of syssk #myart

37 notes · View notes

askmerriauthor · 11 months

Text

Hyrule's Future - Letting Go of the Past

ToTK lore chatter, mild spoilers below the line break.

I've mentioned it before, but something I really enjoy about both BoTW and ToTK is how they've addressed the timeline as a whole. The games basically scoop up all the events of the past titles, toss them into a blender, and dump out the rendered scraps into a big pile together. So it's become unclear exactly how much of the established lore is actually true and how much of the Legend of Zelda is just actual legend.

This has some interesting implications for how exactly Hyrule will grow going forward from the BoTW/ToTK point, especially considering Nintendo has confirmed that the BoTW-style games is what they want to aim for as a series standard. It also makes for a facet of story telling specific to these games' direction that I really enjoy. That, for all the importance of history and heritage in the Legend of Zelda, the way forward is letting go and accepting change.

There's a bit of a gag going that Link is essentially the Tony Hawk of Hyrule, in that just about nobody recognizes him and he's constantly being "mistaken" for the Legendary Hero Link. NPCs flat-out don't know who he is at all, or brush it off as a funny coincidence he "just happens to have the same name as the Hero", or even gaslight themselves into refusing to believe he could be the genuine article. Very few NPCs in the game actually know who Link is, what he looks like, or properly acknowledge what he's done.

A bit of the same happens for Zelda. While it seems that everyone knows who she is by reputation, if nothing else, everyone is also very easily fooled by the doppelganger Zelda running around causing chaos post-Upheaval. Zelda is essentially a new entity in post-Calamity Hyrule; everyone knew of her as a legendary figure holding back Calamity Ganon, but actually having her around as a flesh-and-blood person working to build a new future for Hyrule is a new thing for the general population. So much so that, for the youngest and newest generations of kids in Hyrule, they don't really hold interest or reverence for the past whatsoever.

Another thing we come across around ToTK is rumors. Things like the fabled "Master Gourd", or characters gossiping about legendary beasts, weapons, and ghost stories. People fear the notion of a vengeful spirit lurking in the wilds, or a man speculates that the ghosts of slain Gerudo haunt the alleys of their town. Others dismiss the very idea of ghosts outright as fanciful nonsense and "unscientific" when there are very clearly actual ghosts in existence within the setting. The establishment of a newspaper and the ability to quickly spread long-form written information across Hyrule is a new thing and welcomed eagerly by the citizenry, but it's up to intrepid reporters and researchers to find the information to report. And, as is shown in several quests, sometimes they get things completely wrong and end up utterly confusing the whole situation.

What this all culminates toward is a very clear indication that the lore of Hyrule and the literal legends of Zelda, in all their forms, is entirely unreliable narrative in-universe. How much of Hyrule's own past has been completely lost to time or disaster? How much of it has mutated through repetition or been exaggerated far beyond what it originally was? The events we've played through in previous titles have been pretty wild in many cases, often cartoonishly silly; were those events actually things that happened, or just outlandish retellings and mixed-up tales? Are the drastic tonal differences between "Twilight Princess" and "Wind Waker" a case of different times or were they simply the personal preference in delivery as told by a given narrator? Are the repeated instances of many characters sharing names and natures truly coincidental reappearances, or are they because a person became a symbol and popular story element that crossed over into different tales? There's a firm sense in ToTK that Hyrule is growing toward a new future of its own making and that the past, while very much an important part of the world's identity, is far from set in stone. That it shouldn't be given so much power and importance over the future that's yet to be seen.

In ToTK, the heroes and the citizenry are looking toward the future. They're building - not rebuilding, but starting new. Side quests like Cece's mayoral race emphasize the importance of making a sustainable balance between the old and new. Mattison's parents respect the old traditions of the Gerudo by letting their daughter go off to learn of her roots in Gerudo Town, even as it pains them to do so, and even as Gerudo Town itself is changing from its old ways. The established language itself is being updated as the new generation of Gerudo kids abbreviate it (much to the chagrin of some elderly Gerudo). Link, a man, is freely admitted to defy the Gerudo's core "no voe allowed" law because of his proven loyalty to their people - a boon that was denied a hero of the Gerudo in the past, as we learn from the side-quest exploring their history.

Throughout all the communities we see a shift from the old to the new without tossing out their roots. The Zora welcome new leadership and combining of communities. The Rito show a proven rise in the next generation to maintain their way of life. The Gorons work with their changing environment and industry, maintaining a firm inter-generational cooperation throughout. The Gerudo gradually open themselves up to greater interactions not just with men, but with the world in general, joining more into the core of Hyrule rather than secluding themselves to their old ways. The Sheikah - by far the most deeply rooted in traditional standards of all - are rapidly changing with the times and set themselves at the bleeding edge of social development. Paya taking the Sheikah in a new direction as their chief, Impa stepping aside for the greater good, Purah and Robbie and Josha recycling all the old Sheikah Tech in order to build new Skyview Towers and develop technology that everyone - not just Link - can use and benefit from. The Zonai culture itself holds core belief in proving one's potential in rites of passage, of growing and rising to challenges, of building and progressing by use of the foundations laid by those who came before. Even the Bargainer Statues, seemingly beyond-ancient spirits or gods who predate even the Zonai, are all about helping the lingering souls of the dead move on without judgment or criticism. In the past, we see Zelda, Mineru, and Rauru all surrender themselves to a necessary change, giving up what they knew and held dear, in order to help move toward a positive future for all even if they wouldn't be there to benefit from it themselves.

It's the villains and antagonists we meet who are stuck in the past or who can't see a sustainable way forward. The Horned Statue - a demon who was petrified by Hylia for its crimes - emphasizes that it proudly refuses to learn its lesson and thus remains a statue for all time. In Hateno Village, Cece and Reede are at extreme ends of valuing vapid, short-sighted progress and hollow, rigid tradition because of pride, even while lying to themselves and others about their true feelings on such things. Kohga and the Yiga Clan are straight-up trying to undermine Hyrule as a society and ultimately end the world itself, abusing the progress of technology and tradition alike to achieve those ends. But these are minor compared to the big man himself.

Ganondorf is very much an anchor on the ship of progress. He's not just stuck in the past; he's literally defined by it. He is the past and an outright denial of the future. His entire M.O. is establishing a state of unchanging chaos, as contradictory as that may sound, where nothing ever advances from the state he's put it into. He saw a flourishing utopian society as an affront - an effort to control him, a waste of "potential". Rather than join it and grow with it, he rebelled and destroyed it. His transformation into the Demon King and birthing of monsters into the world ensured a cyclical status quo of endless strife. Every Blood Moon, the monsters rise anew, undoing any efforts to purge them from the land. After he was sealed, his sole goal was to return to his heights of power. When he was challenged and defeated by Link and the Sages, he was so consumed by his attachment to the past that he literally threw away everything that made him who he was in order to try and retain that power. Ganondorf refuses to let Hyrule grow in any fashion and, in the end, his utter destruction is necessary in order for the world to have any hope of moving forward.

I like that as a theme. There's an emphasis on respect for the old and new alike. That it's important to understand one's history and roots, and that there's wonders to be found in the past. But that the future too holds so much, that change is inevitable. That it should be welcomed rather than scorned or feared, and that embracing that undeniable momentum is the way to thrive. That sometimes what we think we know isn't the truth and we need to be accepting of new ideas or corrections to our previously-established beliefs.

That digging in your heels and latching desperately to the past - to the lore, to the legends, to the canon - ultimately does more harm than good.

#totk #botw #totk speculation #totk spoilers #legend of zelda

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silmandstuff · 1 year

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Soooo.....

I kinda like eldritch, biblically accurate angbang, but like really their floofy for each other. Their really soft ancient terrors.

The Ainur function similarly to Aeons in Gnosticism, kinda. Their all manifestations of a specific aspect of Eru's will, and often, as with the Valar, are born in complementary pairs, as equals and opposites. Because I can, I see Mairon as the other end of Melkor's syzygy. Order and Chaos. Anyhow, I view the Ainur as more metaphysical beings, and as such, their relationships. I don't mean this as an absence of sexuality, but I mean the underlying nature of their mind, to me, would work differently, them being divine beings. They are primordial incarnations of specific divine attributes.

I think the intensity of emotions in their relationships would be well beyond mortal feeling, and the connection involved between the members of a syzygy would be akin to the divine union talked about in regards to Gnostic Aeons, or nearly any other divine dyad.

Melkor and Mairon would enable the existence of and complete each other. They literally coexist and indwell.

So, like the soul mates trope up to an eleven or something.

Also, the Idea of Tolkein's eternal flame is reminiscent of the progenitive nous in Christian, Greco-roman and Gnostic tradition. It's god's genitive, or creative capacity. All life is endowed with a bit of it, it is the quality of god's love and desire. Anyhow, each syzygy cocreates from eachother. Interestingly, in Gnosticism the fall happens when one Aeon tries to create outside her syzygy.

Melkor is the destructive and chaotic aspect of Eru's will, and Sauron is the aspect concerned with order, preservation and control. They fit together prefectly despite being opposites.

I imagine them as quite loving, particularly Melkor.

I know some people write Mairon as the devoted one, but for me it's the opposite. Melkor is very doting and caring, while Mairon is quite dreadful. Mairon has an innate comprehension of the innerworkings of nearly everything, save Eru himself. He has the gift of foresight, to a degree, and so is a great strategist. Melkor has what Mairon lacks in power, and with Mairon's direction, can get shit done. The absence of one would imbalance the other. So oof, the whole void ordeal.

Also, I see the roles the Valar play in the Silm as heavily symbolic, as with most divine figures in religious texts. Death/destruction is very much a symbol of transformation, and Melkor, being endowed with a share in the powers of all Valar, seems to mediate the relationship between each idea, destroying the state of one thing so it can pass into the next.

Of course, Tolkien wrote Melkor in a way as so his goal was the world's destruction, but in many religions the world's destruction is the most ultimate and conclusive sign of reunification with god, or the coming of heaven, and the apocalypse itself is seen as a holy act.

Basically I see Melkor as a representation of death and transformation. He is the final destruction of the world in order for the souls return to Eru. Anything mortal that follows him is 'destroyed' in it's mortality, and would surely 'die'.

anyhow, back to basic headcanons.

They both took many different forms, sometimes daily, before they lost that ability. When Melkor was confined to a damaged, finite form it aided in driving him mad.

To me, Melkor wouldn't lash out at Mairon as he was going insane, but would instead overly rely on him, entrusting him with more and more tasks he couldn't accomplish. To me the Anu are like paragons of whatever idea they represent, and rely heavily on connection. As Melkor becomes more and more isolated, he is driven further into madness, as he is a being made of connection, even if his function is to wreck shit. Mairon has always been his only true connection, being his syzygy, but now he would fully rely on Mairon for all his interaction. He can't go blow up mountains or yell at orcs anymore. He just sits and lays in Mairons lap, while Mai sings to him.

.....That was long.

#angbang #tolkien meta #Melkor #Mairon #Sauron

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queenlucythevaliant · 8 months

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Do you think Behemoth and Leviathan were actually real and happened to be dinosaurs? Behemoth was a huge and formidable land dinosaur while Leviathan was a pleisiosaur. Technically, plesiosaurs weren't dinosaurs, but you get my idea?

So I've been sitting on this ask for a little bit because I honestly didn't know what tone to take in answering it. I don't know your background, and thus don't know whether to be more blunt or delicate. Ultimately, I settled on blunt, simply because I could not figure out how to answer this question delicately. That said, I hope you take this in the gracious spirit in which I have written it.

SO. That's a hard no from me, friend. Let's discuss!

So typically when you hear people say that Behemoth and Leviathan were dinosaurs (or dinosaur adjacent), it's in the context of arguments in favor of young earth creationism. It's a fairly big talking point with the Answers in Genesis crowd. Basically, they make the argument that Biblical texts referencing creatures that superficially resemble dinosaurs are evidence that humans and dinosaurs could have lived at the same time.

This works out if the earth is only 6,000 years old, but not if we take paleontology, geology, or human evolution at all seriously. The writer of Job would have had no way of knowing that dinosaurs and plesiosaurs existed because they had already been extinct for many millions of years. Even if you want to argue that maybe God is describing creatures with which Job was unfamiliar, it still doesn't track. God's address to Job treats these creatures as something for which he has a point of reference. It also just doesn't make sense why God would choose this moment to reveal the existence of dinosaurs. Talk about a tangent!

I don't know where you fall on the spectrum of Christian beliefs regarding origins and the age of the earth, but I've written at length on this blog about the case for theistic (old earth) evolution, so I won't rehash that here. Check out my all truth is God's truth tag or shoot me an ask if you want more on that. Regarding Behemoth and Leviathan, however, I think some of the same exegetical skills involved in reading (or misreading) Genesis are involved in the relevant chapters of Job.

When God addresses Job out of the whirlwind, he uses poetic language. He's talking about a real thing (his sovereignty over the universe), but it's something that transcends human comprehension on an overwhelming scale. Much like we can't ever hope to wrap our heads around deep time, we're simply not capable of grasping the extent of God's sovereignty.

When God describes storehouses of hail reserved for the day of battle, are we supposed to literally think that there is a giant building in heaven where God keeps all his hail? Or is it a picture of God's might as both creator and judge of the universe? If we know our Bibles, we see that hail is frequently used as a tool of judgement against God's enemies: Egypt, the Canaanites, apostate Israel, and ultimately the rebellious earth. So when God describes his storehouses of hail, we see the reality of his total control over the arc of history, his ultimate justice, his orderliness.

Likewise, Behemoth and Leviathan use the established language and symbolism of Scripture to convey truths for which plain language wouldn't suffice. Behemoth's description isn't that of any real animal, living or extinct. God paints a picture of a creature that no man could ever hope to tame and expresses that he, God, can.

Leviathan is the longer and more interesting image; it's a mighty creature of the deep that breathes fire and cannot be controlled. We know that in Biblical parlance, water is frequently associated with chaos (too many places to enumerate, but Psalms, the Prophets, and Revelation are good starting places). Leviathan is a picture of this chaos: mighty, rearing, deadly, uncontrollable, terrifying. Then God says to Job, "Can you draw this creature out with a fishhook? Can you make a covenant with him? Will he serve you? Can you injure him? Do you have any means at all of controlling the chaos monster? I do." It's poetry used to express a truth that we humans cannot hope to grasp otherwise: We cannot control the chaos of the world around us. We can't even try. But God can, and he does it effortlessly.

So no. Not dinosaurs. And I think that arguing that they are, especially trying to pick through the text and figure out which ones they're supposed to be and using that to argue for literalistic interpretations of Genesis, really misses the point and the power of what God is saying here.

I think Job's words back to God at the end of the book actually give us a remarkably important principle when it comes to Biblical interpretation: "I have uttered what I do not understand, things too wonderful for me, which I did not know." The whole Bible is too wonderful for us. God condescended in order to give us his truth, and he had the magnificent grace to give it to us in ways that we can begin to grasp.

I think a lot of really literalistic reads on Scripture (Job, Genesis, Revelation, and elsewhere) are a kind of grasping at control. There's an assumption in it that God gave the ancients an exact accounting of things that humans just aren't equipped to fully comprehend.

That doesn't mean we shouldn't try! But it does mean that when we read Scripture concerning the Big Things: the Sovereignty of God, the creation of the universe, the origin of life, eternity, infinity, even spiritual mysteries like the Trinity and the nature of the Incarnation, we have to approach it as something fundamentally beyond our comprehension which God is showing us the edges of. We can see other, different edges of many of those same things through scientific observation (or philosophy, or whatever other disciplines-- not all of the Big Things are scientific in nature.)

It's like Isaac Newton said: "I do not know what I may appear to the world, but to myself I seem to have been only like a boy playing on the sea-shore, and diverting myself in now and then finding a smoother pebble or a prettier shell than ordinary, whilst the great ocean of truth lay all undiscovered before me."

#i really really hope that this doesn't read as unkind #i really appreciate the question! and i don't know where you're coming from generally #but this stuff makes my heart sing #or ache sometimes when i see people reading the Bible in certain ways #i love my YEC brothers and sisters which is why I'm so passionate about theistic evolution #it's about panting after truth-- all truth any truth more truth than I can ever have #and yet recognizing that some truths are too lofty for me #i wish like hell that I could cast my mind back and really understand deep time #the eons the clockwork-precision the tides leading to life #i wish that i could understand the mysteries of knowledge the mysteries of God's sovereignty of suffering of grace of the Godhead #i will have so so many questions for God when I see him face to face #and even then i probably will not be given all the answers #i am trying to learn how to be okay with that #side note: there will be scientific research in the new heavens and the new earth i am all but sure of it #all truth is God's truth #ask me hard questions

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