The ancient tale of Tantalus reaffirms that human sacrifice and infanticide are taboo in Ancient and Classical Greek culture. Yet it seems to suggest that human sacrifice had once been offered in archaic times, especially to Demeter. Alternatively, Tantalus can be seen as a Promethean figure who divulges divine secrets to mortals. He presides over sacred initiations consisting of mystic Death and transfiguration. His dismemberment of Pelops and Pelops’ resurrection can be seen as an archetypal Shamanic Initiation.

All these years. All this time. We have been witnessing the creation of this incredible fairy tale - this story of Emma Swan and her romance with Captain Hook. From that first Neverland kiss to Emma’s breathless response to When I win your heart…, from New York rescues to You gave up your ship for me kisses, from first dates to Don’t you know Emma it’s you?, from tearful I love you’s to Camelot kisses that light the Promethean flame, from passing a true love test created by the gods to Zeus sending Killian to Emma, and from living together to TWO proposals…and pancakes! All those times they fought their way to each other…and all the times that they met each other! Plus, we got a CS movie for crying out loud! All of it.

Yet, still, it is overwhelming to me that Once gave us its first and only musical episode in celebration of Killian and Emma’s wedding, and her journey to this point. In a million years who would have guessed that - for the episode we’ve all waited all these years to see - that you could buy and sing along with songs that were written to mark the occasion! 

By far, this was the most incredible couple to fall in love with, and we are so lucky to have such a beautiful story to look back on. I hope for many more stories to come for Captain Swan.

  • CameoAppearance: if one of the changelings was a redeemed promethean who got snatched by the Gentry that would be a cool angle but probably have to be worked into the plot early
  • AstraKiseki: it'd also be hella depressing.
  • addiface: could Redeemed even get snatched
  • New Channel New Grimm: ...y'know, depending on how long it was between mortality -> changeling, prometheans would have a really hard time getting back
  • New Channel New Grimm: yes! it is in the book
  • New Channel New Grimm: they are functionally mortal
  • CameoAppearance: "I was trying to be a human over here, do you MIND"
  • GladHatter: "I did it! I've finally become human! Now to experience the full joys of human existence- aww dammit"
  • addiface: its super sad how like
  • addiface: prometheans have that hope of being human and changelings
  • addiface: never do

I love FF15. And the characters. It happens rarely that I play a JRPG and actually adore the whole party. :D

So, have the finished and scanned version of the fanart, which… I actually just started because of their names. If you translate the names from Latin, you get something like that:

Noctis Lucis Caelum. Dawn light in the night sky? That one is actually poetic and fitting.

Prompto Argentum. Quicksilver.

Ignis Scientia. Errr… Fire and knowledge? Promethean fire? One of his special attacks is Sage Fire, so works for me.

Gladiolus Amicita. Small sword of friendship. Aaaand I lost it. A friend and I spent the rest of the evening making compensation-jokes. And since I can’t really add cutie marks in his background, he gets the love of his life: Cup Noodles.

Perhaps the cult of Elvis, like the cult of Jim Morrison, is best understood as the latest chapter in a much older story: the emergence of music in the modernizing West as a substitute for religion. In an elegant essay, the historian H. G. Koenigsberger has surveyed ‘the rise of music to a quasi-religious status and cult, as a psychological compensation for the decline of all forms of traditional religion.’ Feared by the medieval church and also by puritan reformers for its potentially wayward effects on the soul, music gradually came to be seen in the West as the most divine of art forms, and a fitting medium for the worship of God. Once the Promethean rebels of the early nineteenth century had severed music from its liturgical moorings, a path was cleared for the deification of music and the musician. 'Just as Christianity arose in the international civilization of the Roman Empire,’ Wagner declared two generations later, 'so music emerges out of the chaos of modern civilization. Both proclaim: “Our kingdom is not of this world.”’
—  James Miller, Flowers in the Dustbin: The Rise of Rock and Roll, 1947-1977