evil latin

anonymous asked:

I would like to make speculating on the alignments of animals a new thing. For example, all secretary birds are lawful, while the vast majority of pigeons are chaotic neutral.

Listen, I feel like most birds are hard to say. Like, THIS pigeon is clearly lawful good

But THIS pigeon is just as obviously chaotic good

It’s impossible to lump an entire species into a single category! This type of alignment sorting must be done on a case-by-case basis

Except penguins, which are, of course chaotic evil across the board.

Decided to make my trollsona! Here’s Malumbiis or Malum ‘Evil in latin’ and she is actually a friendly troll pfpf, she has ears but they are hidden in her fur?? Hair??
Malumbiis has a set of extra eyes but unlike Blinky’s they do not have irises so she can’t exactly see much out of them. She is a tad bit smaller than Draal but just as equally stronk; so don’t ask her for a battle if you wanna get thrown across the arena-

Final Requiem
Tensei

A big, multi-movement final boss theme I wrote for a friends game about two years ago. The celtic elements were by request, the Attack on Titan-esque ‘chorus’ was my own creative liberty.

I guess I can talk about the structure a bit, since I think the middle part of this song illustrates well how I pace a lot of my music. The somber string quartet intro serves two main functions here: to offer some emotional nuance and surprise to the overall song (”Isn’t this supposed to be a final boss? Why does the song sound like someone just died?”) as well as to create a dynamic contrast when the main song kicks in. It’s a well established rule with crescendos that the softer you start, the louder and more impactful the ending will be, and we see entire musical genres devoted to building up to the biggest ‘drop’ (Dubstep, Bigroom House). Plus, since it’s a final boss, we can get away with having a fairly long low-intensity intro since the battle will likely not be over that quickly.

:48 is one of the aforementioned ‘drops’. At that point we get the bass, guitars and drum kit, which provide most of the power in a song like this, as well as one of the main melodic motifs (played by the strings). In terms of pure volume level we’re already more or less maxed out, but there’s still room to increase the intensity in other ways.This section builds further (more celtic instruments are layered in while the guitar riffs and drum patterns become ‘busier’) up until about 1:15 when the song establishes what I like to think of as its ‘default’ tempo. The battle is in full swing now. Dropping the additional instruments and bringing it back to just guitars, bass and drums paradoxically enhances the ‘rawness’ and intensity here, especially because the harmony has been vastly simplified to the point of ambiguity (we’re only playing power chords here, which don’t contain a third, and therefore don’t explicitly determine the tonality as major or minor).

1:41 is another key moment because we finally let the chord progression resolve by switching out of the A5 chord that the guitars have been playing up until now, leading into the breakdown at 1:50. The moment of silence here works as a palate cleanser to transition into the much less intense ‘verse’ part of the song.

And this is the actual part I wanted to talk about. The verse-prechorus-chorus song structure is pretty much my alpha and omega when I’m writing intense, guitar-centric music like this. It provides a great, standardized setup in building up a song and maintaining a sense of forward motion while strongly emphasizing dynamics in order to make the chorus stand out. I am really big on dynamics in my music, even in songs that, by all means, should be balls-to-the-walls intense. Let’s break it down.

The verse section (1:54) is characterized by relatively low intensity but a strong, lyrical melodic line. In a pop song this would obviously be done by a vocalist, but in an instrumental track we use a variety of lead instruments. In this case, we only have drums, bass, piano and lead guitar playing. The piano is something of a necessity here in order to provide harmonic content (chords) for the lead melody to play off of, since the bass by itself doesn’t do enough of that. 

At 2:08 we get a small break and the verse part is repeated. In a vocal track, the change in lyrics would generally be enough to provide the necessary variety, but since we’re fully instrumental, we have to use other means to spice up a repeated section. We do this by A. introducing more instruments (choir and rhythm guitars) and B. altering the lead melody (in this case moving it up an octave as well as adding some embellishments).

At 2:22 we move into the prechorus, which is a section that I don’t hear all that often in Western pop music, but it’s staggeringly common in anime opening themes. Its function is to connect the verse and the chorus by providing a sort of intermediate intensity and build-up, while usually also having a contrasting harmony (so if the chorus happens to use the same chords as the verse, the repeat will be less obvious). I find that half-time or ‘inverted’ drum patterns (snare on the beat, kick on the off-beat) tend to work very well in these sections because, again, they provide some contrast to the tempo used in the verse and chorus, which all serves to make the chorus sound ‘fresher’ when it drops. The prechorus here reintroduces some of the celtic instruments from the beginning in order to maintain overall thematic consistency as well.

After another long, 2-bar break, we get the chorus drop. This is again at the songs ‘default’ tempo, but basically with a lot more content than anywhere before. In terms of dynamics this *should* generally be the loudest part of the song. Coincidentally, the melodic motif used here is a fairly dramatic reprise of the main theme of the game, which is something that always fits well in a final boss theme in my opinion. The chorus melody is then passed on to the lead guitar (2:53), which then moves into a typical wanky guitar solo and ends on a sustained note.

The 3:05 section could be called the bridge. What’s notable here is that the last notes from the guitar solo last some time into this new section, which creates some necessary continuity and smooths out the transition into what is otherwise probably the softest part of the song excluding the intro. Also note the mood whiplash: The chorus was uncharacteristically upbeat, to the point of almost sounding triumphant, and the solo seemed to be building up to some kind of grand finale, only to resolve on a very uncertain note. I wanted this section to make it feel like victory was almost in reach, only to have it snatched away at the last moment. It’s a final boss fight after all, did you think things were going to be that simple?

Although this section sounds somewhat uneasy and foreboding, it also provides a bit of a breather after the intense chorus because it’s so calm. And we need a breather, because things aren’t looking so good for us. At 3:19 we transition into the ‘dark’ part of the song. Psycho strings, heavy guitars, ominous latin chanting, evil organs. The section escalates with ever growing dissonance. If we’re looking at the song as a narrative, this part is the heroes’ darkest hour, where all hope seems lost and the enemy seems to have the overwhelming advantage. 

3:58 is then the ‘end of the tunnel’ more or less, and we move on to the final section of the song. Very Dancing Mad-like (The final boss theme of Final Fantasy 6), low intensity, and almost cathartic after the previous section. We’re shaken up after the onslaught of the last section, but we’re still standing and ready to fight once more. I don’t have all that much to say about it other than the fact that it serves the function of providing a breather before going back into the fray as the song loops back to the first section (which is a requirement for a videogame theme like this).

4

My Left Hand

Several times in Frozen, we see Elsa showing moments of being left-handed, both when she releases her magic and whenever she does basic gestures, like bringing her hand up when she laughs (as a child) and when she tosses her tiara away. Although the villagers may not notice this about her at first, when they initially believe her to be a monster, they might believe this even more if they saw how much she uses her left hand.

Why might they think this? Because in the past, including the Middle Ages and times when people were very religious, many regarded left-handedness as a mark of evil, or a sign of criminal behavior. This was largely because it was a very uncommon ability, and its uncommonness made people believe that those who had this ability were weird or evil. It was seldom, if ever, accepted to be a natural ability. Forms of left-handedness among evil in old cultures include the following:

  • The term “sinister”, a synonym for “evil,” comes from the Latin term sinestra, which means “left hand” or “left side.” And in English, “left” comes from the Anglo-Saxon word “lyft,” which means “weak” or “useless.”
  • Many artistic representations of the devil depict him as left handed, contrary to Christian church’s blessings, which are performed with the right hand.
  • In historical texts regarding witchcraft in Europe, the left hand was the one used to cast spells and inflict harm on others. Witches could supposedly simply touch someone with their left hand to curse them.

So the people of Arendelle initially believed that Elsa was a sorceress (and the Duke first called Elsa’s magic “sorcery”) or an evil demon because her abilities were out of the ordinary and obviously meant she was not normal. But if they saw doing any of her magic with her left hand, they would very likely further believe the worst about her because of how left-handedness was believed to be associated with evil.

While beliefs about left-handedness has changed since then, it is still relatively uncommon, but not viewed as something awful. According to some studies, there is negativity associated with people who use their left hands. When it comes to processing moods, some lefties show an imbalance in processing emotions with the left and right hemispheres in their brains. This can lead to them being more prone to anger and fear. Lefties are also more partial to the right hemisphere in their brains, putting them at higher risk for mood disorders, including depression. They also can be more worrisome about being embarrassed, because they are more sensitive to criticism and fear making mistakes.

A lot of the results from these studies pertain to Elsa for sure, because she develops an intense amount of fear after she harmed Anna, then secludess herself from everyone around her.
This not only makes Elsa depressed and lonely, which grew as she grew up, but her desire to protect Anna (and then their parents, by not letting them touch her) only causes her to become terrified. As an adult, Elsa worries about her powers being revealed because she knows that people would not likely respond well to it. This definitely makes her worried about making mistakes and being humiliated. Of course, her fear is what makes Elsa’s powers dangerous and difficult to control, but Elsa has difficulty not showing fear in situations that are naturally frightening. Elsa does not show anger so much, but when the Duke’s thugs try to harm her, she is initially afraid, then becomes angry the more they threaten her. Elsa is very sensitive to criticism, as shown when Anna hurts her feelings by saying that she (Elsa) knows nothing about love. And while being separated from and not touching Anna made her sad, Elsa was especially devastated and cries when her parents die, then when Anna temporarily dies.

So what has been revealed in studies seems to fit Elsa as well in terms of her being left-handed. This is shown several times when she releases her magic, including when she accidentally strikes Anna when they are children, and when she recreates Olaf during “Let It Go.” Elsa may actually be left-handed, but she does have moments of using her right hand, such as when she tries to push the one thug off of her balcony and when she saves Olaf from melting and creates his little flurry.

Regardless of what she does, Elsa could even be ambidextrous, but as an inside joke to being seen as evil or strange, I’m more inclined to believe Elsa is more of a lefty. In fact, her powers actually make her special and unique, and being a lefty just adds to her specialness. :)

Fun fact: the Italian word “cattivo” has a really interesting etymolgy. As you can probably guess, it’s cognate to English “captive”, but its main meaning is not quite the same. In fact, In Italian, the word “cattivo” means “evil” or “bad”, unlike in English, where it means “prisoner”. The current Italian meaning derives from the Christian Latin phrase “captivus [diaboli]”, actually meaning “[devil’s] captive”, which justified its shift in meaning from “prisoner” to “evil”.

The Two Sebastians Theory

Or: There are Two Sebastians, and You Should Be Okay With that

Dualities are a powerful image in Black Butler.  We all know Yana is fond of symbolism.

What if that duality were applied to the star of the series, Sebastian himself?

We all know that Sebastian operates on two different levels, figuratively speaking.  He is a demon and a butler.  Protective one minute; deadly the next.  Honest and yet devious.  These dichotomies, nay, these dualities—are an essential aspect of his character.

But I shall endeavor to take it a step further.  What if, this entire time, there have literally been two Sebastians operating throughout the plot of Black Butler?

It is a bold theory.  But please bear with me as I lay out my case.

Yana has stated on her blog that Sebastian has two “pleasures” in life: 1. cleaning, and 2. killing.

1. Cleaning:

2. Killing:

I think this is is Yana’s sneaky way of telling us there are TWO Sebastians.

Now, I could get into grammar and Japanese suffixes, or I could instead focus on the obvious symbolism that Yana has chosen to draw two Sebastians back-to-back on her blog.  As I interpret her words and her juxtaposition of two characters who look identical, I have come to this conclusion: there are TWO Sebastians.  What else could it be?

Assuming that Sebastian is an unchanging demon of pure evil, how can he entertain two opposing behaviors?  There are all sorts of explanations.  But since we have no explanation, it is fair to say that there are two Sebastians.  If there is no proof to the contrary, I may supply whichever theory I so choose and have it be considered equally valid as any other supposition on my part.

My logic is as follows:

A: There is no evidence AGAINST there being two Sebastians.
Therefore
B: There are two Sebastians.

It makes perfect sense, does it not?

Let us analyze further:

We know that a demon cannot change its nature nor come to appreciate the human aspect in life.

Yet we have a demon who enjoys doting on a 13-year-old and cooking ham.

How else can we explain in in that there are not one, but two Sebastians?  One evil, one good.  It will mimic the other dualities inherent in the story, hence giving it symbolic resonance.

I don’t have all the details ironed out, but it’s possible that there are two demon souls living inside Sebastian.  Or maybe it’s a human soul and his demon soul in conflict.  The human soul could be the last human soul he ate.  Maybe when he eats a soul, he absorbs some of its qualities, but those qualities need a catalyst to be expressed.  Maybe the last soul he consumed was very kind, and it was sublimated for most of the events of Black Butler and has now recently started coming out.

What do I think caused it to come to the surface?

When Undertaker nearly cut him in half in Campania.

Not only does cutting him in half symbolize a duality, but it literally forced Good Sebastian to the surface.  Have you noticed how nice Sebastian has been since Campania?  It’s because Good Sebastian is now coming to the surface.  Good Sebastian is doting and caring and capable of emotion; Bad Sebastain is an evil unfeeling demon to the core.

It was subtle to begin with.  In the Circus arc, he seduces Beast (Bad Sebastian) but in the next scene dotes on Ciel (Good Sebastian.)

As time goes on, Good Sebastian and Bad Sebastian will vie for dominance, like a veritable Romulus and Remus, Cain and Abel.  Yes, twins are important to Black Butler, and twin Sebastians would be no more surprising an addition than there being two of any other character.

Now, for some evidence:

Being quite the clever mangaka, I believe Yana employs a visual trick to subconsciously clue the reader in to which Sebastian is present.

And I believe that clue is his hair spikes.

Before we get into that, let us first examine the connotations of “left” versus “right” in the Bible.  "Right" is associated with good, whereas “left” is associated with evil.  The very Latin word for “left” is “sinistra,” the same root word for “sinister.”

Therefore, I believe that whenever Sebastian’s hair spikes face RIGHT, Good Sebastian is there.  Whenever they face LEFT, it’s Bad Sebastian.  Look closely!

Here are examples of Good Sebastian, with his hair spikes facing RIGHT:

1.  Chapter 5, Sebastian compares Ciel’s face to a cat’s paw:

2.  Chapter 80, Sebastian lovingly carries Ciel after the cricket match:

3.  Chapter 90, Sebastian begs Lady Sullivan to save Ciel:

And here is Bad Sebastian, which we know by the fact that his hair spikes are facing LEFT:

1.  Chapter 94, Sebastian tries to eat Ciel’s soul:

2.  Chapter 94, when Sebastian confronts Finny:

3.  Chapter 10, Sebastian almost kills Madame Red:

And bonus:

We see BOTH Sebastians in this page!  Wow, he changes fast!

Whichever Sebastian wins out in the end remains to be seen.  Perhaps we shall see more evidence for the Two Sebastians Theory in the future.

Thoughts?

Rey and Kylo Theme parallels and The Day of Wrath?

I was asked to give my thoughts on the discussion in this post/podcast. Here ya go!

So yes, there’s no denying that both Kylo and Rey’s melodies have overlapping notes. However, what is interesting is that even though this parallel exists, not once was it ever utilized (at least not that I picked up on. If you know of a place, let me know!) At no point in time did we hear Kylo’s melody morph directly into Rey’s, maintaining the exact same key and octave or anything. Something that would have these general pitches (ignore Sibelius’s stupid measure numbers):

BUT

There are definitely interactions. Who cares if they overlap?! Well, I’m kidding because obviously I would, but at this point, what’s important is how they INTERACT!

 Enjoy this (way too long meta) below the cut. 

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STAR VS. LAS FUERZAS DEL MAL INTRO

Star vs. the Forces of Evil Latin American Spanish dubbing!