the quest for identity

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Netflix’s ‘Legend Quest’ is enjoyable for adults and reminds Latino kids that they matter

  • The first animated Netflix original series produced in Latin America is coming to the streaming service Feb. 24.  It’s called Legend Quest (Las Leyendas in Spanish) and it’s not just for kids. 
  • The show deftly weaves Mexican history and folklore with humor and a distinctly spooky touch à la Scooby Doo.
  • Legend Quest revolves around Leo San Juan, a teenage boy who lives in 19th-century Mexico. But Leo isn’t just any teen boy. He has the power to communicate with the supernatural. That ability means Leo gets drawn into all sorts of adventures, whether he likes it or not.
  • The adventures pick up when Leo’s hometown disappears into another dimension. 
  • On that day, Leo teams up with the loopy conquistador Don Andrés, the tech-savvy Teodora, the fantastical creature Alebrije and Finado and Moribunda, two calaveras, or Mexican sugar candy skulls.
  • Together, the troop must put an end to the evil antics of Quetzalcóatl, the feathered serpent god of Mesoamerican lore. Read more

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OK Piper McLean fans, listen up

I’m Cherokee. I’m a Cherokee girl. I’m a major Piper fan because she’s a Cherokee woman like myself. There’s been some Discourse© about her hair. Sit down, buckle up, because you guys are about to some knowledge dropped on you. 

So the issue is about her hair; people keep drawing my girl with undercuts. I don’t think she would have one, and if she did there’s only one good reason. 

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The most beautiful woman in the world, thought Quentyn. My bride-to-be, if the gods are good. Sometimes at night he lay awake imagining her face and form, and wondering why such a woman would ever want to marry him, of all the princes in the world.

“The silver queen is gone,” the ketch’s master told him. “She flew away upon her dragon, beyond the Dothraki sea.”

“Where is this Dothraki sea?” he demanded. “I will sail the Iron Fleet across it and find the queen wherever she may be.”

The fisherman laughed aloud. “That would be a sight worth seeing. The Dothraki sea is made of grass, fool.”

Quentyn Martell and Victarion Greyjoy are the Tragedy and Comedy masks of the Meereenese Knot. Their quests are identical, but the tones are oppositional, which allows them to illuminate one another. They’re clearly meant to be compared: the Dornish and Ironborn plots in AFFC (mirrored in so many ways throughout) culminate in the revelation of Quent and Vic’s quests for Dany. Not only that, GRRM links them via chapter titles: “The Iron Suitor” and “The Spurned Suitor,” only four chapters apart. That their roles are so similar speaks not only to Dany’s increasing centrality to all narratives but how in every narrative, some characters end up cogs in the machine. Quentyn and Victarion are tonally opposing meditations on what it’s like to be a redshirt. Both are puppets; both are doomed; both will die powerless, far from home, knowing only their failure in the final moments. But their perspectives on this mutual doom and the events along the way are entirely different, which allows GRRM to make a different set of points and elicit a different set of emotions. 

When Quentyn loses people along the way (his companions), it’s brutally personal and convinces him that if he fails, they died for nothing. When Victarion loses people along the way (his ships), he just sits there glaring at the horizon and winging about the inconvenience like a child missing his toys. When Quentyn gets involved with a dangerous badass with his own agenda (the Tattered Prince), it’s desperately sad–it reflects the death of his innocence, as well as the horrific parts of questing that the songs don’t warn you about. When Victarion gets involved with a dangerous badass with his own agenda (Moqorro), it’s bizarrely funny–it reflects his ignorance and short-sightedness, as well as his inability to understand when he’s being manipulated. Quent’s alienation from his surroundings is rendered mournfully: what I wouldn’t give to smell the sweet air of home again! Vic’s alienation from his surroundings is rendered sardonically: the ocean is the wrong color, dagnabbit! Quent’s perspective on the family member who sent him on his quest (Doran) is tragic; the kid dies trying to make Dad proud. Victarion’s perspective on the family member who sent him on his quest (Euron) is comedic; the Iron Captain honestly thinks he’s going to pull one over on the Crow’s Eye, what a joke! The same basic story, when told in a different fashion, produces very different results: wretched piteous tears on one hand, sputtering WTF laughter on the other. Even redshirts have range. 

anonymous asked:

I think Sokka's quest for identity is one of the most interesting things about him. What it means to be a man, to be useful and to be acknowledged is an interesting central conflict for a supporting character. What do you think S3 Sokka believes it takes to be a man. I think he's learnt to intercede and mediate issues in his family and to make tough choices. What else can you think of?

Sokka: Now men, it’s important that you show no fear when you face a firebender. In the Water Tribe, we fight to the last man standing. For without courage, how can we call ourselves men?

Another excellent question! Sokka’s quest for identity is intrinsically linked to his quest for manliness, because if you’ll recall, Sokka was not able to become a man by Water Tribe custom before he was nominally put in charge of the tribe:

Bato: How about you, Sokka? You must have some good stories from your first time ice-dodging?
Katara: He never got to go. Dad left before he was old enough.
Bato: Oh, I forgot, you were too young.
Aang: What’s ice-dodging?
Bato: It’s a rite of passage for young water tribe members.

But while Katara was helping with the chores, keeping her family together and helping to deliver babies, Sokka was left adrift, without a paternal example to emulate for two of his teenage years. War never came to his doorstep, so he resorts to “training” the kindergarten crowed. And notice that Katara (and likely the other members of his tribe) don’t take this seriously:

Katara: Ugh, I’m embarrassed to be related to you! Ever since Mom died I’ve been doing all the work around camp while you’ve been off playing soldier!

Playing soldier. Katara’s right: that’s exactly what Sokka has been doing, because the rigid gender expectations of being a man don’t allow him to do anything else. One Aang arrives and upends Sokka’s world, his identity as a would-be man collides with the reality of the war and the people around him.

The Four Parts of Being a Man (by Sokka)

1. Leader

Sokka : I know you all want to fly, but my instincts tell me we should play it safe this time and walk.
Katara: Who made you the boss?
Sokka: I’m not the boss—I’m the leader.
Katara : You’re the leader? But your voice still cracks!
Sokka: I’m the oldest and I’m a warrior. So…I’m the leader!

Katara: You’re hurt. Badly. You can’t fight anymore. 
Hakoda: Everyone’s counting on me to lead this mission, Katara. I won’t let them down. 
Sokka: Can’t you heal him any faster? 
Katara: I’m doing everything I can. 
Sokka: I’ll do it.
Katara: No offense Sokka but you’re not exactly Mr. Healing Hands.
Sokka: No.  I’ll lead the invasion force. 
Katara: Don’t be crazy, Sokka.
Sokka: Maybe I am a little crazy but the eclipse is about to start and we need to be up that volcano by the time it does.
Hakoda:  You can do this. I’m proud of you, son. 
Katara: I still think you’re crazy but I’m proud of you too. 

Sokka’s father is the chief, so it makes sense that being a man implies being a leader. But before his adventure, Sokka has only a nebulous idea of what that really means. Worse, he seems to think that being a man makes him a leader, instead of being a leader making him a man. When he first tries to assert his authority in “Jet”, he is met with ridicule:

Aang: Walking stinks! How do people go anywhere without a flying bison?
Katara: I don’t know Aang. Why don’t you ask Sokka’s instincts—they seem to know everything.
Sokka: Ha ha. Very funny.
Aang: I’m tired of carrying this pack.
Katara: You know who you should ask to carry it for a while? Sokka’s Instincts!
Aang: That’s a great idea! Hey, Sokka’s Instincts, would you mind—
Sokka: Okay, okay—I get it.

As so often happens, Sokka has to adapt to the situation. “Jet” is about a boy who, although a good leader in most senses, leads his team astray into murder and mayhem. Sokka, even though he is a novice, realizes innocent lives are on the line and warns the townspeople before the dam explodes. He didn’t expect to be a leader at the moment, but he didn’t fail when it really mattered. Throughout the series, his tactical and strategic successes accumulate until the entire GAang relies on him to plan their missions. And on “The Day of Black Sun”, despite his fumbling speech beforehand, Sokka takes the reins of the mission and performs admirably.

Aang: It’s over. The Fire Lord is probably long gone. Far away on some remote island where he’ll be safe during the eclipse.
Sokka: No. My instincts tell me he wouldn’t go too far. He would have a secret bunker. Somewhere he could go so it’ll be safe during a siege but still be close enough to lead his nation.
Toph: If it’s an underground secret bunker we’re looking for, I’m just the girl to find it. 

No one’s laughing at Sokka’s instincts now.

2. Protector

Katara : Sokka, you’re making a mistake. 
Sokka: No! I’m keeping my promise to Dad. I’m protecting you from threats like him! 

Illusion Yue: You didn’t protect me.

Sokka’s mother was murdered when he was very young, and there was nothing he could do about it. He knows from how devastated his father was and how driven he became to help the war effort that being a man must mean protecting people—especially the women in your life. Sokka protects Katara on multiple occasions from threats real (Jet, Mai) and imagined (Aang, Appa). Protecting Katara is his way of protecting the mother he couldn’t save as a boy. And his inability to protect Yue from sacrificing herself cuts him deeply. He overcompensates by trying to shield Suki from everything:

Suki:  Look, I know you’re just trying to help, but I can take care of myself. 
Sokka: I know you can. 
Suki: Then why are you acting so over protective?
Sokka: It’s so hard to lose someone you care about.  Something happened at the North Pole, and I couldn’t protect someone. I don’t want anything like that to ever happen again.

In the end, Sokka learns how to be protect the people he cares about without stifling them. His shielding of Toph in the finale is very similar to his protecting Katara in the pilot:

But there’s one key difference: in the pilot, Sokka thought of Katara as someone who is more in need of protection as a girl. In the finale, Sokka recognizes that Toph can’t see the falling shards of metal, but respects her fighting ability over and over:

Sokka: Did I mention how sweet it was that you invented metalbending?

Sokka: I am so glad we added you to the group!

3. Warrior

Even more than being a leader, being a warrior defines being a man in the Water Tribe. And no wonder; with decades of being raided by the ruthless Fire Nation, and waterbenders being increasingly scarce, the South would have had to rely more and more on brute strength to drive off the invaders. A warrior is also the one thing Sokka is most insecure about because it implies a certain skillset that he was too young to receive full training in. Not to mention, his sister is a waterbender and he is not. Witness this exchange from “The Warriors of Kyoshi”:

Sokka:  Who are you? Where are the men who ambushed us? 
Suki:  There were no men. We ambushed you. Now tell us, who are you and what are you doing here? 
Sokka:  Wait a second, there’s no way that a bunch of girls took us down. 

Although gender roles are fairly rigid in the Southern Water Tribe, the Sokka from the very beginning of the series feels the constant need to reinforce being a warrior as a “manly” pursuit and puts Katara down for being a girl. I am reminded of Iroh’s speech to Zuko:

Iroh: Prince Zuko, pride is not the opposite of shame, but its source.

Iroh: True humility is the only antidote to shame.

Sokka’s status as a nonbender is often a source of shame for him. He is treated differently by bending masters:

Master Pakku: Sokka.  Take care, son. 

And even his own teammates:

Toph: We can take ‘em. Three on three.
Sokka: Actually, Toph, there’s four of us.
Toph: Oh. I’m sorry, I didn’t count you. You know, no bending and all.
Sokka:  I can still fight!
Toph: Okay. Three on three plus Sokka.

This leads him to act proud of his manliness, an attribute that he needs no training or bending to have. He even tries to get Aang to act “manlier” and not answer to “Twinkletoes”. In the end, though, he confesses the truth about how he feels:

Sokka: Look, I appreciate the effort, but the fact is each of you is so amazing and so special, and I’m not. I’m just the guy in the group who’s regular. 

But Sokka is special, and as the series goes on, he proves his mettle with a balance of outlandish inventiveness and logical practicality:

Sokka: See, the problem with the old war balloon was you could get it airborne, but once you did, it just kept going.  You could put a hole in the top, but then all the hot air would escape. So the question became, how do you keep a lid on hot air? 
Katara: Ugh, if only we knew. 
Sokka: A lid is actually the answer. If you control the hot air, you control the war balloon. 
Katara: Hmm. That’s actually pretty smart. 


Sokka: I need a plan of this machine. Some schematics that show what the inside looks like. Then we can find it’s weak points. 
Aang: Where are we gonna get something like that What are you doing! Someone’s gonna hear us! 
Sokka:  That’s the point. I figure a machine this big needs engineers to run it, and when something breaks…
Katara: They come to fix it. 

He overcomes his insecurities as a warrior by being true to himself.

Piandao: Sokka, when you first arrived, you were so unsure. You even seemed down on yourself. But I saw something in you right away. I saw a heart as strong as a lion turtle, and twice as big. And as we trained, it wasn’t your skills that impressed me.  No, it certainly wasn’t your skills.  You showed something beyond that.  Creativity, versatility, intelligence… these are the traits that define a great swordsman. And these are the traits that define you.  You told me you didn’t know if you were worthy, but I believe that you are more worthy than any man I have ever trained. 

4. Father

Sokka can show how brave he is, how creative he is, and how much of a leader he’s become. But in the end, he measures his identity as a man by his father’s example:

Aang: Sokka, that speech wasn’t your moment of truth. That was just public speaking and nobody’s really good at that.
Sokka: My Dad is. He explained the plan perfectly and inspired everyone. Like a real leader should. 
Aang: Look, your moment of truth isn’t going to be in front of some map. It’s going to be out there, on the battlefield. 

Unlike with Zuko, Sokka’s confidence in his father is fully justified. As he grows and matures, he becomes, not a copy of his father, but his own person. He learns that he can be a warrior without putting others down, and he can assert authority without being pigheaded. He can trust in his own abilities, regardless of how skilled everyone else is around him. And Hakoda validates Sokka’s identity in every respect.

As a protector:

Hakoda: Sokka…
Sokka: I’m coming with you.
Hakoda: You’re not old enough to go to war, Sokka, you know that.
Sokka: I’m strong! I’m brave! I can fight! Please, Dad!
Hakoda: Being a man is knowing where you’re needed the most, and for you right now that’s here protecting your sister.
Sokka: I don’t understand.
Hakoda: Someday you will. I’m going to miss you so much.

As a warrior:

Hakoda: Ready to go knock some Fire Nation heads?
Sokka:  You don’t know how much this means to me dad. I’ll make you proud, and I’ll finally prove to you what a great warrior I am.
Hakoda:  Sokka, you don’t have to prove anything to me.  I’m already proud of you, and I’ve always known you were a great warrior.
Sokka
: Really?
Hakoda: Why do you think I trusted you to look after our tribe when I left?

As a leader:

Sokka: No. I’ll lead the invasion force. 
Katara: Don’t be crazy, Sokka.
Sokka: Maybe I am a little crazy but the eclipse is about to start and we need to be up that volcano by the time it does.
HakodaYou can do this. I’m proud of you, son. 

And as a man.

Hakoda: Bato, get these mines loaded up. The rest of you men, prepare for battle! 
Sokka: Uh, what should I do, Dad?
Hakoda: Aren’t you listening? I said the rest of you men get ready for battle.

Sokka will be a fantastic father to his own children someday, no matter what LOK might imply.

“We Make Our Own Fate” - A Swendgame Meta

Ok y’all, I’m really excited about this revelation because I think it could be the key to understanding and predicting the plot for what could potentially be the final season of OUAT. I was thinking about the episode title “I’ll Be Your Mirror” and it sort of punched me in the face:

Emma’s story is mirroring Regina’s, and vice versa.

And it’s occurring in three very obvious ways this season: their identities, their search for true loves, and their pursuit of happy endings.


1. Their identities

Though it may not seem like it at times, OUAT is a character-driven show. Character growth is really what the story revolves around. We have watched these 2 women fight loneliness, fear, self-deprivation, and their own evil impulses. We watched them grow into strong and loving heroes. But we have yet to witness the true culmination of each character’s story: self-actualization. For Emma and Regina, this means their quest of “beating fate”–conquering the identities that fate has thrust upon them. For Regina, it’s the Evil Queen. For Emma, it’s the Savior. So let’s talk a bit about season 6 and compare them.

Regina is currently learning about who she is without her Evil Queen identity. 

When those mysterious “shears of destiny” or whatever come back into play (forget about those? yeah, me too), Emma may very well be forced to come to terms with who she is without her Savior identity. This is what the whole season has been setting up–her suppressing the temptation to use the shears, and now the threat that they’re going to be used on her anyway. 

I see only two ways that this can play out in the finale (and it really depends on what kind of story the writers are planning. Try as I may, I can’t pin it down since this show is so allegorical).

Either 1) both Regina and Emma will finally be able to accept and mentally conquer these parts of themselves, or 2) having experienced life apart from these identities, both women will choose to move on in life without them. 

The former would be a beautiful display of how they represent yin and yang. Regina finally accepting and forgiving herself for her past. Emma realizing that it’s not magic that makes her a savior–it’s her own will power and her love for her family. In this way, both women would be “beating fate” by accepting it… the fate of being the Evil Queen, and the fate of being the Savior. 

The latter would still be a representation of them beating fate, just in a more concrete way. It goes along with the theme of this Dark Swan quote: “There are no good or bad versions of ourselves. It is just me.”

Essentially, Emma was saying that they are not and never have been “the Evil Queen and the Savior”… they’re just Regina and Emma. Two people trying to navigate a morally-gray world, who had these unwelcome fates and identities thrust upon them. This is a theme that has really been pushed on this show, and perhaps beating fate simply means reclaiming their true identities. Interestingly, I feel that this idea aligns with Swen’s theories about separating the “real” from the “fairytale.” Additionally, it would leave enough drama for a reset of the show, whereas the first idea is more of a full-circle ending.

Whatever happens, I’m excited to see how these arcs are wrapped up :)


2. Their True Loves

Emma loved a man that fate kept telling her to let go of (re: the Dark H00k and Underworld arcs). Emma’s love died, and then he was resurrected.

Regina loved a man that fate kept telling her to let go of (re: the whole Marian thing, and the Zelena thing). Regina’s love also died, and (a version of him) was resurrected.

It is clear that not only do Emma and Regina mirror each other, but so do their respective romantic relationships. And if we assume this trend will continue (which it already appears to be doing), we can begin to draw some conclusions….

Regina thought she could see a future with her resurrected love. In the last episode, however, we saw that R0bin manipulated her, and she realized the hard way that he was not the man she wishes he was. By now it’s obvious that the whole purpose of this Wish!Robin arc is to allow Regina to heal and move on from that relationship. 

Like Regina, Emma thinks she also sees a future with her resurrected love. This season, we’ve been shown how H00k manipulates her… first by lying about the shears, now by proposing to her before being honest about his past. Will she come to the realization that he is not the man she wishes he was? Was the whole purpose of H00k’s resurrection to help Emma truly and honestly move on from their relationship? 

This is the only way H00k’s resurrection makes sense to me: that both men were simply catalysts for the character growth of our heroines. R0bin helped Regina “open her heart to love” (S5 Only You), and H00k helped Emma “take off her armor” (S5 Firebird). It’s no coincidence that, once again, these developments mirror each other. The main purpose for both of these relationships were fulfilled last season.


3. Their Happy Endings

We’ve been told this season that the fate of all saviors is that they never live to see their happy endings.

GET THIS: how many times has it been brought up that villains also don’t get happy endings?

Twice now, Emma and Regina have had a conversation about “beating fate” together. When I think about it like this, it’s so obvious! “The Final Battle” is really just about them fighting for a chance at their happy endings… and the truth is, it’s always been with each other. 

———————–

Conclusion

 The biggest overarching theme of this show is about Emma and Regina becoming part of a family; a second theme is about both of them finding true love; and now another theme appears to be about them conquering their identities…. 

And the concept of beating fate, which is specifically associated with Emma and Regina’s relationship, is tied into all of these themes!

…………I never completely believed this before, but I do now: this show is really fucking gay lol

Originally posted by goodwindsalwaysarrive

anonymous asked:

Why do so many characters have a crush on Kaneki? He's average in terms of personality and looks.

There’s a couple reasons for this. The same way Rize has no real identity outside being bored easily and eating people, Kaneki also has no real identity. His character arc can actually be summarized fully as a quest for identity, which is why this was the most important revelation he’s had to date. Realizing one’s identity requires you to first take a serious look at onself. 

Kaneki also has a natural tendency to reach out for closeness. Even when put into situations where he does not necessarily need to try to be close to others, he will do so. One example of this is the Q’s, they were just coworkers Kaneki was supposed to mentor he had no obligation to cook for them, give them adivce, comfort them, shop with them and treat them like a family but he did so anyway.

He also has a natural avoidance of any kind of closeness as well, which makes him naturally friendly but not even remotely intimidating. In other words he’s an easy person for someone to get close or attached too.

Kaneki’s combination of having far too much empathy but no sense of identity, and also not really being able to figure out the feelings of others in an intelligent way as opposed to an empathic way makes him really easy to change into what others need from him at the moment.

Kaneki also has a tendency to make people feel as if they are important to him, just because of how desperate he is for that connection. People often realize how much they wanted that connection after the fact of Kaneki being the one to make the first move. 

Most of the characters Kaneki interacts with have also have been shown no explicit kindness in their life. Kaneki is the first person to show them any kind of behavior that’s remotely kind, and they don’t have any other experience to compare whether or not Kaneki is a genuinely kind person or a bit more complex than that.

This isn’t to say that Kaneki is an actively manipulative person though. He’s for the most part a blank slate which other people project upon what they want or need out of him. Before Kaneki can be close to others though, he has to figure himself out to an extent, what he wants, what he wants out of others. Once he has a stronger more concrete identity that he can look at honestly he can start to really connect to others.

This is what was demonstrated in the Arima scene. Kaneki looks genuinely at himself, and after that point he’s able to honestly appreciate the fact that he was loved truly by a father figure in Arima, even though their relationship was complicated. A fight that started with Kaneki’s absolute failure to connect with Arima ended with one final connection between the two, but it only came after Kaneki decided to look at himself first rather than constantly looking to Arima. 

[11]

THERE IS. A LOT TO DIGEST HERE. 

Let’s start at the top. 

Because Sakura sees Syaoran’s pure joy and enthusiasm and she’s just so happy. 

That is the most incredible panel. Do you see it. Go see it. You must. SAKURA YOU HAVE IT SO BAD FOR THE NERD. 

But we also need to talk about the fact that the entire family is so genuinely supportive of Syaoran’s enthusiasm here. None of them share his same interest in history and reading but they leapt at the chance to bring him here and are so happy that he’s enjoying it. And that’s so important, both in general AND for Syaoran, because it’s another one of those moments that are about him and who he is and his identity outside of the quest for Sakura’s feathers. 

They’ve come a long way since the Land of Fog, but it’s the same kind of moment that he had there. Syaoran’s own passions and interests have had time to grow and expand, and he’s growing with them. More than that, I love the difference between the two worlds. Whereas in the World of Fog it was just a private moment between Syaoran and his memories (and after jumping into a lake for self sacrificing reasons) now it’s a moment between Syaoran and his family, who all support him and are excited for him and actively took steps to make this happen. 

IT’S SUCH A GOOD MOMENT OK. 

But then also MOKONA YOU CAN’T JUST VOMIT SWORDS IN THE MIDDLE OF THE LIBRARY. PUT THOSE AWAY. 

"Pippin," and How People Miss the Point

So I scrolled through the Tumblr tag related to the musical Pippin, and saw a lot of headcanon and interesting ideas. The problem is, they all have jack shit to do with the generally accepted meaning of the show, and it’s mildly ironic, because the actual meaning of Pippin, from what I’ve seen, pretty much makes it the official musical of the Tumblr disenfranchised. So, let me explain you a thing about Pippin.

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anonymous asked:

Hi I have two questions if that is okay. Firstly, what biographies would you say are the best to get on our first 5 presidents and also on their wives? Also, idk if you have done it or not yet, but if you can would you do a PowerPoint on Martha Washington? Thank you!

Washington: A Life by Ron Chernow

Martha Washington: An American Life by Patricia Brady


John Adams by David McCullough

Abigail Adams: A Biography by Phyllis Lee Levin


Thomas Jefferson: The Art of Power by Jon Meacham

 American Sphinx: The Character of Thomas Jefferson by Joseph J. Ellis

My Thomas: A novel of Martha Jefferson’s Life by Roberta Grimes


James Madison: A Biography by Ralph Ketcham

A Perfect Union: Dolley Madison and the Creation of the American Nation by Catherine Allgor


James Monroe: The Quest for National Identity by Harry Ammon

The Life of James Monroe by George Morgan

Elizabeth Kortright Monroe Pamphlet – 1987 by James E Wootton

strymon  asked:

I'm a little disappointed R&D didn't try harder to retain the original quest-like design for the trials. The flavor identity of Amonkhet seems to be centered around completing the trials and receiving the cartouches for doing so. The current versions, though, don't really seem to be define the trials at all, and I feel it weakens the flavor identify of the entire set. In future top-down sets, could you please consider erring on the side of being flavorfully evocative?

We err on the side of fun gameplay. We believe being more flavorful at the cost of it being a good game is a bad trade.

The Houses of astrology are temples that we can express our divine cosmic order, the qualities of the signs and planets through    

First House: The soul seeks to express itself through the ego and learn about its special features                                                                  

Second House: The experience of the ego through creativity and the threads we can hold in our hands. Finding soul intimacy with material reality                                                                 
Third House: Creating a language that expresses the movement and fabric of the soul through the mind                                                                 

Fourth House: Understanding the journey of the soul through many lifetimes, to acknowledge and recognise the birth of the ego with the birth of the soul at the beginning of universal history                                                                

Fifth House: The ego learns to express it’s ‘true self’ in this very moment, and acts as a vessel for the soul dance. The ego experiences the delight of incarnation                                                                 

Sixth House: The soul is centered in the present moment. The ego seeks to understand time, ritual, and comfort within bodily confines                                                                 

Seventh House: The joining of male and female (or male/male, female/female) for the facilitation of a new soul to enter. The ego seeks to understand a different perspective                                             

Eighth House: Ego consciousness and soul are united, divine truths are discovered. Ego is confronted with the needs of the soul, the soul of another is craved for joined ascension                                                                

Ninth House: Consciousness seeks to understand and relate its experience through natural laws and the higher mind to generate wisdom. A quest for the Source.                                                                 

Tenth House: The ego seeks to radiate its identity as powerfully and presently as the Sun so the soul can show people what it came here on Earth to do. The physical purpose of the soul dance                                                                   

Eleventh House: The ego’s identification with the collective. Molding the jewels of the inner world into the outer    

Twelfth House: The ego seeks to experience itself through the soul and complete evaporation and intimacy into the Creator                                              C.                                                                                    

anonymous asked:

If you figure out who all the anons are I offer to write a 5 chapter fanfiction about Detectives classicalcarp and moz-arent and their quest to fish for anon identities. Complete, with sea puns! Mwahaha (⭕◻⭕")

deal

2

And here is the little guy! His name is Constantin, and main protagonist of the story!  So basically i had the two characters in mind for a looooooong time now (check out this old old sketch: https://lichenslumber.tumblr.com/post/128221008135/my-little-transboy-sword-bearer-meeting-his-future)

The story is about a young swordbearer and his knight. His master discovers that his apprentice was born biologically female. Then follows a quest to find themselves, affirmation of identity, forgiveness, and fighting monsters (physical, but also those of the mind).

More to come!

4w5 vs. 5w4

The fundamental core of type 4 is their relentless search for identity, which is derived from their childhood experiences. Young fours felt abandoned by their parents, and spent their days in longing and melancholy. Because they felt their parents abandoned them, they developed a natural reflex where they would call out for their parents more and more, and upon realizing that giving a bigger attitude and acting out even more that their parent’s wouldn’t give in to their demands, they recognized they were not similar to their parents at all, having not feeling seen by them. This drives type fours to a lifelong quest for identity, a search of self. Many fours spend their whole lives devoting themselves to people and ideals they secretly know do not fulfill them, yet which they cling on to because of their desperate search of fulfillment. Fours place originality on a pedestal, and feel shame as their core fear because they focus on everything they lack, whether that is personality traits or relationships. An unhealthy four is the type to hold content towards mainstream music because “everybody else listens to it.”

A 4 with a 5 wing combines introspection and detachment to their natural intensity to create for themselves, and isn’t as inherently concerned with appearances and taste as the 4w3 is. They would rather discover than present. 4w5s are much more introverted and withdrawn socially than their 4w3 counterpart due to the 5 wing’s remote nature. 4w5s may go to great lengths to preserve their self-expression, to the point of breaking rules to work on projects that satisfy their creative nature. 

Type five’s childhood was almost opposite to that of type four’s. When type fives were children, their parents and family overwhelmed them to the point where the five had nowhere else to turn to, nowhere in their physical environment would suffice, and no one they could turn to would satisfy them because all they desired was to be left alone, leading them to be the true loners of the Enneagram. Fives are a cerebral type, fleeing from the mundane into their own heads out of fear it would overcome them. Parents of type fives are often bewildered as to why their children are so solitary and detached, not knowing or understanding that type fives were completely smothered to the point of escaping from the physical. This drives fives to not place responsibilities on others or ask for much, because that means their relationship with the person they were depending on would eventually ask them for a favor in return, and if this cycle were to continue, the five would feel too many responsibilities are being placed upon them, resurfacing their inner fear of their environment controlling them.

A 5 with a 4 wing struggles with the emotional intensity of the 4 wing, and can seem paradoxical because of this since they value detachment in their nature. Their wing provides them with passion the 5 uses in their work, and 5w4s are usually drawn to the arts because they aren’t as scientifically oriented as the 5w6. Although 5w4s are often “dreamers,” they are much more practical than 4w5s, are independent, and prefer minimalist lifestyles. 

Differences summarized:

4: needs identity to survive; feels shame if identity cannot be found

4w5: meaning oriented, uses detachment to form objective perspective to meaning

5: needs knowledge to survive; feels anxious if knowledge cannot be utilized

5w4: knowledge oriented, uses individuality to form a purpose to learned knowledge