listen I am always a wreck for Remus & Sirius making up for lost time after Azkaban so i mean which headcanons do you have
OH GOD. I HAVE SO MANY HEADCANONS. ALL THE HEADCANONS.
- Remus is aware of how Sirius was treated in Azkaban, so he does everything he can to pamper him. Aka he buys him soft clothes, runs him baths, gets him the expensive awesome smelling laundry detergent, etc. - He also gets Sirius dog toys, because why not? Padfoot gets far too excited, but it makes Remus smile so that’s okay. - Sirius doesn’t know how to make up for it, except by being close to Remus. He probably hovers. He puts pictures of himself in all of Remus’s cloaks and he writes personal notes on the back, small little things that he appreciates about Remus like “I love the way you smile when you get tired” or “waking up next to you is the best feeling in the world and I love you” (hint: all the notes contain the word love at least once).
- Sirius runs his hands over Remus’ scars and he kisses every single one of them, taking extra care of the ones that are new. He remembers all the old ones. - They sleep together. Sleep-sleep, with fluffy blankets piled up high and Remus’ arms comforting around Sirius’ waist to remind him that he’s not in Azkaban and he’s being kept safe. - Sirius might have a bunch of new soft clothes given to him by Remus, but he mostly just steals Remus’s things. They smell of him, they make him feel better than anything could. - They have rings made for each other, although they don’t know that they’ve done the same thing until Sirius gives his ring to Remus and Remus barks out a laugh. Molly calls them an old married couple, and they easily agree–because it’s true. - They talk until deep into the night, but not about the bad&sad. It’s all about the good things, Remus tells Sirius everything he can about Harry and the nice things he’s done and he shows Sirius photographs. At some point they even get Dumbledore to bring them a small pensieve so Sirius can experience it. Remus makes sure to mention he was sad Sirius couldn’t be there during every story; Sirius twines their fingers together and kisses him, saying “I am here now”. - Sirius makes full moon care-packages for Remus. It’s hard to gather everything together especially when he can’t leave 12 Grimmauld Place but he finds his ways. There is chocolate, muggle hot and cold packs, sage ointment that he knows calms down Remus’s mind as well as the red welds the wolf on his skin, and as per usual, a note detailing everything he loves about Remus (and occasionally, what he would love to do to Remus). - I also like the idea of them not speaking much at all at times, just enjoying each others company. Remus tucking his feet under Sirius’ thighs as they’re sat on the couch reading books; Sirius making them cups of tea and each of them having their own designated mug; watching the sunrise together with Sirius standing behind Remus with his arms folded across his chest before they start to shiver and return to bed again. - And finally: They stare into each other’s eyes. A lot. Even when it unnerves other people, because that’s the best way for them to communicate how they feel, and how to connect.
So, I took a sabbatical and played sonic adventure 2 through again for the first time since becoming attuned to the floews of majjyck, and it turns out that this game is a kabbalistic ascension metaphor and sega might be powerful reality wizards…
but hear me out.
The game makes heavy use of Tarot symbolism, specifically in the destruction of The Moon (representing illusions), and that the last image we see at the end of the game is Shadow, the ultimate lifeform, imposed over The World (representing perfect unity)
The story revolves around the collecting of 7 chaos emeralds, which have a 7 faceted cut.. These seven alchemical stones that turn our heros to gold. the seven tiers of the tree of life leading up to godhood. Even within the story itself, they clearly are metaphysical objects. Characters pull them out of thin air, the master emerald changes sizes, and is always in knuckles’ possession, but not always seen.
And consider–the prayer knuckles recites to turn the tide of the battle:
“The servers are, the seven Chaos. Chaos is power; power is enriched by the heart. The controller is the one that unifies the Chaos. Only you can do this; stop the Chaos Emeralds!”
It’s also worth noting how this relates to Sega, that is to say “SErvice GAmes”, Sega itself are the creators of the games which act as the service, read: mass/group ritual
Chaos is power. The controller is the one that unifies the Chaos. It’s literally chaos magic.
I think that the fact that sonic can use chaos control without a chaos emerald is worth of note. Especially with Shadow telling Sonic that he might actually be the ultimate life form. This implies so much about Sonic as a character in this game’s universe. And just as much, the choice to call one side “Dark” rather than “evil” frames the vying between these two factions in a more nuanced way, especially in that it’s a story where you have to see both sides to understand. And only when you understand boths sides of the story can they converge.
This brings to mind the Kabbalistic Tree of Life, which begins unified at Malkuth, the “Kingdom” (keeping in mind how Sonic begins by promising us he will lead us out of the city/kingdom), but then splits into two branches which cross paths at points before finally reuniting at the top where exists divine wisdom. The Tree’s split paths each are made up of 3 sephirot, which aligns with each side consisting of 3 playable characters. On the left side we have “Understanding”, “Severity”, and “Splendor” and on the right side we have “Wisdom”, “Kindness”, and “Eternity”.
The dichotomy of good/dark, instead of good/evil, brings to mind the notion of the left-handed and right-handed paths of magick and how it helps us to transpose the symbolism of the tree onto the cast of SA2. The Dark, left-hand path: Rouge the bat, who is obsessed with the splendor of gems, which in this universe are directly related to mystic enlightenment, Rogue represents the dogged pursuit of esoteric mysteries driven by their splendor, “Our unconscious desires come from [Eternity] (Knuckles’ Sephirot, which sees gems as metaphysical rather than material) , and are given form in the symbolic realm by [Splendor]”. Dr. Eggman is Severity, whose methods are at all times turned up to 11. He uses the power of knowledge to wield the power of the ARK in order to hold the world in his hands, “[Severity] is ‘the essence of judgment (DIN) and limitation, and corresponds to awe and the element of fire“. Shadow is represented by Understanding, which is the end goal of Shadow’s role, his mind is pure, but he is torn between the will of his creator and the promise he made to Maria, and his enlightenment comes when he grows to understand the world he was asked to protect.
Meanwhile, on the right-hand path we have Knuckles, represented by Eternity which, “communicates the idea of long-suffering, strength, endurance unto completion or patience.” reflecting Knuckles’ role as lone guardian of the Master Emerald. Tails represents Kindness, which needs little explanation. Finally Sonic represents Wisdom, the counterpart of Shadow’s Understanding, seemingly alike, but fundamentally both different yet reflections of one another.
In Escape from the City-the first song of the game from the hero story- the song is sung from sonic’s perspective. Even in the first verse, “Got places to go, gotta follow my rainbow!” 7 colors to a rainbow, heavy symbology of peace. There is even a literal ARC involved. “Trusting in what you can’t see, take my lead; I’ll set you free.” – “find the next stage no matter what that may be” – “trust me and we will escape from the city” – “Take my lead, I’ll set you free.” This makes no sense in relation to the story. Sonic is never helping anyone escape from the city… if you merely look at the plot!
Clearly the meaning lies elsewhere. Sonic is a godhead. the penultimate step before the divine, still split in twain, guiding the player to enlightenment. 6 points on his literal head, even. The city he is leading us out of is not the one we see in the game, but the city of the mundane plane.
Live and Learn goes further. As the endcap of the series, the lyrics tie this all together.
“Can you feel life, movin’ through your mind?
Ooh, looks like it came back for more!
Yeah, yeah, yeah!
Can you feel time, slippin’ down your spine?
Oooh, you try and try to ignore!”
It starts, describing the pain of the human experience in. Talks about time slipping down your spine, the reverse from the flow up the spine to the divine, but rather back down into the mundane. It’s the creation of the universe, flowing from the top of the tree down.
“But you can hardly swallow
Your fears and pain!
When you can’t help but follow
It puts you right back where you came!”
This condition is unescapable without breaking away from following the past. It even says “when you can’t help”, really highlighting the coercive, entrapping nature of the mundane.
“Live and learn!//Hanging on the edge of tomorrow
Live and learn!//From the works of yesterday-ay
Live and learn!//If you beg or if you borrow
Live and learn!//You may never find your way”
The chorus reminds our tenuous grasp on the future, the ideal tomorrow. Our origins from the established real, and states that finding our way to the tomorrow, away from fears and pain, is impossible when we rely on just what we’re given on face value. Telling us to live and learn, to become the process of changing towards that ideal.
“Can you feel life, tangle you up inside?
Yeah! Now you’re face down on the floor!
But you can’t save your sorrow
You’ve paid in trade!
When you can’t help but follow
It puts you right back where you came!”
The second verse tells us that our pain in the mundane is because there is something we trade away, that because of this trade, we cannot be rid of it. What we get from the mundane world will never be enough to become untangled, un-split.
“There’s a face searching far, so far and wide
There’s a place where you dream you’d never find
Hold on to what if?
Hold on to what if?”
The final verse tells us to hold on to what if, to grasp dearly to our greatest desire to be free from a world of pain and second bests. It tells us that there is somewhere out there so fantastical that we cannot even imagine it as we are now. All of this in the background as our godhead(s) have transcended their previous forms, transformed to gold by the alchemist’s stone. The two twisting halves of the story twine together, like the tree of life.
Inventing my End is a BL game/interactive story being developed for @yaoijam. It’ll be developed in Twine 2/Sugarcube, being mostly text-based with (hopefully) some images along the way.
Estimated deadline for release: 31st of July (god help me soul)
Coming from a family of reapers, Lorenzo knows exactly what his place in the world is - until he doesn’t. When fear and doubt start shaking his convictions, he’ll have to do the most important decision: run away, or let himself be manipulated by his own family until guilt consumes him.
His only problem is, no one wants to help a reaper. No one approaches someone who brings nothing but death and misery.
Hey, guys! So, Into the Woods. I know the play backwards and forwards, all the lyrics, and just about every note. I’m still trying to decide whether I was better off, knowing it so well, when it came to watching the movie. I love it, though. I saw it twice in theaters and I can’t wait till I can buy the DVD and watch the Agony scene obsessively.
Into the Woods is a bit complicated to properly summarize, but in short, the movie is based on a Sondheim musical and takes a bunch of different fairy tales (many are Grim’s fairy tales) and mashes them together. So,there is a baker and his wife. The baker’s father was the man who stole magic beans from a witch’s garden and as a result lost his daughter (Rapunzel) to the witch. The prince who climbs Rapunzel’s tower is brothers with Cinderella’s Prince Charming. Little Red Riding Hood is cut from the wolf’s stomach, not by a hunter, but by the baker. Jack got the beans
not from the town butcher, but from the baker and his wife. Chaos ensues
from there and the audience is brought to question whether there is
such thing as happily ever after. GO WATCH IT. [PS. THIS IS NOT A
CHILDREN’S MOVIE. NO, REALLY, IT’S NOT. JUST BELIEVE ME.]
Merrill stares a little. It’s rude. Of course it’s rude, in a city where everyone seems to be hiding something, and people always act strangely when she looks at them too hard, as if they’ve just realised they might have a spot on their chin, or think they’re going to start bleeding everywhere. But Isabela looked tired. Weary and windblown, and Merrill had missed her, after the Arishok. She’d been terribly brave, and now she was standing in Merrill’s doorway, a place where whole generations of spiders made use of the left corner, and she didn’t have a seat.
“Elgar’nan. Why is my house always such a mess? It’s—”
“—it’s clean, sometimes. I’ll swear.” Isabela grins. It is almost right. “It’s all right. I’ll go back to the Hanged Man. Just…not right now. Please?”
Merrill hugs her before any other words spill out, laughing and feeling the mix of skin and fine corsetry and a shirt as sturdy as sailcloth, and press of the other woman’s jewelry against her cheek, blood warm and one of her first happy memories of this house. She feels Isabela’s hand in her hair, and soon they’re both laughing, with Merrill pushing her down gently onto the bed for want of a chair.
“You can stay as long as you need,” Merrill says, letting out a squeak of surprise when Isabela presses a kiss to the back of her hand, as if she were a fine lady in a tale.
“Don’t worry, lethallan. It won’t—”
“—it won’t be for long.”
Isabela looks at her friend. Really looks at her, or tries to. It’s easy just to see the edges of Merrill. Easier to look at smiling Merrill. Shy Merrill. Twine and stories and by-the-Dread-Wolf-housekeeping-is-hard-Merrill, than the woman made up from all of that. But now, all of Merrill’s bright edges are covered up with blood, and there is glass in her hair, in the folds of her clothing. She stands in the doorway of Isabela’s little room, and smells of sulfur and sadness.
Feelings are hard, but this is simple. Isabela reaches forward, and plucks the largest shard from Merrill’s hair. It’s thick glass. Her palms, long practiced and heavily calloused, are safe. Under guttering lamplight, it carries and faint, oily sheen. She sets it down.
“You broke the mirror, kitten.”
“I had to,” she says, steady and small. “I had—”
“—you have a place to bunk tonight,” Isabela says, firm. “And full use of my wretched tin bath. Best the Hanged Man has to offer.”
Merrill takes both of Isabela’s hands in hers, and something twists, deep inside, when her friend kisses both her palms.