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#Essays: First Series
philosophybits · 3 months
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Nothing astonishes men so much as common sense and plain dealing.
Ralph Waldo Emerson, Essays: First Series
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philosophybitmaps · 7 months
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aroaceleovaldez · 6 months
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reminder that the only reason the "ADHD is actually demigod BATTLE STRATEGIES" and "dyslexia is DEMIGOD BRAINS HARDWIRED FOR ANCIENT GREEK" things exist in the PJO universe is because it's a very direct reference to early 2000s teaching/parenting techniques for neurodiverse and disabled children, which aimed to frame childrens' disabilities and hardships as a "superpower" or strength so that the children would feel more positively about their disabilities or situations. This technique has fallen out of favor since then for the most part since more often than not it just results in kids feeling as though their struggles are not being seen or taken seriously.
Yes, demigods are adhd/dyslexic (and sometimes autistic-coded) in the series. This is extremely important and trying to remove it or not acknowledge it makes the entire series fall apart because it is such a core concept. Yes, canon claims that their adhd/dyslexia is tied to some innate abilities, which is based on an outdated methodology. It's important to acknowledge that and understand where it comes from! But please stop trying to apply it to other pantheons in the series like "oh, the romans have dyscalculia because of roman numerals!" or "the norse demigods have dysgraphia for reasons!" - it's distasteful at best.
A better option is to acknowledge the meta inspiration for why that exists in the series, such as explaining potentially that Chiron was utilizing that same teaching methodology to try and help demigods feel more comfortable with their disabilities and they aren't literal powers. In fact, especially given Frank, there's implication that being adhd/dyslexic isn't a guaranteed demigod trait, which means it's more likely to be normally inherited from their godly parent/divine ancestor as a general trait, not a power, and further supports the whole "ADHD is battle strategy" thing being non-literal. It also implies the entire greco-roman pantheon in their universe is canonically adhd/dyslexic - and that actually fits very well with the themes of the first series. The entire central conflict of the first series fits perfectly as an allegory about neurodiverse/disabled children and their relationships with their undiagnosed neurodiverse/disabled parents and trying to find solutions together with their shared disability/disabilities that the kid inherited instead of becoming distant from each other (and this makes claiming equivalent to getting a diagnosis which is a fascinating allegory! not to mention the symbolism of demigods inheriting legacies and legends and powers from their parents and everything that comes with that being equivalent to inheriting traits, neurodiversity, and disabilities from your parents).
anyways neurodiversity and disability and the contexts in which the series utilizes representation of those experiences particularly during the 2000s symbolically within the narrative is incredibly important to the first series and the understanding of what themes it means to represent. also if i see one more "the romans have dyscalculia instead of dyslexia" post in 2023 i'm gonna walk into the ocean.
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ourg0dsal · 5 months
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Gideon Nav CANNOT Die. Hold on- I know... but give me one second and I'll explain.
So, as I said before Gideon Nav cannot die, or at least her body can't. Cause clearly (spoiler warning) Gideon Nav died at the end of Gideon the Ninth. There is no avoiding that.
But! If you have read all the books GtN, HtN, and NtN including all of the accompanying short stories (tho I will admit I have not read The Mysterious Study of Dr. Sex yet) then there is a better understanding of the timeline of the whole story outside of just what the three main books give you. Specifically and especially with Gideon's body. But also there are many times In Gideons life were she has faced near death events or events that she should not have survived from and still was breathing on the other side.
To go in chronological order of these events, when she was first born she was found in a container held by the air depraved suit of her mother. And while ofc In the book it does state that her mother had redirected her air supply to Gideon, but it is simply being stated to cover all my bases.
Then the 200 sons and daughters massacre when Gideon was 1 (or 2 im not sure) when she inhaled poisonous air without dying. Which led ofc to the Reverend Mother and Father fearing the ground she walked. And this is a big one because, it literally creates waves in the plot. It's a defining point of Harrow and Gideons relationship. That Gideon did not die when she was supposed to.
Later in the story Gideon talks with Pal when she believes Harrow to be a murderer and openly admits to him that "she nearly killed me a half dozen times growing up" which obviously in context was to emphasize on the brutal relationship between her and Harrow. But this could also be other times where miraculously Gideon survived death when she shouldn't have. Because as we know from the first confrontation between Harrow and Gideon. Harrow doesnt hold back for her.
Finally of all the events where Gideon escapes death, this one actually happens within the main story of Gideon the Ninth. When Harrow siphons from Gideon to retrieve one of the challenge keys. And at the end when Gideon passes out, it is narrated ""ha-ha," said Gideon, "first time you didn't call me Griddle," AND DIED." Now, this could obviously just be the snarkiness of Gideon narrating. Or something incredibly clever left behind by Tamsyn Muir for a book series that is so clearly meant to be reread. But ofc to do my rounds the next line after does state "well, passed out. But it felt a hell of a lot like dying." But then immediately after "wake up had an air of ressurection." Which honestly feels like Tamysn Muir teasing the readers at this point. The question then becomes rather, which one was the tease and which one was foreshadowing/ evidence.
Now the point of listing all of these events is that in all of these cases the chances of death are so incredibly high that for most its a miracle she's alive. Ofc most notably for the siphoning trial and the poision gas, but none the less there is proof within the written story and and out that Gideon has looked death in face and moved on with maybe a headache. And it wasn't just in her child hood this is something she can just do. Some recreated in the written story! Because as Pal said. Even with the siphoning challenge done perfectly the chances of leaving Cam with severe brain damage was far to high. And Gideon didn't even suffer that.
Sadly, despite all these Gideon gets to the final battle and fights Cytherea and does die. At the hands of a particularly pointy fence. Or was it truly the fence that did her in? Rather than the lyctorship ritual that was started seconds afterwards.
My full theory, isnt just that Gideon Nav can't die. It's that Gideon Nav wouldn't have been able to die... If Harrow hadn't sucked her soul out. There are at the very least 8 seperate events that Gideon should have died, two of which were nearly gauranteed, but she was ended by a piece of metal. Yes, a very well placed piece a metal, but the point still up to that point she had faced worse a came out unscathed.
If Harrow had not completed the lyctor ritual, Gideon would not have died. Wether or not through resurrection or simply walking it off. Gideon's body has some sort of necromantic attributes to it that keep her alive. We see this in the Untitled Entry short story with Judith Deuteros that describes Gideons body, as it does not rot, cannot be injured, cannot be fed to animals forced or otherwise. And that is all before Jod ever gets a look at the body, because otherwise he would have known Gideon was his daughter before the later events of Harrow the Ninth.
And ofc during the first challenge when Harrow uses Gideon as her eyes to be able to see the construct in the other room and Gideon is able to see the thanergetic signatures that Harrow remarks should be impossible. (I assume because the process is Harrow extracting information (Gideons eyesight) from Gideon and so Gideon should not also be receiving information (the ability to see the signatures)) unless Gideon had some form of necromantic abilities, which she was tested for as a kid and apparently did not have. Alongside not having the correct attitude to be a nun of the ninth. And so we can round it out to be her body being naturally necromantic leaving Gideon without the ability to use it. (Which Is a jump from the actual point we are attempting to use, but for now this stops us from assuming Gideon as any sort of necromantic ability which is a theory all on its own. One that I personally have no evidence for or against)
Now, that I have hopefully made both my Ap Lit and Lang teachers proud with my 3 am essay, I must give you the real tragedy of Gideon the Ninth. Had Gideon not died, had Harrow been unable to complete the lyctor ritual for emotional reasons or otherwise, had Harrow not become a lyctor and killed cytherea. Gideon would have had to watch Harrow and Cam be killed, possibly even Corona, Judith and Ianthe. And then to be used for Cythereas own motives. Tamysn Muir beautifully set up the story so that the best possible outcome could have happened. Had Gideon not died. Everyone else would have. And "Camilla the sixth was no idiot" cam knew and accepted this whereas Harrow never would have. And so the unkillable Gideon had to die, and forcing Harrows hand was the only way to do it.
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inkedberries · 11 months
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the passion and love for this series..... imma cry
read more here: https://www.japanaradio.com/node/98
text under read more
How much involvement did Nightow-sensei have in the production of the show? You mentioned in your panel earlier that he just gave a green light and said to just have fun. Can you elaborate further?
K: It started with Nightow-sensei, myself, the director Muto, and also producer Takei. So four people altogether, just talking to each other for quite a long time. We heard from Nightow-sensei about what kind of a person he is, what he was thinking about when he was creating Trigun, and what he wanted to cover in that story. And that's where we started. Building on that, we moved on to the concept stage. We had two main staff members working on that.
We had Kouji Tajima, who worked on the concept art, and Takehiko Oshiki, who worked on the setup, writing the text that would describe the overall concepts of the world. Oshiki-san is a huge Trigun fan, a fan of the original anime and the manga. And so, he gathered together for us a bunch of design documents, set up documents, describing the themes that were covered in the original manga, and also the themes that were hinted at, but not really ever explored. Then, based on the text that he had pulled together and written for us, Tajima-san started creating concept art. His goal was to create concept art that would show the overall feel of this world and help us with world building, to envision what kind of a world the planet is, and he took over a year working on all the concept art.
During all of these conceptual design parts, we were continually checking in with Nightow-sensei. So, even before the usual pre-production process, we're showing him the setup text and the concept art, and he gave the okay to all of that. After being deeply involved in the concept design, he told us, "Everything, from here on out, the scripts, the character designs and so forth, the regular stuff of pre-production, you can do as you wish. That's because I'm confident now that you fully understand where you're going with this, and I've signed off on all the pre-pre-production concept designs that you've done."
It's not like he gave us completely free rein to do whatever we wanted. However, because we had actually that much deep, intense collaboration at the very start, he thought that we knew where we were going with this, and he's also good with where we chose to take this.
M: Usually, when you're adapting a book, a manga, to anime, you'd just be facing the book itself. But, in my case, I really wanted to face the person who created it first.
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fruitsofhell · 2 months
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I used to be one of those guys when I first joined the Kirby fandom, but everytime I hear a discussion of the series writing that starts with "So the Lore is InSaNe-" and not like, "Kirby has a fun writing style that takes advantage of its cute exterior to tell cool stories that reward player's curiosity and leave lots of room for imagination-" I cringe so goddamn hard.
I kinda just hate that people approach things that encourage investment when they don't expect it as inherently absurd. Like it is fun to joke about how absurd Kirby lore can be, but it really often comes with an air of disrespect or exhaustion rather than like, appreciation that these games are made by people who want to tell interesting stories when they could easily make as much money just making polished enough fluffy kiddy platformers. And when it's not met with exhaustion, it's met with - like I said before - that tone that it's stupid for a series like this TO have devs who care about writing stuff for it. Which is a whole other thing about people not respecting things made to appeal to kiddie aesthetic or tone.
Maybe the state of low-stakes YouTube video essays just blows cause people play up ignorance and disbelief for engagement, but like I STG I hear people use this tone for like actual narrative based games sometimes. Some people don't like... appreciate when a game is made by people who care a shitton in ways that aren't direct gameplay feedback. And they especially don't appreciate it when it comes from something with any sense of tonal dissonance intentional or not.
Anyways, I love games made by insane people. I love games made by teams who feel like they wanna make something work or say something so bad. I love that energy, especially when invested into something that could easily rest on its laurels or which obviously won't be taken seriously. I love this in a lot of classic campy 2000s games, I love this in insanely niche yet passionate fanworks, and I love it in the Kirby series and its writing. Can we please stop talking about it like it's an annoyance or complete joke?
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didiwaffles · 2 months
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"Time goes by, everything changes, yet our bond remains unwavered. You once promised me that you will always be by my side, no matter what. And now, when it is time for you to leave, I must follow you to where no human can even dream to step. This way only will your promise remain unchanged. And may my curse once again be a blessing."
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anixknowsnothin · 2 months
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I think one thing I appreciate the most is the humanising of Luke in the series. I have never been a Luke defender, nor did I ever believe his actions were justified but after watching the last episode, I feel bad for him. I mean that guy saw his family break apart because of the gods and when he needed support, the gods were never there. Charlie's expressions convey all the emotions the book couldn't because the book was in Percy's point of view. Yet we still see Hermes' perspective and Poseidon's perspective. They felt that they didn't have a choice but to be a dead-beat dad because that's what the gods were expected to do. And that's the beauty of the show. It offers so much more than the book could offer because these talented actors, script writers, Rick and everyone behind this show brought this beloved childhood series to life and add their own personal touch. So I'm not really mad about the changes. Would I have loved to see some of the scenes that were cut like Gladiola? Yes. But am I sad about the show or find it terrible? Absolutely not. It is amazing to see the one series that is the closest to my heart come to life, with a few changes. Plus the feeling of knowing a whole new generation of demigods are going to grow up watching the show, and how it's going to spark so many people's interest in greek mythology is truly unbeatable <3 People say this is going to be the next Harry Potter, but I always knew it was going to be better. (not sorry guys, I ALWAYS preferred pjo to hp)
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shibuiking · 13 days
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Every doctor falls somewhere on an autism-ADHD scale and 11 and 13 are at opposite ends yet would vibe harder than any other doctors. In this essay I will-
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cleabellanov · 23 hours
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Jet-Skiing through Identity: a deep dive into Mobius M. Mobius (part 5)🚤
The analyst is now going on missions, and he is doing such a great job. Plus, he's looking damn good doing it.
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I think that in episode 2, "Breaking Brad" (one of my favs, like i really really love this one) , we get to see both extremes of Mobius as a character, which is great! We begin with his steady personality, looking for trouble to resolve it, not to cause it.
This is when we can see Mobius and Loki use that trust that they previously built, and working together. The comfort emanated in the scene where they're trying to fix that TemPad, for example, feels so good and natural specifically because it has background. (...and they're very, very good together. And Tom and Owen always knew what they were doing. Anyway, you get the point.)
Brad/ X-5 is a complicated person, and the others knew that when trying to get information out of him. Does that stop Mobius from trying to ease the atmosphere with one of his jokes? No: he's still running to the beat of a good heart, he can't help it. His way of being, this approach, is part of him, and we've seen that in season 1 as well.
The trigger is, however, pulled in him when Brad tells him he's a nowhere man. He usually endures things well, so what made him snap this time?
I think that hearing it out loud, AND put like that (f u brad), Mobius finally got hurt by the emotions he was trying so hard to suppress.
Distancing from that, and all the past he knows nothing about, he alienated from himself too, because they are essentialy part of him.
Saying "You're a nowhere man" to Mobius is similar to saying "What, like you did with your mother?" to Loki. It's a half truth that hurts especially because it was left in the darkness. Like someone flashing a lantern in your eyes after you've been wandering though a cavern.
We can see he uses denial too as a coping mechanism, in our most beloved scene: the pie room one. He doesn't admit it at first, but with Loki being Loki (and the person he cares the most about as well), he admits he's wrong: "Listen, that wasn't tactical. I lost it".
So it's not pride when he doesn't want to see his mistakes! it's a need to make everything perfect, for others more than for himself.
It's also no secret that Mobius finds comfort in food, especially pie. So having a sweet with Loki certainly calms him down.
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Next, he tells Loki:
"The TVA is the only life I've ever known. I like it!"
and
"Something bad I can handle. What if it's something good?"
Does he really like his life there, or only the meaning of it?
I interpret him not wanting to look, not even now, for avoiding feeling guilty about leaving that behind. Maybe he even draws a parallel, and realizing that he has a life on the timeline it hits harder that so did all the people from the timelines he pruned
But also, he can't leave his mission! He can't leave Loki! Remember how in season 1 he told Ravonna that if he could go anywhere, anytime, he'd go to his place on the timeline? This changes now, when it's actually possible. A life he never known doesn't have a purpose for him. This one, though? This one definitely does.
One last thing thing I want to mention *for today* is how sweet Mobius is telling Loki that he's the God of Mischief. After years of this title being used negatively, Mobius says it as a compliment. He not only knows the comfort of touch (s2e1), but of words of affirmation too:
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see you for the next part!! I underestimated how long this series of analysis would be :)), but only 2 more parts to go 💙
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philosophybits · 11 months
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Nothing can bring you peace but yourself.
Ralph Waldo Emerson, Essays: First Series
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philosophybitmaps · 9 months
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g1deonthefirst · 3 months
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truly if you think tlt is positive about or even neutral on christianity (and catholicism specifically) i think you need to go back and reread tbh. because in the very first book we learn that this is a series where two people murder 200 children that were placed in their care because they believe their religion justifies or even compels it. the real-life parallels are almost too on the nose.
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lettingtimepass · 5 months
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Hopefully tomorrow I'll be editing and posting a video to tiktok breaking down why the Loki Finale confirms Lokius 🥰🥰
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basicallyjaywalker · 2 months
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A Brief History of the Element of Love
Recorded by... (the name is scratched and scrawled. You cannot make out any letters beyond M and T)
Type: Metaphysical
Previous Known Master(s): Elizabeth Chumsworth (née Lamoree)
Current Master(s): Nataly Chumsworth
Abilities: Masters of Love are known for being able to sense emotional connections. Unlike the Element of Peace, they are unable to manipulate or persuade these connections in any direction, only sense them.
Personally, I have sometimes questioned the use of Love as this element's name, as it goes beyond the realms of platonic and romantic affections into those of hate.
At the start of--and according to Elizabeth Chumsworth's personal account, even before--training, Masters of Love are attuned to three types of affection: Romantic, Platonic, and Malicious.
Romantic
Described as feeling like one's heart is on fire and/or feeling like they're "floating."
Platonic
Described as feeling like "sparklers" in one's mind, also compared to "eating an entire bag of pop rocks."
Malicious
Described as feeling a bottomless pit in one's stomach or throat. Hollowness.
According to some personal correspondence with Nataly Chumsworth, multiple of these feelings can be present at once. Additionally, there are "sibling" feelings that appear under the umbrellas.
Familial affection is understood as falling under platonic, but has a feeling more akin to the "crackle of a hearth," comforting as opposed to zealous.
Additionally, Nataly Chumsworth has described a type of "Toxic" love that is a mix of the romantic and malicious categories. She's said the two combine to create extreme nausea, almost like an acid reflux response. She says she's only had the experience twice, but both times she felt physically ill.
"It was like being trapped in vengestone, complete disconnection from my element..." - From personal correspondence with Nataly Chumsworth.
Some evidence suggests Masters of Love have strong emotional capacities and tend toward aiding others in emotional strife, both personal and interpersonal. It is unclear whether this is a product of their elemental powers or not.
Currently, there are no other known abilities tied to being a Master of Love.
First Appearance: Secondary, appeared after the initial share of powers by the First Master and within the second generation, led by his sons. First known Master was Elizabeth Chumsworth
This Element could have spawned as a way to manage the passing of Elemental Powers to mortals, or could have been made in the wake of interpersonal conflicts between the first generation of Elemental Masters. It seems to work with the Element of Peace, acting as its passive counterpart. With Love sensing animosity or affection, it can correspond with Peace to help with mediation. The tendency of Masters of Love to help alleviate personal issues could also be connected. Further research and possible historical analysis needed.
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