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ishcliff · 2 months

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i don't remember if i posted this, but around release, i was wondering if the numerical designations of the sinners corresponded with the major arcana. i feel like this is a yes, but there are a few that feel like a reach.

here are the brief summaries of my thoughts:

yi sang - the magician — yes! the magician is a creator that utilizes genius-level mastery over all natural life, with an unending fountain of passion for creation just for the sake of creation.

faust - the high priestess — yes! another genius, this time in the realm of the subconscious and mastery of intuition. creation in the high priestess's case cannot be easily comprehended by the conscious mind. in addition, the high priestess is a keeper of many secrets.

don quixote - the empress — maybe? i can see it! the empress is a protective, nurturing figure that is akin to "mother nature" itself who encourages empathy and connection with the world around you. at times, the empress can be overbearing even with good intent.

ryōshū - the emperor — yes! this card is also protective and nurturing, but in a much more authoritative and commanding way. the emperor is the paternal figure to the empress's maternal, and focuses on logic and practicality as an expression of care.

meursault - the hierophant — yes! this card represents tradition, faith, adherence to social hierarchy, and going to the elders of one's community for wisdom on all matters in life.

hong lu - the lovers — dunno! i know essentially nothing about his source material. but, the lovers represents decisions, divisions, duality, and the necessity to pick a path at a fork in the road. typically this is related to matters of harmony between actions and values. and, or course, it also represents pure love in all relationships, be they romantic, familial, etc.

heathcliff - the chariot — yes! when the chariot has a destination, it stops for nothing and will trample everything in its way to get there. this card represents inner strength, determination, strategy, and forward-thinking.

ishmael - strength — yes! the strength in this card is similar to the strength inherent to the chariot, but with more of a focus on mastery of the self and compassion towards others. it can also represent the relationship between man and beast – sometimes internal/metaphorical, but also sometimes literal. in addition, something to note is that in many other variations of the major arcana, this number is actually justice.

rodion - the hermit — yes! the hermit is about a self-imposed isolation for the purpose of personal development. sacrificing interpersonal connections forces one to focus on fostering their internal world. while this is rarely ever in a negative connotation, in rodion's case, her distance from others very well could be due to her generally unresolved self-loathing.

dante - wheel of fortune — YES! this is the card that made me realize the connection to begin with. the wheel of fortune is about predestination, fate, and cycles of all kinds. the wheel is emblazoned with YHVH, and given dante's connection to lobotomy corporation by way of the boughs, it doesn't feel like a coincidence when you factor in the structure of the company revolves around the teachings of kabbalah AND as a goal revolves around breaking cycles. in addition, dante's head itself is a wheel.

sinclair - justice — yes! justice represents, you guessed it, justice. usually in the form of accountability, retribution, and cause-and-effect. often it indicates that one must feel consequences for their actions in the form of harsh life lessons. and just like with ishmael, an interesting fact: in many other variations of the major arcana, this number is actually strength.

outis - the hanged man — dunno! like hong lu, i have not read her source. but, the hanged man is about finding yourself trapped in a position where you are forced to take on a new perspective and to relinquish control over your life. there's no choice in the matter. accepting this lack of control/certainty of your future is what brings enlightenment and peace.

gregor - death — yes! while death can be literal, more often than not it actually represents....... metamorphosis. haha... but yes, generally it represents rebirth or transformation by way of changing from one phase in life/of a situation to the next, sometimes in unrecognizable ways.

probably my favorite detail in this is the way that ishmael and sinclair invert each other's cards while also dealing with extremely similar situations – and walking away with very similar lessons to learn.

aside from the places where it may or may not be a stretch, this connection begets the question: who is the fool? dante would usually be an obvious choice, but they are not 0 – though, of course, 10 includes 0. but i dunno! maybe we'll get an idea sooner or later.

#limbus company speculation #limbus company meta #lcb all

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lu-is-not-ok · 11 months

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Canto IV Part 3 discussion

No but seriously there is. So much. I would want to pick apart about this fucking dungeon and Canto as a whole, like there is just. So much.

The sheer amount of political commentary that’s not even subtle.

The way Dongrang is presented as just as much a victim of the system as everyone else, yet it doesn’t erase how deplorable his shitty actions are.

T Corp having a diagetic government-imposed Breaking Bad Mexico filter.

How manifesting an E.G.O is shown to not be a sign of personal growth or even always a positive thing, but rather simply a sign that you’ve accepted yourself and decided to no longer change, regardless if that means you decide to hurt more people or not.

Carmen.

Just Sang Yi in general. I want to put him under a microscope. The way he seems so morally ambiguous taking everything we know about him into account. On one hand he is the one who ended up helping Yi Sang break out of his cycle of depression. On the other hand, he was absolutely willing to exploit it to keep Yi Sang dependant on him until he realized just how much of a danger to himself Yi Sang truly could be.

The utter ambiguity of Sang Yi’s motivations or true intentions, especially when taking the context of Poem 13 from Crow’s Eye View and the fact that he’s supposed to be a partial representation of Yi Sang’s wife from The Wings into account.

Dongbaek getting to be the first one to say the Fuck word in one of the best delivered lines in the entire fucking game.

How the roles the Sinners played reflect them on a much deeper level than one might seem. From Ishmael continuing the “Can someone explain this to me this doesn’t make sense” theme even when she’s acting, to Meursault and Outis (after some awkwardness) feeling so in tune with their roles you could mistake the shit they say as Actual things they would say out of context.

How Hong Lu ends up playing the role of the emotional heart of the group, a man so kind and sentimental he made a technology to seemingly bring the dead back to life even if in just a small window, and who was constantly showing concern and understanding towards Yi Sang.

Hong Lu’s gradual unveiling over the course of the Canto as he shows more and more just how intelligent and perceptive he actually is until the very end where it pays off with him being the one to realize how to help Yi Sang.

The small moments in the dungeon where Yi Sang and Hong Lu understand each other a little more, as two men who are repressing their emotions in different ways as an after-effect of living a life where they lacked control over their own choices (presumed for Hong Lu).

Yi Sang’s smiles.

Dante’s Doomsday Clock moving an hour closer to midnight after they realized their memories can’t be wiped, thus bringing them a step closer to remembering who they are.

Alfonso being the one woman to make me question how gay I am.

Shit was fucking packed alright.

#limbus company #limbus company project moon #lcb spoilers #lcb canto iv #lcb season 2 #lu speaketh #i am so mentally ill about this chapter you don't understand

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cluescorner · 2 months

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More Limbus Company RTFD Incorrect Quotes

Don: Let’s see, the best way to sin would be…antagonizing K-Corp!——

Dante: Ok, I’ll go in first and you guys back me up, ok? Don: Nope, I’m going in first!

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Kromer during her boss fight: Do you see what I’ve become? Do you see what I’ve created? I’ve turned the sky into a fuchsia Window’s background. I killed those bodies back there! I am ‘The Dreamer of Human Wholeness’.

Demian: It seems like your true sin is coveting my AWESOME SWAG *kills her*

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Me, whenever I see something from one of the source materials I’ve read: Hey reference.

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Dante: My drip is….*drifts off completely*

Outis: Immaculate, Executive Manager.

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Ricardo, during his boss fight: So they have time powers too! I can’t to get those after I kill them.

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Vergilius: Bing bong. Hey what’s up you’re doing a bad job.

Dante: I know I’m doing a bad job.

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Ricardo: Ding-a-ling, cocksucker. Ok you can’t do that to the Middle and get away with it.

Heathcliff: Oh, I’m sorry! Are you mad?! Are you angry?!

Ricardo: OF COURSE I AM! CAN’T YOU TELL BY MY TONE OF VOICE?! Ok, FUCK YOU! You’re going to Defeat Screen.

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Kromer: Hi Sinclair, it’s me the devil….I love you! I’m having so much fun with you!

Sinclair: …Thank you, I suppose?

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The Middle: Hair coupons STOLEN! Hair coupons STOLEN! Stupid bitch alert!

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Gregor: Heathcliff, you’re an asshole, man.

Heathcliff: You are what you eat, Gregor.

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Ahab, post Ishmael killing the whale: Why did you do that?

Ishmael: Because I’m a bad bitch! And I am MY bad bitch! Not YOUR bad bitch!

#limbus company #don quixote #ishmael #limbus dante #gregor limbus company #franz kromer #heathcliff #ricardo limbus #demian limbus company #ahab limbus company #outis #vergilius #sinclair lcb #these are all from the Shadow the Hedgehog dub I think

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bindi-the-skunk · 1 year

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More notes and my full opinion on the rest of the novel

The movie most certainly gave Jekyll more spine than he has in the novel

He makes a suggestion to just leave during the explosions and leave everyone in Venice to face their fates, and is constantly described as cowering under Nemo and Quartermain's glares and his "No! Hyde will never control me again!" is more of a whimper than him being stubborn and Dorian gets an extended line "But without him, my dear doctor, what use are you?" Gray said with a taunting lilt to his voice "Do you plan to apply bandages and iodine to our scrapes once we're all finished?"

He is not the first one to reach Ishmael before Nemo, who ends up being the one to cradle Ishmael, and it takes Nemo yelling at the doctor to get him to try and treat the wounded man Sawyer is the one who breaks the Gramaphone not Nemo and the novel is hinting more towards SawyerxMina over the JekyllxMina hints in the film

the saving of the Nautilus is still an awesome and epic moment for Jekyll-Hyde though he is described as shell-shocked instead of walking up straight and smiling like in the film

Sawyer is hinted to be the one who will become the leader throughout, again, this is something I'm glad got left out of the film to allow more room for Mina to take up her role from the comics

Unfortunatly it also mentions Jonathan dying during the mission to take down Dracula (and that Mina met Gray five years after the fact meaning no baby Quincy in the novelverse

The tiger is revealed to be REAL here, not a vision as it was apparently tracking Skinner, meaning he saw it too and Mina does not smack Skinner a good one for pinching her butt.

Jekyll's scenes several times read more like the fanfictions, yeah, not a fun image and another happy change for the film to make.

though Huck Finn gets a more proper mention in the novel and Sawyer makes an earlier appearance and is mistaken for a stalking fanboy by Quartermain.

Another moment I liked was a moment where Nemo thinks of his past and even gets in another little moment for Nemo and Hyde

Nemo motioned the fearsome Hyde back as he crouched at the grate and peered into the dungeons below. He saw the hopeful faces of hostages turned up to look at him "These must be the scientists wives and children". In a flash of memory, he thought of his own wife and son, both tragically killed. his fingers clenched, and he had to force the thoughts away. Nemo called upon his philosophy and prayers, just to make his heart go numb again, his past go blank. He put a finger to his lips, and the hostages inside fell quiet, stifling their confusion and joy. "We will rescue you. Do not be frightened." He signaled for Hyde to come forward, and as the brutish man's shadow fell over the grate, Nemo held out a hand to calm the captives. "Do not be frightened of him"

Another interesting add on is Grey offering Mina to join him and to give into her demons and to return to London with him and a small tease of him perhaps being sorry for his actions…only for him to of course say no he's lying about THAT too and enjoyed the treachery

During the fight in the factory, Hyde protects and then sends Nemo's crewmen to go find and help him, planning on fighting by himself despite being strained and he does not call for Nemo's help in the novel either and Nemo finds Hyde by himself and Hyde even stops Nemo from interfearing in the fight against Dante by putting a hand in front of him though Nemo does through himself into it a few moments later and the rapid slashes are shown to be a "death of a thousand cuts" gamble against the dante-hyde

the ending reveals Skinner as a member of the secret service of the queen or some other stuff and Bond appears…it hints at the Martain plot from the comic...yeah a bit of a hasty mess there with the films funeral scene being more of a proper ending

But final thoughts, I did enjoy the novel, I'm glad I bought it and will no doubt read it several more times, do I like it better than the movie? No, but I do feel that if the novel and film had been properly mixed, we could have had a movie bigger and better than the first Avengers film.

So if you are eager for an adventure, go look the novel up and enjoy the ride

#lxg #the league of extraordinary gentlemen #league of extraordinary gentlemen #20000 leagues under the sea #nemo #captain nemo #mina murray #mina #mina harker #jekyll #dr henry jekyll #hyde #edward hyde #sawyer #tom sawyer #strange case of dr jekyll and mr hyde #dracula #skinner #rodney skinner

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sartle-blog · 7 years

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The Handmaid’s Tale: Art History goes Atwood!

In her seminal 1985 novel, The Handmaid’s Tale, Margaret Atwood paints a nightmarish picture of a post-democracy America. Christian fundamentalists and misogynist despots have scapegoated radical Islamic terror as a pretext for suspending all civil liberties. Environmental irresponsibility has led to toxic food and water and a drop in fertility rates. Female bodies are commodities controlled by the state, gay people and abortion doctors are prosecuted according to Biblical law, and people of color are deported to uninhabitable “colonies.” In short, it is pure fantasy with no relation whatsoever to our current political climate.

Surely it must be The Handmaid’s Tale’s quaint escapism that has made Hulu’s recent adaptation of the novel into the most hotly anticipated series of the season. It might make a light diversion if, in the words of our supreme leader, you’re “sick and tired of all the winning” we’re doing. To aid your diversion, I’ve compiled some examples from art history that prove the hostile patriarchy presented in The Handmaid’s Tale is just a feminist myth, with absolutely no grounding in Western culture.

Handmaids of the Good Book: you won’t see this on VeggieTales!

Dante’s Vision of Rachel and Leah by Dante Gabriel Rossetti, in the Tate Britain.

Margaret Atwood prefaces her novel with a passage from the Bible:

“And when Rachel saw that she bare Jacob no children, Rachel envied her sister; and said unto Jacob…Behold my maid Bilhah, go in unto her; and she shall bear upon my knees, that I may also have children by her.” – Genesis 30:1-3.

In ye olde Holy Land, Rachel and her sister Leah were sister wives who were also literally sisters. Both married Jacob, patriarch of the 12 Tribes of Israel. The fertile Leah bore him six sons, whereas Rachel had difficulty conceiving. Luckily, biblical patriarchy had a cure for that; namely offering your enslaved women as vessels of childbirth for your husband to inseminate. Rachel’s handmaid Bilhah bore Jacob two sons, who Rachel claimed as her own. Just when everything was going so well, Leah and Jacob’s son Reuben decided he wanted in on the action.

“And it came to pass, while Israel dwelt in that land, that Reuben went and lay with Bilhah his father’s concubine.” – Genesis 35:22

Reuben brought dishonor to the family by plowing with his father’s heifer, but Bilhah, the passed-around handmaid with the “for rent” sign on her womb got the real raw end of this sick family deal.

This ancient stone carving of a woman squatting in childbirth in the arms of midwives invokes Bilhah bearing “upon [Rachel’s] knees,” and Atwood’s description of mistresses holding handmaids between their knees during sex and labor.

There are no new ideas in Hollywood the Bible

Don’t think that Bilhah’s story is unique in the Bible. A similar story has been an inspiration to artists for centuries. Abraham, father of Israel, was married to Sarah, reputedly the most beautiful woman in all the world. After a lot of wandering in the desert, Sarah was getting on in years and was still childless. Solution? Offer up her Egyptian handmaid Hagar to do the dirty deed for her.

“I pray thee; go in unto my maid; it may be that I may obtain children by her.” – Genesis 16:3

Hagar by Edmonia Lewis, in the Smithsonian American Art Museum.

Edmonia Lewis, a female African American sculptor of the Civil War period, certainly had reason to be interested in the narrative of an enslaved African woman subjected to reproductive abuse. White male European artists had also long been fascinated by the story, possibly more captivated by the bizarre kink factor than issues of subjugation.

Sarah Leading Hagar to Abraham by Matthias Stom, in the Gemaldegalerie.

We’re talking about Western-European art history here, so Hagar is of course an alabaster-skinned blonde. Even Edmonia Lewis used the colorless power of marble to give us a racially ambiguous Hagar. The Bible tells us she was Egyptian. History tells us she may have been black, since Egyptian slaves were typically prisoners of war captured from Nubia and other parts of predominantly black Africa.

Miraculously, Sarah did get pregnant in her old age, and consequently said to Hagar, “Beyotch, get the f#ck out of mah tent!” so Hagar and her son Ishmael were banished into the desert.

Detail of Hagar in the Wilderness by Camille Corot, in the Metropolitan Museum of Art.

Presumably, Hagar is grieving because she and Ishmael are lost in the wilderness, but her face says, “No, I’m pissed off because this is the thanks I get for all the gross old man sex.”

Sally Hemings: An American “Handmaid”

Thomas Jefferson by Mather Brown, in the Smithsonian National Portrait Gallery (left). This portrait of an eighteenth-century, mixed-race woman (right) gives some idea of what Sally Hemings might have looked like.

Sally Hemings makes a disturbingly cohesive follow-up to the biblical prototype of a captive African woman forced to bear children. Confederate Civil War diarist Mary Chesnut was brutally honest in her assessment of black-white concubinage in the antebellum South, and her association of slavery with patriarchal marriage in Judeo-Christian culture:

“Like the patriarchs of old, our men live all in one house with their wives and their concubines…this is not worse than the willing sale most women make of themselves in marriage…The Bible authorizes marriage and slavery…poor women! Poor slaves!”

Sally Hemings made headlines recently because PBS controversially labeled her as having had a 40-year “relationship” with Thomas Jefferson, whom she bore 6 children. The critics are right that an enslaved person is incapable of a consensual relationship, not to mention that Sally was a minor (by modern standards) when a middle-aged Jefferson started sleeping with her. In the least sinister of a multitude of horrifying scenarios, captive women were coerced into sex with their masters. In the worst cases, they were violently raped. But is it fair to say that Sally’s was the latter case? It should be noted that she chose to leave France, where she was free, to return to Virginia with Jefferson when he promised to free their children. This is not a justification. Slam Poet Clint Smith poignantly asks, “…did you think there was honor in your ultimatum?” The fact that Jefferson never freed Sally herself, even on his deathbed, speaks to a twisted dynamic of control.

This Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray in Scone Palace, attributed to Johann Zoffany, evokes the conflicted situation in which Sally may have found herself. Dido, though not enslaved herself, was the daughter of a British officer and an African slave. This portrait reflects her experience as a beloved, but not quite equal member of an elite white family.

The irony of Thomas Jefferson, who proclaimed in our Declaration of Independence, “all men are created equal,” owning and sexually abusing slaves speaks for itself. We should neither defend nor deny the heinous circumstances of his fathering children with Sally Hemings, but this remarkable woman endured a lifetime of bondage and produced generations of American families. Why not regard her as what she is? One of our founding mothers, as worthy of respect and study as Abigail Adams or Martha Washington.

Is Sally not, in a perverse way, the story of America? Are we a nation founded on freedom, or on concubinage of enslaved women? Michelle Obama is descended from both slaves and slave masters, and as first lady, woke up every day in “a house that was built by slaves,” (the White House). What is that if not a testament to who we are as a nation, at once powerfully inspiring and deeply unsettling. Margaret Atwood’s novel of a crippled American civilization surviving on the backs and bellies of captive women has never been more relevant, yet perhaps it is as much a story of where we are, as where we came from.

Don’t take my word for it, decide for yourself. Tune into The Handmaid’s Tale on Hulu, or better yet, read the book!

By: Griff Stecyk

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