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denimbex1986 · 1 month

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'My expectations were moderate when I pressed play on the Netflix series 'Ripley' .

Admittedly, Andrew Scott is about the hottest actor out there right now, but after reading Patricia Highsmith's original novel about the conman and murderer Tom Ripley and loving Anthony Minghella's 1999 film adaptation starring Matt Damon , I thought there were limits to where very new Steve Zaillan's series had to add. The thought of eight hours in self-celebrating black and white didn't help my binge appetite.

But I quickly had other thoughts.

'Ripley', in which Andrew Scott presents a slightly older and cooler version of Ripley, is a masterful performance of suspense. An unusually captivating psychological thriller that is serious, even loud when it needs to be, but certainly not cleansed of an understated dark humor either.

But above all, it is beautiful. I'd actually go as far as to say it's the best looking TV series I've ever seen.

SURPASSES FINCHER, SCORSESE AND TRIER

Image aesthetics were not necessarily the primary quality when the serial medium entered its golden age in the 00s. There are certainly visual qualities in 'The Sopranos', 'The Wire' and especially 'Six Feet Under', but the series were the writers' medium and the major series were directed by a variety of episode directors.

They of course followed the style laid out by the so-called conceptual director who was responsible for the first episodes, but all else being equal, the feeling of a unified aesthetic work was not at the forefront in the same way as in the film medium.

That changed to some extent through the 1990s, when the great directors began to take an interest in making series - and in some cases directed the entire cast.

Cary Fukunaga created fantastic atmosphere and blistering sequences in 'True Detective', David Fincher set the bar high with the first episodes of 'House of Cards' and then 'Mindhunter', Jane Campion created striking images in 'Top of the Lake', Barry Jenkins created the perfect Southern aesthetic in 'The Underground Railroad', Martin Scorsese directed the pilot episodes of 'Boardwalk Empire' and 'Vinyl', and Steven Soderbergh was behind the entirety of 'The Knick'.

We have seen high visual quality in such diverse series as 'Breaking Bad', 'Westworld', 'Game of Thrones', 'Fargo', 'Hannibal', 'Mr. Robot', 'Utopia', 'Severance', 'The Crown', 'Maniac', 'The Leftovers' and 'Euphoria'. Danish auteurs Nicolas Winding Refn and Lars von Trier have created scenes of sumptuous visual quality in 'Copenhagen Cowboy' and 'Riget Exodus'.

But I haven't seen a series with a picture page that consistently made me lose my temper like 'Ripley' did.

THE NOSFERATU SHOT

As I said, the series is in black and white from end to end. It's now a cliché to say that you could hang every picture on the wall, but never has that been more true on TV than here.

The narrative even cultivates the beauty of classical paintings (and in the case of the talentless Dickie: the lack thereof), but its settings are photographic works of art in their own right.

Steve Zaillian has both written and directed the entire series - and all episodes are photographed by Robert Elswit . Elswit is known as Paul Thomas Anderson's court photographer from 'Boogie Nights' to 'There Will Be Blood' and has since impressed with films such as (the black and white!) 'Good Night and Good Luck' and 'Nightcrawler'. The two have previously collaborated on the HBO series 'The Night Of' .

Elswit and Zaillian's compositions are exquisite studies in work with light, shadow and perspective. Both in the total shots of Tom in majestic church rooms or bulls around the labyrinthine staircase systems in the small Italian beach spot of Atrani, where a large part of the story unfolds, and in the many close-ups, where Elswit's camera constantly finds interesting perspectives in Andrew Scott's face, that reveals his feelings of inferiority and fascination.

The director and the photographer bring three main sources of inspiration to life.

The style imitates film noir, the classic hard-boiled detective films from the 40s and 50s about hidden conspiracies and cryptic unraveling with masterpieces such as 'The Big Sleep', 'Double Indemnity' and 'The Third Man'. Author Patricia Highsmith's Ripley books are even associated with film noir – she published 'The Talented Mr. Ripley' in 1955 – and the current series highlights those elements of the publisher much more faithfully than the sun-kissed Matt Damon version.

From the opening sequence, where Ripley drags a corpse down the stairs and he draws a long shadow up the wall, movie-savvy viewers will also instantly recall one of the main works of German Expressionism from the 20s, namely Murnau's 'Nosferatu'.

Even though Zaillan himself has told Vanity Fair that the reference was not intended at all.

“This is what I call our Nosferatu shot. It wasn't planned. The shadow was a surprise to me when I saw it.'

German Expressionism was in itself a clear source of inspiration for Hollywood's original noir films, so in that way things are connected, but 'Ripley' occasionally seems especially animated by the almost theatrical expression of madness, which is also found in Expressionist masterpieces as 'Dr. Caligari's Cabinet'.

SHOULDN'T LOOK LIKE A POSTCARD

The third reference wears 'Ripley' even more outside the clothes.

Namely the Italian painter Caravaggio, who captivates the main character when he is introduced to his paintings shortly after his arrival in Italy - and which then directly mirrors Ripley's story, as in one episode we are surprisingly taken back to the 17th century, where Caravaggio is on the run after committing a murder.

"The light, always the light", says a priest to Ripley when he studies a Caravaggio painting - exactly as a museum guard said to Steve Zaillian when he viewed a painting by one of Caravaggio's students during one of his first visits to Italy during research .

Caravaggio's exquisite chiaroscuro, where the light from below creates a striking contrast between the face and the background, is a recurring motif in 'Ripley', of course with particularly humorous meta-effect in the scene where Ripley, with the painter's role model, stages herself as, well, herself above for Italian detective Ravini with a fake full beard.

Robert Elswit – who originally became a photographer because of the black-and-white films from the 30s and 40s that looped on the television when he was growing up – is a master at working with light, and it shows. To increase the contrast in the images, they often poured water on the small streets, which gives just the right noir expression.

Steve Zaillian had that particular style in mind even before he wrote the script.

"I knew from the start that I wanted this high-contrast film noir style. We didn't want something that was too familiar – I didn't want to make a nice travel programme,' he told Vanity Fair. Zaillian has said outright that he hates blue skies on film, and has explained that it is very difficult to film in Italy in color without it looking like a postcard.

Which you have to give him credit for. Just think 'The White Lotus' season 2 – or that Italy in Minghella's 'The Talented Mr. Ripley', who despite the cruel events looks incredibly delicious.

ONE WEEK DISPOSAL OF CORPSES

The new series version is no less beautiful, but in a more interesting way.

It is clear that Zaillian and Elswit have had good cards in their hands with Atrani and the old European beauty in general, which is not found in the same way anywhere but in Italy with the worn architectural gems that are both subjects of grandeur and decay.

But the brilliant locations are not the result of chance either. Zaillian, Elswit and the production designer scouted extensively before finding just the right locations in Naples, the rest of the Amalfi Coast, Rome, Venice and Palermo, where the series is also set.

Some scenes were shot in studio, including everything in Dickie's apartment in Rome, which the team built with meticulous inspiration from some of the buildings and furniture Zaillian had come across in his research.

Zaillian approached the project as an eight-hour film, which directors almost always say when they make series, but here it makes perfect sense. Every costume and object is carefully thought out because it is an essential part of Tom's personality that he fetishizes Dickie's things – like his ring, clothes and fountain pen – as symbols of the wealth and class he desperately craves.

The filming lasted 160 days – which is a lot ! – and the unforgettable scene where Tom has to dispose of the body on the boat took a week to shoot alone.

The scenes in the Italian cities were enriched by the fact that the series was filmed in 2021, when the corona crisis was raging and there were therefore no tourists in the streets.

"It felt all the more like we had traveled back in time", Steve Zaillian told The Daily Beast .

A BLACK AND WHITE RENAISSANCE

The production designer on the series created more than 200 sets and locations, and researchers worked in both New York, London and Italy to create just the right mirror of the time period in the 1960s. The costumes tell stories in themselves.

"From the feeling in 'La Dolce Vita' (Fellini's classic from 1960, ed.) to a more working-class wardrobe in Palermo or Atrani, it's always exactly right," Steve Zaillian told Netflix's Tudum .

Editing has taken almost two years, and the long process emphasizes that there has been no assembly line over the work on the series, which started as a project for Showtime, which was then sold to Netflix . Zaillian then also got full freedom to create the series as he wanted it.

The series creator started as a screenwriter and is known for his screenplays for films such as 'Schindler's List', 'Gangs of New York', 'Moneyball' and 'The Irishman'. He has also directed several films, most recently 'All the King's Men' from 2006, and then he himself directed the whole of 'The Night Of' - about an innocent man who is convicted of murder - which was also a feast for the eyes.

But as Paul Schrader wrote on Facebook the other day , nothing in Zaillian's resume could prepare one for how completely constructed 'Ripley' is. It is serial art at the very highest level.

Some filmmakers will doubtless object that black and white is an easy way to create great photographic images. With recent films like 'Poor Things', 'Maestro' and 'El Conde', (partially) black-and-white has had a bit of a renaissance in recent years, and sometimes it can certainly become unnecessary cinematic masturbation.

But in 'Ripley', the visual motifs sublimely reflect Tom Ripley's gloomy mind and the atmosphere of enigmatic, slightly surreal paranoia.

'WandaVision', 'Black Mirror', 'Better Call Saul', 'Fargo' and 'Twin Peaks: The Return' have had stunning black-and-white episodes, but I don't recall seeing an entire series in complete black-and-white since this side of the color television breakthrough.

We have now got that with 'Ripley'. And for fear of scaring someone away with all the talk about Italian Baroque painters and German Expressionism, I cannot stress enough that the series is an insanely well-told and engrossing affair, also independent of the aesthetics.

But it is its images that will remain as a new bar for what can be done in the serial format.

Then get those posters into production, Netflix.'

#Ripley #Netflix #The Talented Mr Ripley #Anthony Minghella #Steven Zaillian #Andrew Scott #Robert Elswit #Caravaggio #Naples #Atrani #Rome #Palermo #Venice #Amalfi Coast

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charlescpa · 2 months

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The Art of Successful Accounting Firm Mergers

Mergers and acquisitions (M&A) have reshaped the accounting profession, driven by globalization, technology and changing client needs. As competition heats up, firms are pursuing M&A to expand capabilities and market reach. However, successfully navigating a merger can be filled with challenges. In this blog post, we’ll explore the M&A trends in accounting, delve into key hurdles and discuss strategies to overcome them. The Surge in Accounting Firm M&A

It’s no secret that M&A activity has lately been hitting record highs, indicating business leaders see consolidation as crucial to growth. This trend is equally applicable in the accounting sector. What’s driving this surge? Primarily, firms want to keep pace with client demands in an increasingly complex global business environment. Many lack specialized skills in-house and are turning to M&A to bolster cybersecurity, advanced analytics and other capabilities. Smaller regional players are also merging to match the breadth of large national firms. And for some, M&A provides an exit strategy for retiring partners. As firms consolidate power into fewer hands, the impact is still unfolding. Clients may benefit from expanded expertise, but small firms and startups could find barriers to entering the market. For employees, uncertainty around culture and job security often accompanies merger announcements. There’s no doubt that the competitive terrain is shifting. Nimble leadership and clear communication are key to thriving.

Cultural Challenges in Mergers and Acquisitions Merging two companies often involves navigating profound cultural differences in work styles, communication, values and traditions. Carefully identifying these differences early on is crucial for a smooth transition. This requires thoroughly assessing each company’s culture to understand their core values, environments and employee expectations. Once cultural differences are clear, strategies must align these cultures by establishing common ground. This could involve creating joint teams, organizing team-building activities and setting up cross-company conversations. Leadership plays a pivotal role in defining this new, unified culture. Open and empathetic communication is also essential for managing expectations amidst uncertainty. Company leaders should provide regular progress updates, invite employee feedback and address concerns. Recognizing apprehensions at all levels helps maintain morale during transitions. Strategic Planning for Successful Mergers

Setting Clear M&A Goals: Thoughtful planning is key to M&A success, starting with clear objectives. Firms should articulate what they hope to gain, whether expanding services, accessing new markets, integrating technology or planning for succession. These goals provide a roadmap to evaluate potential partners.

Finding the Right Partner:Choosing the right partner goes beyond finances. Firms must assess compatibility in client bases, offerings, workplace cultures and visions for the future. Equally vital is alignment on reputation, ethics, operations and expectations. Open and candid discussions build understanding essential for informed decisions.

Leadership’s Pivotal Role: Skilled leadership steers firms through complex mergers. Leaders must convey vision, promote collaboration, manage change and communicate at all levels. They balance empathy and decisiveness while building stakeholder confidence and trust. Successful leaders guide strategic direction while unifying diverse teams behind shared goals.

Retaining Clients During Merger Chaos

Clients can be a merger’s best friend or worst enemy. Handled well, presenting a combined entity with expanded capabilities can spark loyalty. Handled poorly, perceived drop-offs in attention or quality can send clients straight into competitors’ arms.

To retain accounting clients through rocky mergers, clear and customized communication is key. Ensure clients understand exactly how the changes impact them, whether good or bad. Client satisfaction surveys can reveal at-risk clients to focus retention efforts on.

Above all, the merged firm must deliver consistently excellent service, without dropping the ball during integration of tools and processes. For large clients, designating internal merger response teams provides VIP treatment that says, “We’ve got you covered.”

Ensuring a Smooth Post-Merger Transition

1. Create an Integration Plan A thoughtful integration plan enables a smooth transition after merging. This comprehensive plan should align organizational structures, IT, HR, client services and processes across entities. Key elements are:

Defining integration timelines and milestones

Assembling joint integration teams

Communicating with internal and external stakeholders

Identifying priority areas of synergy and conflict

Establishing a phased approach for systems integration

2. Manage Employee Transitions Effective change management maintains morale during mergers. Strategies should address employee concerns, provide training and minimize disruption:

Regularly update staff on integration progress

Offer development programs to ease transitions

Recognize the emotional impact of change

Promote a culture of openness and feedback

Manage workloads and stress to prevent burnout

3. Evaluate Post-Merger Success Assessing merger success is ongoing, beyond initial integration. It involves:

Establishing key performance indicators

Conducting regular progress reviews

Evaluating long-term market and financial impacts

Implementing client and employee feedback mechanisms

Continually assessing cultural alignment

Overcoming Challenges With External Support

External consultants and advisors are invaluable in the messy world of mergers and acquisitions. Even experienced dealmakers can’t be experts on everything, and it’s in a firm’s best interest to leverage external skills where #AccountingFirmGrowthneeded. The path through M&A is far from smooth, but the right external specialists can overhaul obstacles, unlock potential and steer companies towards successful outcomes.

#AccountingMergers #FirmMergersSuccess #MergeWithSuccess

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orindel · 1 year

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Virtual Sketchbook 2

Journaling:

Principles of Design -

Unity = oneness

Variety = the absence of oneness; diverse.

Balance = equal

Emphasis = the point of focus

Subordination = the lack of focus

Directional Forces = features that direct our eyes where to look.

Repetition and Rhythm - repeating a pattern is repetition alone, but with rhythm, it allows for variations.

Scale and Proportion = the size of an object compared to another.

2. Writing and Looking:

Pieta by Michelangelo Buonarroti (Fig. 4.21)

One of the important things required to create this art (as described in the textbook) was proportion. Also needed was three-dimensional shape, understanding of human anatomy, the use of mass and depth, organic shapes, creation of closed form, changing values, neutral and unified color, and smooth texture.

3. Connecting Art To Your World:

When thinking of a personal experience where colors affect me, the only thing that comes to mind is hiking in the spring. The green hue of the abundant, sunlit leaves makes me so grateful. The daylight brings intensity to the trees, and I always find it beautiful to look at. You see the colors of nature in their usual values, because they are not shaded by the effects of winter. The spring time gives an effect to plants that allows them to become naturally saturated and vibrant.

Analogous color schemes would suit my life because these are often found in nature, which is an important interest of mine.

4. Art Project: Watercolor

5. Photo/Design:

This image is from a TIME article that discusses the extinction crisis many species on this planet are experiencing. Common activities practiced by humans are leading to the near-extinction of almost 30,000 more animal species. The image conveys this story by showing a monkey cub hugging it's mother, which delivers a sad or fearful connotation. The species shown here is also endangered, which further adds to the downcast story shared.

This image is also from a TIME article discussing the consequences of our human activities. More specifically, it focuses on climate change and how there will most likely be drastic changes within 5 years unless actions are taken to prevent this. This photograph represents this story by bringing our attention to the bold, but true, statement on the sign focusing on the problem at hand. He also may be depicting how this is a problem more concerning to younger generations by showing this young girl, because they will be the ones experiencing the consequences more gravely.

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cosmicangel888 · 1 year

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All have a part to play

Arise humanity

Come together - Unify and be of One

Unify your own DF and DM energies so that you are not raging a war within - you are the ones that are leaders and care-takers of a new earth

An earth that is sacred, all animals are sacred, all life, all insects are sacred;

MOTHERS DAY - Divine Feminine beings Re-Written - 5D self love ©

This morning I got into my car and as I looked down I had an inch-worm, so tiny, beautiful green, inching up and slowly in musing what adventures this tiny little gorgeous insect had with its day; it was so amazing - where did it come from;

Just getting dressed, how did it get on my chest? There it was; we met, eye to insect eye; I offered it my fingertip gently and said 'hello' and honoured our connection, our meeting; then looked for a space for its gentle and beautiful body - some may have opened their window and threw it off, or squished it, showing it little respect, or care; I was amazed and offered is a loving song and hello- all is gracious and my kind simple act means something to me, that is all that matters; my kind simple acts with all life matters to me;

The inch worm entrusted me with its life, to be a steward, to know that its purpose, fashion for me on me, meant something, and what would I do, choose to do with that life; I was blessed and felt blessed and spirit sees and knows the intention you walk with; every worm to shift to safe soil on a rainy street as it makes its way to safety - and not stepping on them, and as if life regardless of size matters; all life matters; all beings, all voices, all matters;©

We ask ourselves daily - we are worthy of greater aligned leaders, and what is it that a leader of a very powerful and beautiful country to take billions of sacredly earned public money and place it before nuclear rockets and war tools; what obliges a 'leader' if a 'leader' had any alignment with Source, God, alignment of the higher self; to take honour, ownership of sacred life, however small and unimportant anyone could ever think and measure and judge - that is where we fool ourselves - none have such ownership of power over life; period.

Be it government leader, or those in the labs manipulating life and cloning DNA or children, or animals for their own ego, arrogance, scientific agenda's - what is the integrity and levels of integrity - values and morals;

Divine feminine within our hearts, know of the purity of love and life, the hearts beating in our bodies, would never ever falsify and warp, force, manipulate life and forces of life to think you have greater power of the sacred design of all realms, galaxies, life, akashic templates and purpose of anyone and anything - there is such misguided arrogance and so much wounding and lack of self -

Anyone and any leader - is being asked and will be forced to seek within and know what level of loving oneness, integrity and unification of all life - planet earth that feeds you, nourishes and houses you - and yet we disregard and place rockets in our oceans that kills sacred species; who are you, who are we?

All life matters -

All life - none have power or authority to make choices and have say and design over anyone - period.

Understand who you are - go within and do the healing of separation - you are powerful and sacred; so be sacred.

All is energy and your life will return to you what and who you are - so why it is important to go with and begin paying attention to all life ©

All life is in need of your unique gifts, how you use your gifts, honouring your gifts, and what it takes to move you, inspire you, empower you, and be more of you, more art and more creating of you - to honour your life, as art and know you will have moments that are not comfortable and uneasy;

So be a master to direct your emotions, your releases, your intentions that do not harm or interfere - for your life is your masterpiece and now you can begin to create anew;

Use gentle easy ways to release deep trauma - there are such ways; that benefit you and none have power over you living a truly deep sacred life - all life is sacred; you can navigate such a sacred journey -

Bless your path, bless your body, what is your life intention; when and if you were to pass tomorrow - is your life a good life; what do you value as a good life; did you make a difference for you, your lineage, the earth that you will return to, did you love enough, were you honest and rich with spirit, did you burst and bust with self knowing, self design, every week - did you get to forgive, did you live with joy, gentleness, kindness to all life, and loving compassion -

youtube

Be of good will - forgive, live in your unique truth; be you authentically - live in the power of you -

When you focus on growth, expansion, loving and living in your truth-focus on the healing of the planet by seeing yourself new and others with loving potential - all is in your making - all is love; just variations of love and life - you get to sculpt it and respect all in your path -

THAT IS THE ONLY REASON You are here as you - BE YOU!

Divine feminine - this is our new loving, sacred, and humanly powerful celestial aligned earth = step up and be new be you

Blessings and light

Joanna

[email protected].

#healinghumanity #healingoursystems #truehumanhealing #truehumanleadership

#ascension #mothersday #lovinglife #healingenergy #focusonlove #

NO PROBLEM OR ISSUES ARE BEYOND YOU - FOR YOU WALK WITH GOD - SPIRIT, LOVE, LIGHT, THE ALIGNMENT WITH LIGHT IS EVERYTHING - ALL HAVE CHOICE - ALL IS TRANSMUTABLE

#Youtube

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mysteriouslypleasantcat · 1 year

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IDK if this is a hot take, but Ionia from league of legends kind of sucks due to a lack of unifying theme or art direction.

#league of legends #ionia #riot #riot games

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texanredrose · 3 years

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Look Before You...

Blake took her seat, sweeping her gaze over the field currently filled with ‘knights’ from all over Menagerie. While they’d operated as a kingdom for years, only recently did they begin matching the other kingdoms of Remnant in certain ways and first came the overwhelming vote for the Belladonna family to become the ruling family. Her dad had tried explaining that that wasn’t how it worked, you couldn’t be voted into kingship, but it became one of the few arguments he lost during his tenure as Chieftain of Menagerie- a title he continued to hold, with the wider understanding being that he was their king and just had a unique title, which most people accepted enthusiastically. It seemed to be the widely accepted logic that, since they were exiled and driven away from the rest of Remnant, they didn’t need to strictly adhere to the other kingdoms’ precedents. When they did, it was with a bit of cheek, as evidenced by the array of ‘knights’ preparing to fight in the grand melee.

In other kingdoms, knighthood came after years of testing or with the proper bloodline. In Menagerie, anyone willing to challenge Ghira to a duel would become a knight after. The challenge came in the fact that her father was a moving mountain who spoke softly but hit very hard. Alternatively, prospects could challenge Blake’s mom, Kali, but even fewer would dare attempt that challenge. It was common knowledge that Chieftain Ghira, although strong, would simply beat you and leave it at that; Chieftain Kali, on the other hand, would usually leave you with a scar- not out of malice, of course, but because her opponents underestimated her and she sometimes couldn’t pull back her blows in time.

Blake shifted, one ear flicking back to hear the metallic tink of her sword’s scabbard hitting her chair. This would mark the first time Blake would be challenged as well for knighthood, which would be after the grand melee; the reasoning being that, those who felt well enough to continue fighting after the melee would be just as taxed fighting the relatively young Chief as they would fighting fresh against the more experienced Chieftains. Blake, for her part, looked forward to the tests to come; faunus all over Menagerie had taken up combat arts in the past year, starting the moment the tournament was announced. It would be an important, historic moment for them as a people.

Not least because the other kingdoms were becoming nervous about how easily the faunus thrived on the desert island they’d written off as being uninhabitable.

“You look bored.”

“I’m impatient,” she replied, sparing her best friend a glance. “I’m surprised you didn’t join the tournament. Isn’t the grand melee exactly the sort of fun you’d be dying to have?”

Sun shrugged, leaning on his bo staff as he stood next to her with a wide grin. “Yeah, but I’m already a knight. There’s no real benefit to me joining in, except fighting you at the end, and we do that enough when we’re training.”

“Well, I think it would be fun to fight in the melee,” she said, picking out the specific styles of weapons and matching them to the different regions around Menagerie. But then, her attention was caught by one figure specifically. “Is… that…”

“Something wrong, dear?” Her father took his seat behind her, awaiting the signal to officially begin the grand melee. When he followed the direction of her gaze, he saw what she did and muttered a curse under his breath. “An Atlesian knight.”

“A high ranking one at that.” Her mother mused, cautiously intrigued. “You can tell by the helmet.”

Blake didn’t know the different Atlesian knight ranks well enough to be able to discern much more but she did know that the closer the armor resembled the late King’s, the higher the rank, and this one matched the description she’d heard and read to the smallest detail, even the plume down the backside of the helmet. If not one of the Royal Knights, this one was close to the top of the order, despite seeming so… small and slim, standing there among the other warriors. The armor added bulk but it didn’t match up to the farmers turned warriors surrounding the knight. “What an Atlesian doing here?”

“I don’t know… but they haven’t started any trouble yet. Keep an eye on them, Blake.” Ghira rose to his feet and bellowed out that all might hear him. “Welcome, all, to the first annual Unified Menagerie Tourney! As a celebration of overcoming our struggles thus far, the first event will be the grand melee. Those arranged before you will fight until only one stands and, then, whoever can muster their strength may face Chief Blake to earn their knighthood. Then, we look at the advancements we’ve made…”

As her father continued to explain the three days’ worth of events, Blake watched the Atlesian knight, who seemed to hardly acknowledge anything aside from the details regarding the grand melee. It annoyed her, to some extent, because she felt like the knight might be there as some sort of statement, as if to prove that an Atlesian knight could best anyone in Menagerie. Then, she noticed something else. “That knight doesn’t have a shield.”

“Isn’t that a big taboo in Atlas?” Sun leaned towards the edge of the elevated box they sat in, tilting his head. “Everyone uses the same style; only the royal family can go without a shield, because their knights are their shield?”

“Maybe it’s not an Atlesian at all?”

“That might be worse.” Sun cringed. “Don’t think Atlas will be too happy if they hear someone wearing their armor got their butt kicked at our tourney.”

Blake pressed her lips into a thin line, watching the knight’s posture.

“As a reminder, all events are in the spirit of celebration and community; as such, killing blows are strictly prohibited during the grand melee,” her father said, impressively not allowing his gaze to linger on the Atlesian. “With that, contestants, assume your positions and prepare for the fight to begin!”

As the contestants moved to make a large circle, Blake watched the Atlesian’s movements with all her attention. However, the longer she watched, the more she noticed that the knight appeared to be… supremely uncomfortable, or at least unaccustomed to wearing the armor; their movements were sluggish and they turned awkwardly, as if they lacked any sort of awareness as to their size and expected to bump into something they couldn’t see at any moment. In fact, the more the knight moved, the less alarmed Blake felt; if anything, she worried that Sun might have a point and the person in the armor wasn’t Atlesian at all. That would be a diplomatic headache if word got back to the royal family of Atlas.

Her parents exchanged a look of concern but remained silent until the circle had formed. Then, her mother stood up and shouted.

“Begin!”

A horn was blown and about forty people shouted in response and charged forward. Metal clashed as weapons crossed, but in the hectic melee, Blake watched the Atlesian knight’s movements closest and… well, there was skill there, somewhere, but the person beneath the armor obviously had never worn it before during combat. Their left arm rose, a thin blade- so unlike the universally larger swords favored by Atlesians- blocking or deflecting errants attacks, but it seemed… sluggish. They certainly weren’t used to the limited view of the helmet, unaware of someone swinging a giant hammer at their back until it smashed into their backplate. No matter who was in the armor or what their attentions were, Blake winced when the blow landed; it looked painful.

The knight was sent sprawling in the dirt and essentially forgotten about; while many grand melees operated under the idea that a contestant either died, ran away, or won, and no one cared how many fell into the first category, this one was different. As long as an opponent stayed on the ground or only crawled, they would be left alone; the last person standing would be crowned victor, and each was in charge of gauging whether getting back up would be a wise idea. The knight got back up.

“Tenacious,” Ghira said. “I would’ve stayed down.”

“Only in a contest,” Kali replied, a lilt to her voice. “If something was riding on it, though, you’d get back up.”

He nodded. “True. They must be fighting for something.”

The knight- perhaps because of their weakened defense, perhaps because they were the only one fully armored, perhaps because they had the audacity to wear a foreign kingdom’s armor, who could really tell the motivation- became the favored target of those closest to them. Hammers, maces, mauls, swords, clubs, axes: every weapon on display turned against the knight, who met or blocked most but couldn’t be quick enough to block them all. When a battleax struck the knight in the head, a cascade of sparks indicating the killing edge of the ax had penetrated the helm, Blake thought the knight would stay down. It would be safer. But the knight got back up.

“Why won’t you stay down?” Blake leaned forward as the knight stumbled back a few steps, their right hand reaching up and roughly pulling off their helmet.

If possible, many mysteries were solved by the act, only to be replaced by a plethora more as an uproar began rising through the crowd. The entire Belladonna family jumped to their feet and leaned forward, each disbelieving what they could plainly see before them. Blake leaned against the banister, straining her eyes and ears for any hint of deception- because, surely, what she was seeing couldn’t be what was actually happening.

Yet, as the helmet fell to the ground, the visage of the mysterious knight became visible- piercing blue eyes, a scar across the left just a few weeks’ healed, and long white hair like an unbroken line of moonlight. In other words, a member of the Atlesian royal family, and a very prominent figure at that: Princess Weiss Schnee. She was busy fumbling with the straps to her chestplate while Ghira tried to call an end to the melee- the last thing they needed was a royal heir of another kingdom being seriously injured during the tournament- but the roar of the crowd drowned him out. Blake held her breath, unsure of what she expected or what she wanted to happen next.

Then, the Princess tossed aside the breastplate and all its attached bits- the heaviest part of her armor- and raised her sword, bellowing something at the opponents who surrounded her. Whatever she said, it moved a few of them, and three stepped forward to meet her. Three weapons sought to strike at her, without the bulk of her armor.

However, without the bulk of her armor, she was quicker than anyone expected. Without the helmet, she had her full field of vision; without the breastplate, she could twist and turn easily; without the pauldons, she could lift her arm with ease. Her sword flashed, knocking aside two of the three weapons turned against her- a scythe and a battleaxe- while meeting the third- a sword- which she batted away. She was akin to a dancer gliding across the battlefield now, twisting and turning to keep her blade between her and her enemies, even when they surrounded her. The wise ones, those who had battled previously, chose now to weed out some of their opponents, fighting off to the side, while those who had little experience attempted to best the Atlesian.

“Stop the melee!” Ghira took a deep breath, preparing to bellow the words when it became apparent that he couldn’t be heard over the raucous excitement below. But Kali put a hand on his forearm.

“Wait… she wants to fight; let her fight.”

Blake could see it, too. Doffing her armor hadn’t made her invulnerable; she still seemed to be at a disadvantage and a few blows managed to land anyway. Yet, she kept getting back to her feet. One didn’t submit to this sort of punishment for no reason. Blood ran from an open wound on her head on the opposite side of the scar and she was clearly having difficulty breathing- perhaps a bruised or broken rib from the hammer blow earlier.

The veterans had nearly thinned out all the other contestants and the Atlesian had done her part to discourage the rest from continuing to fight.

But everyone had their limits, and the Princess found hers when one of the veterans wielding a giant hammer took a swing from her blindside. The blow sent her sprawling and though she obviously struggled to try and regain her feet, another defeated contender nearby lifted his head just enough and seemed to say something to the Atlesian. Whatever he said, it convinced the woman to simply lay down until one of the tournament’s attendants hurried in to whisk her and the other defeated combatants away.

Blake turned immediately.

“Cub.” Her father’s voice held equal parts a warning and concern.

“I’m just going to make sure she’s alright.” She was already halfway down the stairs by the time she responded, searching for where the disqualified contenders were brought. She could see some tents where people limped about and the occasional cry from wounds being tended drew her towards them. A few people acknowledged her- attendants who had no interest in watching the melee, competitors awaiting one of the later events, and those who left the melee but had recovered enough to move of their own power- but no one stopped her as she searched through those wounded during the melee to find the Atlesian. She eventually found the woman struggling to pick up her dirty and discarded breastplate, stringing together words in what Blake thought was Old High Atlesian but could’ve easily been an eldritch curse. “Well, at least you’re standing.”

Those piercing blue eyes landed on her with a force similar to one of the hammer blows she suffered earlier but softened almost immediately as her expression shifted from fury to embarrassment. “Your Highness, you needn’t worry about a- a lowly warrior-”

“You’re the Princess of Atlas.” Blake crossed her arms over her chest. “I think you underestimate how recognizable you are or how intelligent I am. Hopefully, it’s the former.”

Although her lips twisted into a sour expression, she nodded. “It is, I assure you. I intend no disrespect, Your Highness.”

Blake’s eyes narrowed, unsure what game the Princess might be playing at, seeing as they were of equivocal rank as far as Blake could see: both daughters to ruling monarchs. If anything, Blake might be positioned slightly higher, as she was an only child and Weiss was second born, but hardly enough to warrant the constant, stiff formality of the Atlesian aristocracy. Then again, she would expect an Atlesian to disregard her rank entirely simply to snub her. “None taken… Your Highness.”

They held each other’s gaze for a moment longer before they were interrupted by a tourney attendant entering the tent bearing a tray with a tea set.

“Ah, Chief Blake, apologies for intruding-”

“It’s fine.” Amber eyes fell on the tray, noting the single cup. “Could you bring a second cup?”

“Of course.” A low bow after setting down the tray preceded the attendant- a ram faunus, if she didn’t miss her guess- ducked back out of the tent.

“I hope you don’t mind,” she said, taking the teapot and pouring the cup. It had to be some sort of Atlesian tea, dark and pungent, as no tea leaf in Menagerie was that dark brown color. Then again, Atlas sat high in the mountains amid snow and ice while most of the tea shrubs they cultivated in Menagerie were surrounded by dirt and desert; it seemed there was some sort of inverse relationship between the color that surrounded a tea bush and the color of the liquid it produced. “But I find myself curious as to what a member of the Atlesian royal family is doing joining a tournament in Menagerie.” She picked up the saucer and held it out to Weiss, making it clear that she’d poured the cup for the woman and not herself. “Perhaps you can indulge me over a cup?”

Weiss looked at her as one might regard a snake poised to bite before relenting, sighing heavily and letting the breastplate drop unceremoniously to the floor so she could accept the saucer. “I suppose.”

Her ears canted back. “I don’t want to twist your arm about it.”

“It’s… not that.” The woman sighed, frustrated, and trudged over to a chair, setting down the saucer on a nearby low table as she eased herself into the seat, her greaves creaking with each step. “I’d hoped to earn a knightship as a means of proving… something.”

“Something?” Blake grabbed a chair and brought it over next to Weiss as the attendant returned. She poured herself a cup from the teapot and sat down next to the Atlesian.

“Yes, something- if I could articulate it-”

“That wasn’t me prompting you,” she said, settling into her seat and grabbing her saucer. “It was… I suppose a bit of camaraderie. I know what it’s like trying to prove something you can’t explain… and you aren’t sure if you’re proving it to someone else or yourself.” A small smile. “To put your mind at ease, you can still attempt to earn your knightship; you don’t need to defeat me to earn the title.”

Weiss narrowed her eyes, pride bristling. “Are you implying I couldn’t defeat you?” Blake pointedly looked over the woman’s battered form. “I don’t mean right this moment, damnit.”

“I’m not sure but I’d like to see you try.” As she took a sip from her cup, Blake paused, then spat the whatever it was out of her mouth as her expression twisted up. “What is this? This tea is horrible!”

“It’s not tea; it’s coffee,” Weiss said, barely concealing her amusement behind her cup as she took a long sip without flinching.

Blake threw her a baleful look while setting down her saucer. “You knew.”

“I knew that I’d given her coffee grounds and told her how to make coffee and that she brought me back what smelled like coffee; you were the one who thought you knew what was in the teapot. You could’ve asked.”

The attendant from before- either anticipating the fallout or hearing Blake’s reaction- appeared with a second teapot that poured blessedly green tinted tea. She almost burned her throat trying to wash out the taste left in her mouth. “I hope you realize this is even more incentive to make you regret applying for knightship in my kingdom, Princess.”

“Then my impending knightship will be all the sweeter once it’s won, Chief.”

As much as she should be annoyed by the flippant response, Blake found herself smiling before taking another sip of her tea.

#monochrome #checkmatingweek2021

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earths-roots-grow-up · 4 years

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This is a super long Headcanon about Austria’s and Hungary’s relationship. It’s connected to my Austria’s Sexual Preferences HC.

WARNING for Austria being an ass, angst, toxic relationship patterns and some upsetting historical stuff like war and military dictatorships. If you love fluffy cute AusHun and hate that stuff, it may just not be your cup of tea :-).

A quick rundown of some Hungary/Austria history:

“In early stages (1500s) the lands that were ruled by the Habsburg Hungarian kings were regarded as both “the Kingdom of Hungary” and “Royal Hungary”. Royal Hungary (…) was de facto a Habsburg province.” (wiki)

“Rákóczi’s War of Independence (1703–11) was the first significant attempt to topple the rule of the Habsburgs over Hungary. The war was fought by a group of noblemen, wealthy and high-ranking progressives and was led by Francis II Rákóczi. The insurrection was unsuccessful, ending with the Treaty of Szatmár; however, the Hungarian nobility managed to partially satisfy Hungarian interests.” (wiki)

Later on Joseph II Habsburg (1765–1790), Holy Roman Emperor and the Archduke of Austria, abolished local governments in countries that were parts of the Habsburg empire, including Hungary. He established German as the official language of Hungary and divided the country into 10 parts, ignoring the historical divisions that existed until then. He unified Hungarian and Austrian administrations. All of this was met with opposition from some of the strongest groups in Hungary (like the magnates and the Magyar nobility), but they were ignored. Austro-Hungarian conflict was something that has been stewing in the background of the Habsburg empire for years and revolutions were not unheard of. All of this came to a head in 1848 when the Hungarian Revolution began and the Austro-Hungarian war followed.

The biggest event that kick-started the revolution was the illegal act of revoking Hungarian April Laws by the Austrian monarch. April laws were laws established by the Hungarian parliment and ratified by the last Hungarian king (bc even tho under Austrian rule, the Kingdom of Hungary still had some autonomy, such as the parliament). Their aim was to modernize Hungary into a parliamentary democracy. The new Austrian monarch, Francis Joseph, didn’t like that and revoked them. This was a completely illegal act, he had no right nor authority to overwrite the hungarian parliment - but he still did. This really crossed the line with the Hungarians, who - as mentioned above - already had some problems with the way Austria was domineering over Hungary and history of revolting. So it began: “Hungarians brought 12 demands to the Austrian leadership, among them freedom of the press, civil and religious equality, and a national bank. A bloodless revolution took place on March 15, 1848, and the first independent Hungarian government was formed with Lajos Batthyány as Prime Minister.” The revolution itself was bloodless, but the war that followed wasn’t. Austria got help from Russia and the combined Russian and Austrian armies ended up winning the conflict. Hungary was yet again under complete Habsburg control. After Hungary lost, it was put under brutal martial law by Austria and Hungarian generals and members of the parliament were executed, including Lajos Batthyány who - ironically - was trying to reach some kind of agreement with the Habsburg dynasty throughout the revolution. They thanked him with a firing squad. Stay classy, Roderich. Very heavy taxation was put on the Hungarian people as punishmen. All of this was a deciding factor in how the future Hungarian/Austrian relations looked like - the “Hungarian problem” became one of the hottest issues for the Hapsburg monarchy for years to come. The military dictatorship and absolutist rule that Austria introduced over Hungary lasted for 18 years and ended in ‘67 with the Austro-Hungarian Compromise, in which a dual monarchy of Austria-Hungary was established. “The territorial integrity of Kingdom of Hungary was restored. The Compromise partially re-established the former sovereignty of the Kingdom of Hungary, however being separate from, but no longer subject to the Austrian Empire. The agreement also restored the old historic constitution of the Kingdom of Hungary.” (wiki)

Why did Austria agreed to the compromise after almost 20 years of martrial law and terror? WELL “As a consequence of the Second Italian War of Independence and the Austro-Prussian War, the Habsburg Empire was on the verge of collapse in 1866, as these wars caused monumental state debt and a financial crisis. The Habsburgs were forced to reconcile with Hungary, to save their empire and dynasty.”

Headcanon: I personally HC that Austria and Hungary got married in 1570 as a direct result of the personal union between both countries. Until then, the Kingdom of Hungary was ruled by two kings: one Hungarian, and one Austrian, but in 1570s the Hungarian king abdicated in favor of the Austrian ruler. And ever since, until the Habsburg empire fell apart, the Austrian monarch was also crowned as the Hungarian king. So I consider this event the beginning of their marriage. (I’ll explain why I moved the marriage this early at the end of the post. Hint - for narration purposes :D to me a HC has to create a coherent story first and foremost)

They did love each other, and tho their marriage was mostly a political union, they were both happy to start a life together as husband and wife. But the relationship itself was unhealthy, especially for Hungary.

The simplest way I can explain how I see it is: a young, naivee woman in love marries a controlling man, who also loves her, but still wants to completely dominate her. She is shocked by the reality of mariage with him but tries to accept the new way things are now (still, the hungarian revolution of early 1700s shows that internally, she has a problem with the lack of equality).

She convinces herself that her rebellious tendencies are the real problem here, as this is what he tells her, and tries to become the Perfect Wife.

The marriage is a long one and deteriorates very slowly, from Happily In Love, through Disappointment and then Growing Resentment, into an open conflict and the escalation of toxicity. So a story as old as time.

Longer version: Austria was controlling and saw himself as the authority in their relationship: she was to listen to him, never argue with him, speak German to him, be proper and refined and play by HIS rules. She was to completely leave her old customs and ways of life behind (she was a free-spirited horse-riding warrior, he wanted a proper lady in a corset who only speaks about the weather, music and art. Austrian, preferably. She wanted to feel the wind in he hair, he though that was inappropriate. etc).

There was no place for equality here and there was no place for her true nature either. He only accepted her more wild self when he needed military help from her, but then she was to put on her (Austrian) gown again. This was a shock for an outspoken, independent and strong woman, but Hungary at first did believe that this was the best for her (’we’re stronger together’ etc).

Also, she was really in love. To the point of being willing to give up many of her freedoms and passions to be “the perfect mate” Austria expected her to be. She lost a lot of herself during those long years of trying to please him. After all, there was a lot about Austria she admired - he was artistic, subtle, refined, had this air of royalty about him. He could be such a gentleman - she was not used to being treated like a lady, as she was always “one of the guys”, and truly enjoyed it. She LOVED his music. He gave her expensive gifts and composed sonatas and poetry for her. Etc. But still - she wanted equality and to be seen for who she really is, and he was only willing to be the dashing gentleman when she played the role of the quiet, obedient SO. Resentment and anger rose in her and her romantic love and attraction for Austria began to rot away. The Perfect Wife role was at first something she got used to and though she could pull off, but with time, it got more and more frustrating.

When in 1848 the Austrian monarch decided to illegally overwrite her parliament - it was a boiling point for her. She saw red and grabbed her weapon. Tho the attempts of her leader, Lajos Batthyány, to work out a compromise with the Austrian monarch tell me that she did still want to make the marriage work and still hoped that they could become a better couple - just on different terms. But, of course, Austria was not into that. The total fallout of their relationship at this point might have seem unexpected to some, as they did pretend to be the Perfect Power Couple when in front of others, and she was discreet with her angst. But in reality this tension has been rising for years and the marriage has been an unhappy one for some time now.

And from Austria’s side, the sad reality was - he married a woman that was just too strong. That’s why he put such drastic measures in place after the Revolution failed - he wanted to dominate her once and for all and have his Perfect Marriage. He didn’t do it because he was vengeful or evil, he was just selfish and egocentric. In some messed up way, he thought she still could be happy with him, IF ONLY SHE DID WHAT HE TOLD HER TO.

The war and the brutal dictatorship that followed the Revolution were the darkest time in their relationship. It pretty much ended the intimacy they had. During this period they would get into loud arguments, throw things, he would then punish her by being even more controlling, she would take revenge in small ways like ruining his fav shirts by accident and started to think about a divorce. When Austria lost his wars with Prussia and Italy - she was on top of that, pretty much immediately demanding more rights. He had no strength to oppose her at this point. She even felt sorry for him, seeing how weak and wounded he was. Some old feelings resurfaced. The relationship abruptly got better, as she helped him heal while he began treating her better. He apologized for the way he treated her. He said that being at the brink of death made him realize the errors of his way. She was happy and agreed to re-new their vowes (the beggining of Dual Monarchy) - but she never forgot how ugly he could act. Things were never the same again. Something in the romantic relationship just died for her - most importantly, she never trusted him again. He could say all he wanted about how he’s sorry and would never do it again, the reality was - and she recognized it - that he only said those things when he was scared of death and desperately need her. When he was strong and felt well, he held her in an iron fist and forced martial law on her. The Dual Monarchy began, but the the romance was over. They still played the roles of hudband and wife in front of others, but slept in different beds.

This is tragic, because the love they had for each other was real. It was just totally ruined by Austria’s need to be in control of the relationship and inability to see her as an equal. They had totally incompatible ideas of how the relationship should look like.

When they divorced after WW1, Hungary did not suffer. To her, the divorce already happened - she mentally divorced him years ago, all that was left was a husk of the marriage and an old ring. For Austria, it was worse, as he still hoped they could rebuild and was forced to accept the rality that nope, its not happening. He took it badly.

Today they are exes that consider each other friends but Hungary would never want to return to a romantic relationship with him, as she believes that even tho Austria seems more chill nowadays, he would not be able to keep his controlling tendencies in check. This whole thing taught her that she never wants to change for a man.

The relationship between them is very complex and runs deep - tho they had their share of conflicts and toxicity, that does not mean good things never happened. They also know each other incredibly well and there is closeness there that neither of them wants to let go of.

Explanation: I moved their wedding from the birth of Austro-Hungary to an earlier date, because to me personally it makes more sense narration-wise. I don’t think Hungary would ever agree to marry him if the Revolution of 1848 and the bloody martial law already happened - this, to me at least, reads more like a dramatic conclusion to a long, difficult relationship that is becoming more toxic with time and then implodes, not something that happened before the marriage starts. So sorry for it not being very canon-friendly, but to me, it just creates a pretty coherent, emotional story of a downfall of a marriage that had potential, as there were honest feelings involved, but the dude was an ass.

This whole HC was born in baby form when I watched the episode in which Prussia wants Hungary to go hunting, mentions she used to like it, and she refuses and instead prefers to clean Austria’s house. He then comments that she changed. It was played as lighthearted and funny and I do recognize that Hima probably wanted to show that she got more mature while Pru is still like a kid, but it actually made me really sad for her. Then I watched the show Freud on Netflix and got interested in the anti-austrian movements in Hungary (LOL sorry I know this sounds really silly! ^^’ it’s a good show tho). And it kinda fitted - she wanted to hunt, she was just putting herself in smaller and smaller boxes as the Perfect Wife bc Austria expected that and she still hoped it will make her dream of Lived Happily Ever After come true.

#aph hungary #aph austria #hws hungary #hws austria #hetalia #Axis Powers Hetalia #hetalia world series #historical hetalia #hetalia headcanons #abuse #toxic relationship #sad love story #aushun

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your-dietician · 3 years

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How intense psychotherapy and a Bel-Air love nest led to John Lennon's classic debut album

New Post has been published on https://depression-md.com/how-intense-psychotherapy-and-a-bel-air-love-nest-led-to-john-lennons-classic-debut-album/

How intense psychotherapy and a Bel-Air love nest led to John Lennon's classic debut album

John Lennon and Yoko Ono in January 1970. (Richard DiLello / Yoko Ono Lennon)

In the months before John Lennon and Yoko Ono entered Abbey Road Studios in London to start work on what would become the album “John Lennon/Plastic Ono Band,” the couple were renting a home on Nimes Road in one of L.A.’s fanciest neighborhoods, Bel-Air.

The Beatles were still the most famous group in the world but were in the midst of breaking up, with members traveling to and from London to finish “Abbey Road,” work on various solo projects for their label Apple Records and argue about release schedules and royalties.

Living along a curvy lane behind walls that afforded complete privacy and overwhelming views of the city, Lennon and Ono were a world away from that drama. They woke to the sounds of chirping birds, sprinklers and lawnmowers, enjoyed their tea alone and, when so inclined, chilled by the pool. Lennon worked on some songs, including “Working Class Hero,” “Mother,” “Well, Well, Well” and “God.”

Then, each morning, Lennon would drive down Beverly Glen to psychologist Arthur Janov’s West Hollywood office, enter a darkened, soundproof room and scream as loudly and violently as he could.

“He used to finish a session feeling incredibly good,” Janov once recalled.

This backdrop set the tone for “John Lennon/Plastic Ono Band,” which came out in December 1970 and is the subject of an exhaustively documented box set just released by Capitol/UME and the Lennon estate. Called “John Lennon/Plastic Ono Band (The Ultimate Collection),” it comes with six CDs, two Blu-ray discs, a hardbound book, poster and postcards. It’s a revelatory set, especially for those with access to hi-fi gear and a darkened, soundproof room.

Newly mixed to increase Lennon’s vocal presence from fresh high-resolution transfers, the set features 87 recordings that have never been officially released, including rehearsal sessions, demo tapes recorded on Nimes Road and a series of alternative mixes drawn from unused tracks — congas on “Hold On” are a revelation, for example. An accompanying coffee table book, “John & Yoko/Plastic Ono Band,” offers an even deeper dive into the couple’s creative partnership.

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“During 1970, we did extensive Primal Scream therapy for six months, which was very beneficial for us and many of the songs were inspired as a result of those sessions,” writes Ono in the preface to the coffee table book, adding that “John’s songs were a literate expression of his feelings.” (Ono declined an interview request for this article.)

John Lennon relaxing by the swimming pool at his and Yoko Ono’s rented home in Bel-Air during the summer of 1970. (Yoko Ono Lennon)

The result, “John Lennon/Plastic Ono Band,” was Lennon’s debut solo album. It was issued the same day as Ono’s companion album, “Yoko Ono/Plastic Ono Band,” and found Lennon in an intimate setting with a few friends purging unfiltered emotions into songs about “freaks on the phone,” isolation, leaders who “tortured and scared you for 20-odd years” and his lack of belief in, among concepts, Jesus, magic, Adolf Hitler, the I Ching, the Buddha, yoga, kings and the Beatles.

“He had changed a hell of a lot because of this primal scream thing, and that was really heavy,” says Klaus Voormann, who played bass on the album, on the phone from Germany. “It was heavy for him, it was heavy for Yoko, and it was heavy for us.”

As with most things Beatle-related, the critics loved Lennon’s “Plastic Ono Band” when it came out. Creem’s Dave Marsh wrote that it was “interesting and even enlightening to see a man working out his trauma on black plastic but more than that, it’s totally enthralling to see that Lennon has once again unified, to some degree, his life and his music into a truly whole statement.”

The Times’ Robert Hilburn called it “nothing short of a masterpiece,” and “a work that is filled with pain and sorrow, searching and struggle. It is frightfully honest, profoundly moving.” That its emotion is tied to a bestselling psychology self-help book is often overlooked, but it played a central role in Hilburn’s review.

Arthur Janov in 1998. (Ann Summa/Getty Images)

“Primal therapy has to do with the traumas you’ve undergone in the womb, at birth, in infancy and childhood,” Janov explained in an interview excerpted in the book. “We have needs that we are all born with, and when those basic needs are not met, we hurt. And when that hurt is big enough, it’s imprinted in the system. It changes our whole physiologic system and all those pains are held in storage, causing tension, anxiety and depression.”

After Lennon and Ono read Janov’s book, “The Primal Scream” (subtitled “Primal Therapy: The Cure for Neurosis”), Ono asked that Janov travel to them in London, which he did. “He was in bad shape. He couldn’t leave his room,” Janov said of Lennon. But Janov had work in L.A., so Lennon and Ono followed him back and rented a home in Bel-Air. Lennon wasn’t the only one enduring pain. He and Ono had been trying to have a baby, but she had suffered two miscarriages.

Forced to return to England six months later to deal with visa issues, Lennon and Ono were barely off the plane before they entered Abbey Road. The sparse, emotionally raw Lennon solo album is dense with echoes of his West Hollywood wails, and the sessions were the same, Voormann says.

Voormann, best known for creating the art for “Revolver,” had met Lennon and the rest of the Beatles long before Beatlemania took hold, when they were rocking the Star Club in Hamburg, Germany, in the early 1960s, and he remained within the band’s inner circle. At the end of the decade, Voormann had just concluded a run with Manfred Mann when Lennon called to ask whether he’d join him, Ono, Ringo Starr and producer Phil Spector at Abbey Road. Needless to say, it was a welcome invitation.

At Abbey Road, Voormann described walking into “a whole vibe. There was crying. There was laughing. There was happiness. There was hugging each other. And we were all part of this amazing atmosphere.”

John Lennon at EMI Studios in London on Oct. 9, 1970. (Yoko Ono Lennon)

Simon Hilton, the box set’s producer and production manager, said that contrary to reports that Lennon “was angry and throwing headphones and stuff and making a fuss” during the week at Abbey Road, “there’s no evidence of that at all.”

Listening to the rehearsal tapes, which find Lennon, Starr and Voormann working through classics including “Honey Don’t,” “Mystery Train,” “Glad All Over” and the Beatles’ “Get Back,” Hilton continues, “you can hear what an amazing time they were having.”

The three were “obviously working really hard but also really enjoying being in each other’s presence. They were such good mates and I’m sure after the tensions of sitting in the room with Paul and George and Ringo, this was a huge relief.” (Hilton stresses that “John never had any beef with Ringo, ever.”)

“There is a playfulness among the three main musicians that in no way represents how earnest the songs are,” says Rob Stevens, who worked as a mixing engineer on “The Ultimate Collection” and oversaw the raw studio mix recordings and outtakes. “The laser beam is turned on right when the take starts and it’s turned off at the end — and there’s some real silliness before and afterwards.”

A Klaus Voormann illustration from the “John Lennon / Plastic Ono Band” sessions in October 1970. (Klaus Voormann)

All you need to do is listen to “Mother,” the wrenching opening song on the album, to appreciate the ways in which primal scream therapy informed the sessions.

Voormann remembers worrying about Lennon’s vocal cords as he sung the track’s climactic ending, which finds the singer pushing his limits. “I was thinking, ‘Oh my God, I hope he’s not going to lose his voice.'” Lennon, the bassist adds, was never trained as a singer, and cited as an example once requesting “Please Mr. Postman” during the Hamburg days. Lennon declined. “He said, ‘No, let’s do it as the last number because if I do that now, I’m going to be hoarse all night.'”

Lennon is on the cusp of hoarseness, Voormann says, in the final version of “Mother,” which is a song that addresses Lennon’s relationship with his mom, Julia, who as a young parent left Lennon to live with his Aunt Mimi and only sporadically reached out after that. (“I lost her twice,” Lennon recalled during an interview. “Once as a 5-year-old when I was moved in with my aunty, and once again when she actually physically died.”)

“His voice is already starting to break on the record,” Voormann says, “and it’s fantastic because he is really screaming as much and as long as he can. He wanted to get that out of his system. The wounds were opened up inside of him, and these wounds he put into those songs.”

John Lennon and Yoko Ono in London on Feb. 11, 1970. (Richard DiLello / Yoko Ono Lennon)

If there was a flaw, for Ono it was in the final mix. Lennon’s voice wasn’t prominent enough. For this new remaster, Ono suggested the engineers make it more prominent. “That was Yoko’s directive right from the beginning,” says Paul Hicks, who mixed and engineered much of the new set. “‘Bring John’s voice out to the fore’ and ‘You’ll find all the emotion in John’s voice.'”

Adds Rob Stevens of Lennon and Ono’s Lenono Archives, “Bringing John’s voice up was a real revelation for just about anybody who had listened to anything else that he had done.” Referring to a microphone effect that adds a sharp echo, Stevens added that Lennon “covered his voice up with a ton of slap. There’s a ton of reverb.” Stevens says that in the process of working on the recordings, he was able to remove the reverb and hear the unfiltered Lennon. “What was there was the same emotion but more nuanced because there wasn’t a slap or two or three behind it.”

The producer and engineer John Leckie was 20 when he landed a coveted entry-level job running tape at Abbey Road Studios in London. He started in January 1970 and, not long after, was in the studio recording “All Things Must Pass” with George Harrison, and half a year later he was working on Lennon’s record.

Leckie, who has gone on to produce essential records by the Fall, Radiohead, XTC, Elastica, My Morning Jacket and dozens more, says that he recalls this early Lennon session as being a relaxed, comfortable environment. Spector was a quiet, unobtrusive presence — there was no “Wall of Sound” at Abbey Road — and Ono was more involved with the creative back and forth.

“Phil wasn’t there all the time, but my memory is that he was there a lot of time and when he was there, it was really good vibes. It’s funny, because when people ask me about this record, they always seem to think there was this angst — dreadful, painful. ‘What was it like to be in the room with John pouring out all this angst about his abuse over the years and the terrible terror he was going through?'”

Leckie continues, “It wasn’t like that at all, and you can tell by this box and the outtakes it was great fun. He was playing with his best friends. He was playing with Ringo and Klaus Voormann, and he’d known Klaus since Hamburg.”

Voormann underscores the sense of camaraderie at play, an experience jarred by hearing the rehearsal tapes anew. “All this came back to me. It felt so good having certainty knowing we were really a group — this little tiny group, just Ringo, me and John.”

Lennon’s solo debut, in hindsight, was an outlier. He started recording its follow-up, “Imagine,” less than a year later, and not long after that, he and Ono separated. Lennon moved back to L.A. and commenced a bender that many nights led him just a block from Janov’s office, getting drunk with Harry Nilsson at the Troubadour. Lennon and Ono reconciled a few years later. The five studio albums that followed “Plastic Ono Band,” while accomplished, seldom matched the feral energy and sharpened pen found on his debut.

Meanwhile, by 1974, Janov was in the pages of The Times being lumped in with Dear Abby, Billy Graham, radio talk show hosts and witches, as a guru who “professes to have an answer for sale.” A documentary called “Primal Process” followed a few years later. One reviewer praised the film but warned that “the continuous crying can be taxing.” In the 1980s, the English new wave group Tears for Fears took its name from Janov’s therapeutic method, and the similarly inspired “Shout” became one of its signature hits.

Janov, for the record, loved “John Lennon/Plastic Ono Band.” Speaking to Hilburn in 1970, the therapist and author, who died in 2017, described it as “a very dialectic album. It is the most personal statement imaginable, yet it has a universal language. It could only be written by someone who has arrived at a state of understanding himself. It isn’t something that any kid with a guitar could sit down and write.”

This story originally appeared in Los Angeles Times.

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ammakou · 3 years

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Here’s what I have for Ammy’s Dragon Ball AU! I wanted to implement some new lore, while not intruding too much on what’s currently known in canon, so I hope this won’t step on anyone’s toes! While what I have here is satisfying enough for me to post, this is still a WIP in a way, and susceptible to changes here and there.

There’s a TLDR section down at the bottom, if anyone prefers a summarized version of all these paragraphs.

An immeasurable time ago, before the 18 universes, there existed one universe.

In this universe, beyond the millions of thriving lifeforms, dwelled two cosmic forces considered primordial by all. Named “The Light” and “The Dark” respectively, it was believed the two kept the universe in order, being insentient gods. The Light was all of the stars and the lifeforms born from them, the source of the vital energy - being referred to as “ki” in time - that dwelled in everything. The Dark was the absence of light, of life, and of ki. In this balance, they were the symbolic roots in which the natural cycle of life and death branched off of.

Mortals who chose to devote their lives to studying the forces ascended due to spiritual enlightenment and evolved to become Priests of the Cosmos. They made it known to mortal kind that they were instilled with sacred knowledge via having visions: it was possible for one force to choose someone to become unified with it, and wield its power. They believed the forces would someday choose two mortals to become gods and co-jointly rule the universe, leading them all into paradise.

One day, a man who thirsted for power and wished to claim what he believed was rightfully his, sought out the forces. The Priests let him be, convinced that he would be rejected for his selfish values and tainted heart, but the man succeeded in his goal. The Dark chose him for reasons unknown, and he quickly established himself as the realm’s one of the realm’s “true” gods, utilizing vast and seemingly endless powers of destruction and decay - along with everything associated under those umbrellas. His name was “Tokoyami”.

Tokoyami used the force that was now eternally a part of his soul for malevolence, having went mad. He swiftly took over the universe, causing immense suffering to all and disrupting the balance of life and death, as more entities & planets were being destroyed than those being created. The only thing able to cancel out his power and “reverse” its effects was The Light’s reign of creation and growth, the Priests believed, but no one could say who it would choose. A woman stepped forward to the Priests, who was willing to do whatever it took to put an end to the chaos born from Tokoyami’s hands.

She was chosen. Her name was “Amaterasu”.

Amaterasu and Tokoyami soon met in a vicious battle of the likes which no one has ever seen before. The universe itself was shaken to its core. The impacts of their power colliding were so extreme, so unnatural as the two were supposed to work in harmony and not in opposition to one another, that it cracked the stability of time and space. As their battle went on, the cracks turned into fractures, that then completely shattered.

Reality was corrupted. The universe fell apart. Amaterasu and Tokoyami were both extremely damaged and fatigued from fighting. Tokoyami’s physical body crumbled away, and what was left of his mind fell into deep slumber, while Amaterasu clung to consciousness in order to spare the Priests from being flung into the void with all other life. Knowing she was on a timer, she decided on the spot to repair spacetime as best she could, and not only create a universe to replace the one lost, but more than one, so life had its greatest chance to thrive; no matter where it was.

18 universes, clusters of galaxies, in their individual zones. Outside the new multiverse, in the remnants of the original universe, the Priests were given their own world. Another world was created, where Amaterasu planted seeds that would become trees that would give birth to creation deities meant to help maintain the life in the universes. Lastly, she created one entity who would symbolically be her direct representative, having absolute authority over all.

Her time having ran out, Amaterasu could only instruct the Priests to harness a fraction of Tokoyami’s power that still lingered everywhere around them and learn the art of destruction to keep the balance between life and death in the universes. Or they could choose other lifeforms to do such for them, if they saw fit.

A sincere farewell was the last said by Amaterasu before she lost her physical body, and her mind also fell asleep – for a duration none knew nor could predict.

Millions of years have passed. The Priests have evolved to become the Angels. Some Angels are the teachers and attendants to Destroyers, who work with the Kai: the creation deities born from Amaterasu’s trees. One Angel, the father of the Angels who attend Destroyers, is the attendant to the entity Amaterasu left to overlook existence: the childish Zeno. Knowledge of the original universe, of Tokoyami, and of Amaterasu is unknown to all except these individuals…or at least, that was the case.

In the passage of it, it is natural for things to become lost to time. Perhaps, even the Angels have forgotten what used to be. Perhaps they have forgotten Amaterasu. Regardless, life is how it is now. Only 12 universes currently exist, 5 being erased by Zeno out of anger, and the deities and whatever underlings they may have developed their own systems for governing life.

However…a mysterious white-haired, crimson-tattooed woman wearing a tattered cloak has been seen on Earth recently. She possesses powers that, if witnessed by others, seem to be similar to the gods – the Kai in particular. Yet, she is not a Kai. She has no memories of her past life.

It remains to be seen, what this could possibly mean for the multiverse.

TLDR: In the original universe, before the 18 (currently 12) universes came into being, Amaterasu and Tokoyami were chosen by cosmic forces to become the first gods of creation and destruction respectively, and gained the ability to manipulate ki. Tokoyami went mad with his power and wreaked havoc throughout the universe. Amaterasu fought him, and their fighting caused reality to collapse into nothingness. Tokoyami fell into slumber due to extensive damage and fatigue from the battle, while Amaterasu managed to hang on for longer.

She saved a group of entities called the Priests of the Cosmos - that would eventually become the Angels - from reality’s fall and repaired spacetime before creating 18 new universes to take the place of the old one. She created the trees that would give birth to Kai that would take up her role of creation, and created Zeno to overlook reality as it was now, before asking the Priests to find some entities to take up the role of destruction with Tokoyami’s lingering power before falling into slumber herself. The Priests, Angels, did so by finding mortals to become Destroyers with they being their teachers and attendants.

Millions of years later, Amaterasu has awakened, but she has no memories of her previous life and lacks much of the power she originally had - not that she knows it. It is unknown if Tokoyami has also awakened.

EXTRA:

— In terms of her Celestial Brush techniques, Amaterasu still has the general abilities in this AU, but the “Celestial Brush” element is absent. They’re like a combination of ki techniques and magic (she can use regular ki attacks / energy blasts too). Her ability to shapeshift is still present, and she swaps in-between a human form and a wolf form the most.

— Amaterasu’s ki is infinite (similar to 17 and 18), thus she is unable to become fatigued - though that won’t stop her from occasionally nodding off from boredom.

— Due to her “death”, Amaterasu can’t achieve the grand scale of creation she could do in the past, but it is possible for she to regain it someday.

#v;「 dragon ball. 」🟊#/ this has been festering in my brain for months dghsgks; finally i got it all written in a coherent way \#/ well. i hope this is coherent/makes sense \

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houseisekai · 3 years

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FE3H:HI Shadowbringers - Part 3: Defenders for Enbarr

House Isekai Shadowbringers AU Masterlist Here

—

4 Years into the war, the siege of Enbarr has begun, with Dimitri, the Blue Lions, SEES, and Class VII rushing to its defense.

In the present, the mysteries surrounding the Agarthan helping House Isekai continue to grow, and the biggest question becoming more and more prominent: Why are they here?

—

Garreg Mach Monastery, Present Day…

Kazuma, Yuki, and Sitri rushed down the stairs to the entrance where everyone was readying their weapons.

(Aqua) “There you guys are!”

(Yuri) “Looks like it’s the Blue Lions up first.”

The former Blue Lions class walked casually towards the entrance conversing with one another. It looked like they hadn’t noticed them yet.

(Kurumi) “Wait, something’s not right. Why would they be just strolling right up to us if they were ready to attack?”

(Ainz) “Hmph. It may be possible they’re trying to feint us. We should remain on guard and-”

Before she finished that sentence, Class VII, Doomguy, and S.E.E.S came into view right behind them.

(Megumi) “They’re okay!”

(Cocytus) “DO YOU THINK THEY HAVE BEEN TAKEN HOSTAGE?”

(Sebas) “The Pleiades and I will move to intercept before they arrive, Lord Ainz.”

(Sharon’s Voice) “Oh, that won’t be necessary, Sir Sebas!”

(Kazuma) “GAH, FUCK!”

(Sitri) “DWAH?!”

(Yuri) “GODS-DAMN IT!”

(Megumi) “EEK!”

Everyone spun around but lowered their weapons once they saw Sharon standing right behind them with her signature unsettling smile.

(Aqua) “Do you REALLY have to keep doing that!?”

(Sitri) “S-She’s a friend?”

Yuri took a deep sigh and sheathed his sword.

(Yuri) “Yup. This is the retainer of House Isekai.”

(Sharon) “It is a pleasure to see you all again!”

Sharon bowed as the others finally made their way through the gates.

(Rean) “Everyone!”

(Minako) “I’d say it’s good to see each and everyone of you again buuuuut...I’d be lying.”

(Minato) “Tactful, Minako.”

Doomguy gave them a thumbsup.

(Dedue) “House Isekai? What are you doing here?"

(Ainz) "That's something we would like to know as well."

(Sharon) "Well, perhaps we can discuss this inside with tea once everyone arrives?"

Sara glanced over to the side and noticed Sitri.

(Sara) "...Who's this?"

(Sitri) “H-Hello...”

(Kazuma) "Oh right. Well, this is Sitri."

(Everyone) ?!

(Sara) "As in-?"

(Yuuri) "Byleth's mother, yes."

(Sylvain) “Well uh...That doesn’t exactly bode well.”

Everyone looked at Sylvain.

(Ingrid) “I’m sure we have loads of questions for each other, but let’s get inside first like Sharon said.”

They nodded and made their way to the Mess Hall.

After a few moments of everyone getting situated, they began discussing what had transpired for the past 5 years. Sharon and Doomguy remained near the entrance to keep a lookout.

(Yuri) “Good to see the Blue Lions fighting back in their own way, despite all the risks.”

(Dedue) “It was not easy. Especially with the risk of SEES being discovered.”

(Kurumi) “Oh yeah, you guys have been here the longest out of all of us right?”

(Minako) “Something like that. Mitsuru-senpai, can you explain?”

She nodded.

(Mitsuru) “When we awoke, we found ourselves 4 years later in the middle of Alliance territory. Fortunately for us, they were neutral in the war and we could move somewhat freely in towns. Claude informed us of what happened after our disappearance, and we were directed to help Dimitri.”

(Ainz) “So, what’s the situation like?”

Mitsuru paused for a moment before continuing.

(Mitsuru) “It’s far more complicated than we realized...”

The sound of footsteps came from the door, with Sharon and Doomguy in front of the newly arrived group.

(Edelgard) “More so than you could have ever predicted.”

The rest of the Black Eagles came into the room and made everyone but the Blue Lions, SEES and Class VII jump out of their seats reaching for their weapons.

(Yuuri) “E-Edelgard?!”

(Kazuma) “The hell are YOU doing here?!”

Dimitri appeared behind her and raised his hands.

(Dimitri) “There is no need for that. They are here as friends.”

(Darkness) “And...D-Dimitri? But...Don’t you-?”

(Edelgard) “Your confusion is justified, but please rest assured, the Adrestian Empire stands with you, not against.”

(Hubert) “If you won’t take our word, then perhaps your friends can vouch for us?”

The Black Eagles stepped aside and revealed-

(Akira) “Long time no see.”

(Yuki) “AKIRA!”

The School-Living Club were the first to lower their weapons, and Kazuma’s group and the Denizens of Nazarick slowly followed suit.

The rest of the Phantom Thieves went inside and everyone sat at the tables.

(Makoto) “It’s...quite good to see you all again.”

(Ryuji) “Heh, not that we had any doubts!”

(Kurumi) “How did you guys know to come here?”

(Kazuma) “Sorry to put that question on the backburner, but can someone explain what the FUCK IS GOING ON?! DIMITRI’S BACK TO HIS OLD SELF AND BUDDY BUDDY WITH EDELGARD, TIME SHIT IS GOING ON WITH EVERYONE GETTING HERE AT DIFFERENT YEARS, AN AGARTHAN BROUGHT SITRI BACK FROM THE DEAD, AND NOW EVERYONE’S TEAMING UP TO FIGHT THE CHURCH?!”

(Everyone) “...”

(Ainz) “...N-Not exactly the most eloquent way to phrase that but I harbor the same thoughts. What the hell is happening?”

(Rean) “Wait a seco-Did you say an Agarthan brought Sitri back?”

Akechi raised an eyebrow and turned to her.

(Akechi) “...Figured they had you six feet under with tighter locks on your grave this time.”

(Sitri) “This time?”

(Aqua) “We’ll get back to that later! Anyways, yes. Some Agarthan calling himself Lahabrea resurrected her with dark magic of some kind. We haven’t exactly been able to tell what he did.”

Dimitri put a finger to his chin before turning to Edelgard.

(Dimitri) “He never explained that he was going to do that before to me. What about you?”

(Edelgard) “This is news to me as well.”

(Megumi) “You...know him?”

(Dimitri) “He is why we are all unified under one banner to take down the Church.”

(Everyone) “...”

(Kazuma) “WHAT?!”

(Sharon) “Perhaps we should start at the beginning?”

(Edelgard) “Indeed, though I admit the details are a bit lacking from our point of view...”

(Dimitri) “Then I will begin...”

----

(Dimitri) “5 Years ago, after the Battle of Garreg Mach, the casualties sustained on both sides forced everyone to retreat to their respective territories, since no one could hold the Monastery.

Edelgard had officially declared war on the Church of Seiros, and by extension, the Holy Kingdom of Faerghus.

The Leicester Alliance as a whole remained neutral, though several territories flocked either to the Empire or Church whether out of fear, persuasion, or patriotism of their home country.

Without the interference or aid of the Alliance, the two sides could engage the enemy without holding back.

However, the most crucial part of this war, was due to the missing presence of House Isekai.”

(Kazuma) “Huh? Why the hell were WE the reason you all could duke it out with each other?”

(Edelgard) “Because you were wild cards.”

(Edelgard) “Your presence in Garreg Mach was not only noted by your classmates and the Church, but to the entire world. Whatever plans Rhea and I had planned were stopped completely into its tracks by your appearances.

Rean with Valimar, a massive Ashen Golem whose sword could cleave the strongest of fortress walls, not even including the skills of your Orbal technology with the rest of Class VII.

The summons of the Persona Users, who could change the tide of a battle within an instant using their full power.

Ainz Ooal Gown and the denizens of Nazarick, the strength of a Tomb who surpassed the strongest of this world.

The Doom Slayer, a name which even the demons of hell tremble to utter the name of.

Not only were you all insanely powerful, you all were unified under a banner not hung anywhere else in the world, House Isekai.

You had no allegiance to any nation of this world, and that meant you could end any of us single handedly.

(Minato) “We were a deterrence then?”

(Edelgard) “Correct. And when you retreated from the tomb that day, you had announced to Fodlan that you would wage your own war against everyone. Which meant that no one could afford to hold back, knowing you were here.”

(Minako) “Which means when we fell...”

(Hubert) “Yes, no one stood in our way.”

(Hubert) “Three years we spent our time fighting each other. It would have been likely that many more years were to pass were it not for rumors that troubled both sides.

The reappearance of a group of Persona Users.

(Mitsuru) “We were not aware that someone had made it here before us.”

(Makoto) “And you already know about our group so that means-”

(Dedue) “Yes. We confirmed it to be Yu and his group. They remain in Derdriu to protect Claude and investigate the Agarthans. But it was because of them that both sides rushed to finish the fight.”

(Yuki) “Huh? Why would you do that? Sure Yu and his friends are strong but its only one group against 2 nations.”

(Dedue) “Thankfully, it meant none of you were dead.”

(Hubert) “But because of that, that means at any time, you all could show up and put every one of our plans to ruin. Thus, the Adrestian Empire moved to strike first, going straight for the occupation of the Capital of Faeghus.”

(Dedue) “We moved to intercept their forces, and the Alliance moved to stop us both from intruding on their territory, which brings us to the Battle of Gronder.”

(art source:

https://www.reddit.com/r/FireEmblemThreeHouses/comments/jaaxlr/blood_of_eagle_and_lion/)

(Dedue) “Our armies clashed at Gronder and it was a bloody fight. The three leaders had nearly succeeded in wiping each other out then and there, but were stopped due to the intervention of a masked man with the former professor of House Isekai with him.”

(Megumin) “Byleth was there with Lahabrea!?”

(Dimitri) “It was those two that got Edelgard and I to snap back into our senses. They showed us what the Church and the Agarthans had been plotting behind all of our backs, and right as they finished, that was when our true war began. Agarthans began teleporting in from out of nowhere, decimating our forces. Then, the Church drew their trump card. Their “angels” descended from the skies, turning the skies from grey to a blinding white.”

(Edelgard) “I ordered our retreat from Gronder as the “angels” tore apart our frontlines. We had not formally made an alliance there, but in due time we would due to what was to come.”

(Minato) “Which brings up our part, I guess. A year had passed since then when we arrived at Dimitri’s front door, and we learned that the Church had imposed some sort of martial law. They would be spearheading the effort in the war, crushing any who opposed them. The Church seemingly multiplied in their forces, grabbing any able body and putting them into battle with a sword in the name of Lady Rhea.”

(Dimitri) “With Lahabrea revealing the truth to me behind the Tragedy of Duscur I had somewhat become clear headed again, knowing who our real enemy was. I was not keen of my people becoming subjects of a war not even against the Empire anymore. Rhea had become mad with power and obsessed with killing Edelgard and Byleth. It was then I sent a courier to Edelgard and Claude, requesting we unite our nations to fight the Church. All the while, we were receiving aid from Lahabrea, telling us where to go and such..”

(Minako) “From Lahabrea’s advice, we became the couriers. Slayer went to Enbarr while we took to Derdriu. It took us a month for our plan to help Edelgard to begin, which is when Class VII arrived.”

(Dedue) “We have acted as subjects of Rhea while moving covertly to aid Edelgard in the battle against the Church and liberating our people from their forces.”

(Rean) “This was all about a year ago. It was there we got a full picture of what we were up against and what made Edelgard and Dimitri set aside their differences.”

...

Year 4, Outskirts of Enbarr...

The spirit portal closed behind Valimar, as everyone was transported directly outside of Enbarr.

(Dimitri) “Amazing! So this is what saved you at Garreg Mach.”

(Rean) “It’s only used for emergencies since it drains Valimar’s powers greatly. That fight didn’t take too much out of him, but I want to say he’s about half strength.”

(Minako) “Then let’s not use him again for right now. We need a way out if it comes to that.”

(Junpei) “Holy shit.”

Everyone turned around and saw what Junpei was staring at.

The skies were black with smoke, as the flames from the city raged like a wildfire.

Multiple scores of Church Soldiers rushed through the gates as catapults fired artillery into the city.

(Sara) “Damn, the siege has already begun!”

(Dimitri) “Everyone, with me!”

[Tearing Through Heaven (Rain) - Fire Emblem: Three Houses]

City Interior...

(Imperial) “GO GO GO!”

Several Imperials rushed to the front with spears to meet the soldiers head on.

Ferdinand and Caspar moved with them and drew their weapons.

(Caspar) “Ah crap, they’re back!”

(Ferdinand) “Damn, the attack on the Eastern Gates was a feint!

(Caspar) “Well, no use complaining about it now. Let’s go have some fun!”

Caspar rushed headfirst into the Church forces with other soldiers as Ferdinand turned back to an officer.

(Ferdinand) “Inform the others that the second wave is approaching and we’re going to need reinforcements!”

(Imperial) “Yes sir!”

The officer rushed back to the first checkpoint while Ferdinand joined Caspar.

Bernadetta noticed the soldier first and her heart sank.

More fighting.

(Imperial) “Second wave incoming! We need reinforcements now or we’re going to get overwhelmed!”

(Bernadetta) “Aww...! Okay okay- U-UM, ARCHERS SUPPORT THEM! I’LL GET THE FORCES FROM THE EASTERN GATES TO REINFORCE YOU!”

The archers saluted and rushed out the checkpoint.

(Bernadetta) “THE REST OF YOU STAY HERE IN CASE THE WORST HAPPENS!”

The knights nodded and drew their shields and formed a blockade leading into the deeper parts of the city.

Bernadetta grabbed her bow and made a full tilt sprint for the Eastern gates. Part of her wanted to run away and hide but she knew she couldn’t.

Lives were counting on her.

Shaking her doubt away, she ran through the streets.

...

Akira’s eyes shot wide open when he heard a building explode, and stood straight up.

Looking around him, several of the Phantom Thieves were looking around the area with their weapons drawn.

They were still in their Phantom Thief outfits which meant someone here perceived them as a threat.

(Kasumi) “Senpai, you’re up!”

(Akechi) “About damn time, we have no idea where we are or what’s going on!”

(Ann) “It sounds like a war out there!”

Getting a better look at his surroundings, the room was absolutely massive, with pillars shooting up to the ceiling and red carpets and banners decorating the room.

(Futaba) “I’m getting a scan of other House Isekai members, but I don’t think everyone’s here...!”

(Ryuji) “Wait, we fell down into a cliff into a throne room? How the hell does THAT work?!”

(Morgana) “Not everyone is here? Then where did-”

KABOOM!

(Yusuke) “Now’s not the time, we have to figure out what’s going on!”

Akira dusted himself off and looked to the door.

(Haru) “Our orders, Joker?”

(Akira) “We follow Fox’s idea! Move outside!”

Everyone nodded and rushed to the door before it swung open with Imperials.

(Imperial 1) “INTRUDERS!

(Makoto) “Imperials!”

(Akira) “On me!”

(Imperial Sergeant) “Huh? The Phantom Thieves? S-STAND DOWN YOU IDIOTS!”

The Phantom Thieves were taken aback by the sergeant’s orders, and the soldiers’ looks of confusion.

(Imperial Sergeant) “You’re House...Isekai?”

(Akira) “...Yes?”

(Imperial Sergeant) “We’re sure you have a LOT of questions, but right now the Church is besieging Enbarr! We need your help!”

(Akechi) “Why the hell would we do that, you’re trying to kill us!”

(Imperial 1) “...D-Does he mean Garreg Mach?”

(Imperial Sergeant) “Listen...I’m not sure how you’re here, but it’s been four years since then! Right now, the Church is everyone’s enemy, not just the Empire’s anymore! King Dimitri is on his way to help, but we need to survive this fight if we’re going to get it! And lest you forget, the Church wants you dead too!”

(Imperial 1) “We’ve even met some of your class too. I-I can’t remember their names but, I think they had red armbands?”

(Kasumi) “S.E.E.S...Joker?”

Akira stared at their faces and it was filled with desperation. The sergeant didn’t had a helmet closing off his face, but from the sound of his voice, he seemed genuine.

(Akira) “Alright, we’ll follow along for now. But we want answers from Edelgard!”

(Imperial Sergeant) “Y-You have my word! Sergeant Percy at your service milord!”

(Akira) “Lead the way, Percy.”

[Tearing Through Heaven (Thunder) - Fire Emblem]

Petra’s sword swiped across the chest of a Church knight, and he slumped to the ground.

She plunged her sword into his neck then turned back to the others.

Dorothea disintegrated another group of soldiers as lighting shot out of her hands.

She knelt down to the floor exhausted.

(Petra) “Dorothea!”

(Dorothea) “Ha...D-Don’t worry about me dear. I’m fine.”

That was a lie. The constant fighting was starting to wear her down, not to mention she had to use her magic at full power to even take a single knight down.

(Dorothea) “We need to get to the others and-”

(Bernadetta) “GUYS, THIS GATE WAS JUST A TRAP!”

Bernadetta waved her arms frantically at Dorothea, Petra, and the other soldiers present.

(Dorothea) “-...Tell them this was a diversion.”

(Petra) “We are knowing already! We follow your lead!”

(Bernadetta) “Got i-WATCH OUT!”

A knight who had an arrow through his chest got up and charged at Dorothea.

Petra got into stance while Bernadetta reached for her arrows, but neither of them would be fast enough.

A pegasus swooped in and hit the knight into a building, crashing through the walls and taking him out.

A girl dropped from the Pegasus and shot a spell at the knight, igniting the whole building into flames.

(Annette) “Whew, that was close!”

(Ingrid) “Dorothea, are you okay?!”

Dorothea’s face beamed once she realized who it was.

(Dorothea) “Ingrid dear! Oh, I think I might swoon from being saved by a beautiful-”

(Ingrid) “NOT THE TIME.”

(Bernadetta) “Y-You guys are here already? Not that I’m complaining or anything.”

(Annette) “We had some help!”

Right on cue, Class VII, SEES, and the Blue Lions emerged from the Eastern gates, fighting the Church Knights.

(Dimitri) “Sorry to keep you waiting!”

Ingrid helped Dorothea up and looked around.

(Ingrid) “We don’t see an Inquisitor here. What’s going on?”

(Dorothea) “This front was a feint. Happy as we are to see you, you all showed up at the wrong gate.”

(Dimitri) “Damn! House Isekai, move to the front, we’ll secure this gate!”

Sara kicked a knight to the ground and nodded.

(Sara) “Got it. Come on kiddos, this way!”

As Class VII and SEES ran through the streets, Doomguy remained outside with the Blue Lions.

He destroyed the last of the catapults with his rocket launcher and hit a knight’s face with his elbow, sending him down into the floor.

He was sure he used all of his force to knock him out, the knight got back up as if he were only shoved down.

Doomguy then grabbed the knight’s neck and took off his helmet.

His eyes widened a little bit, then frowned.

The knight tried with all his might to kick Doomguy, but to no avail.

Doomguy had intended to just stun the knights, but after taking the helmet off, he realized that it was unnecessary.

With a simple pull, he ripped off the knight’s head and tossed his body aside.

He put the head on his belt and took out a shotgun.

Things were about to get messy.

...

Caspar cleaved a knight in half while Ferdinand put his sword through another’s chest.

Linhardt rushed to the injured Imperial soldiers and began healing.

(Linhardt) “Come on, stop bleeding, stop bleeding!”

(Wounded Imperial) “S-Sir...! It’s too dangerous for you to-”

(Linhardt) “Shut up.”

Hubert and Edelgard ran up to the front and stood in front of Linhardt.

Two knights rushed toward them, but were reduced to ash as a dark magic spel hit both of them.

(Hubert) “All too easy.”

(Edelgard) “Get the injured back to the checkpoint.”

(Linhardt) “Already on it.”

Edelgard nodded and held tightly onto Areadbhar.

Even more knights were pouring in, and it wouldn’t be long before the Imperials would get overwhelmed.

(Hubert) “I do not think you should be at the front. We would be acceptable casualties if-”

(Edelgard) “I would not be here if I did not have a plan to escape, Hubert. If I am here, then the Inquisitor will show his face, then we can-”

(Sharon) “Excuse me, lady Edelgard!”

The two spun around and almost jumped at seeing Sharon there with a smile on her face. Her wires and dagger were already unsheathed as she bowed in respect.

(Sharon) “Would you like our assistance?”

(Rean) “CLASS VII, FORWARD!”

(Minato/Minako) “ORPHEUS!”

Class VII and S.E.E.S ran into view and pushed back the knights, with the Imperials cheering at the reinforcements.

(Hubert) “That was part of your plan too...right?’

(Edelgard) “N-No. It wasn’t.”

Rean slashed away the weapon of a knight, only for the knight to rush Rean with his bare hands.

(Rean) “Why won’t they go down?!”

Minako’s persona blew away several knights into the wall to knock them out. However, all of them all got back up, weapons still in hand.

(Sharon) “If you would pardon me for a moment!”

Sharon shot her wires forward and wrapped a knight, making him trip.

Her smile faded away into a straight face when she saw the knight break out after a moment.

(Sara) “Huh. Didn’t strike me as the type to break out of YOUR chains, Sharon.”

(Sharon) “It is as surprising to me as it is to you, Lady Sara.”

(Hubert) “What are you doing, KILL THEM!”

(Yukari) “The hell, are you crazy?!”

(Elliot) “B-But we can’t-”

BANG!

The Knight that was fighting Rean now had a bullet hole through his head and fell down to the ground.

Everyone spun around and saw Akira and the rest of the Phantom Thieves with their guns out.

Percy and the other soldiers began moving the wounded out of the battle.

(Minato) “Akira?!”

(Minako) “Y-You just killed...!-”

(Akira) “Fight to kill, they aren’t human!”

(Rean) “W-What?”

The black sky suddenly turned into a blinding white, with the knights who weren’t killed yet suddenly twitching violently.

The Blue Lions noticed the White light in the skies near the main gate and began making their way.

(Hubert) “Well, looks like your plan is working after all, Lady Edelgard.”

(Edelgard) “So it would seem.”

The knights slowly began to cough out white blood as their bodies convulsed, with glowing white limbs breaking out of their backs.

(Akihiko) “What in the hell?!”

(Laura) “What’s happening to them?!”

The first one to finish transformation was a knight near Edelgard.

The knight had formed into some abomination with long limbs, wings, and a head that split into 3 jaws, the skin being a pristine white that showed no evidence of being even remotely human prior.

Sara was the first one to act, splitting it in half with her sword.

Sharon was the next, using her wires to enwrap a knight in mid-transformation and severing the head.

(Caspar) “What are you all standing there for?!”

Shaking off the initial shock, they begun killing the creatures that had just formed.

(Ken) “What are these things?!”

Ken speared one through the stomach as Koromaru summoned a persona and lit it aflame.

Ryuji hit one with his mace, crushing its head in.

(Ryuji) “H-Hey, don’t these things kinda remind you of shadows?”

Ann fired several rounds from her SMG and turned to Ryuji.

(Ann) “How did Shadows from our worlds get in here, and what are they doing in the Church Knights?!”

Fuuka and Futaba began scanning the field and sure enough, they were giving off the same readings as Shadows.

(Futaba) “How is this possible?!”

(Fuuka) “E-Edelgard! There’s a massive signature headed our way!”

(Edelgard) “That means that can only mean one thing...”

[Will and Reason - Tales of Berseria]

The creatures flew away from everyone and towards the gate, where a single knight with a white cape walked in.

With the skies so bright, the light reflecting off his armor blinded a few people.

Dimitri and the others stood next to Edelgard, realizing who was arriving at the gates.

(Dimitri) “An Inquisitor!”

(Inquisitor) “How troubling. I come to cleanse the heretics from this land, and what do I find? The King of Faerghus conspiring with them.”

His helmet shifted from looking at the rest of House Isekai.

(Inquisitor) “And the students not of our world to boot.”

(Minako) “You...you turned your loyal knights into monsters!”

(Inquisitor) “SILENCE, GIRL! These are holy angels of Sothis, who pledged themselves to defend our holy nation from heretics such as you lot!”

(Minato) “Don’t think Sothis would appreciate whatever the hell these freakshows are!”

(Inquisitor) “You DARE?!”

(Edelgard) “This world belongs to us! NOT YOU AND YOUR MONSTERS!”

(Inquisitor) “...Hmph. How very glib. I will make one offer, King Dimitri. Surrender these heretics to me, and I will not mention our encounter in my report. You are hopefully misguided with these...savages.”

(Dimitri) “These ‘savages’ are my friends! I will never! My people may have given into your reign, BUT I WILL SHOW THEM THAT YOU’RE OUR TRUE ENEMY!”

(Inquisitor) “Then by my right as Inquisitor of the Holy Church of Seiros, I HEREBY SENTENCE-”

(Akechi) “Oh, SHUT THE FUCK UP ALREADY!”

Akira and Akechi raised their pistols and unloaded all of their ammo into the Inquisitor.

He took all the bullets to his chest and fell on his back.

(Inquisitor) “...Hmph. I should have known that talking with such savages was pointless.

[Insatiable - Final Fantasy XIV: Shadowbringers]

White blood flowed from the bottom of the helmet while sharp claws burst out from the sides of his body.

His legs began twitching as the rest of his body began to glow a bright white, and that light began to form itself into an insectoid like shape.

When the Inquisitor finished transforming, he had turned into a massive hybrid with the legs of and stinger of a scorpion, but the body of a human with soulless eyes with a golden lance and shield.

The lesser angels rushed towards the groups first, but were easily mowed down by the Phantom Thieves and Class VII’s guns.

The Black Eagles and Blue lions rushed in first ahead of their leaders weapons drawn.

The Inquisitor moved forward slowly, his legs skittering across the floor as he raised his lance.

The stinger impaled the ground, with Sylvain and Felix dodging out the way barely in time.

They were blown back by the impact of the stinger and the ground that shot out from it.

Petra and Dedue swung their weapons at the stinger, but the cut was not deep enough to deal any real damage.

His stinger moved back and dragged Petra and Dedue with him, flinging them into the air.

Ingrid’s pegasus flew into the air, catching Dedue by having him land on the pegasus while grabbing Petra’s hand.

The weight was throwing her pegasus off, and the Inquisitor’s shield arm rose up and struck them into a nearby building.

(Rean) “Valimar, what’s your status?!”

(Valimar) Awakener. It is likely I will run out of energy if I were to intervene.

(Rean) “Damn it!”

(Akira) “ARSENE!”

(Minato/Minako) “THANATOS!”

Akira, Minato and Minako summoned their Personas to fight the Inquisitor head on.

Rean motioned some of the group to follow him as those three kept him distracted.

Thanatos’s sword blocked the Stinger that almost impaled him while Arsene blew away the lance arm from making another attack.

The Inquisitor rose a shield without looking as the Persona Users and Class VII opened fire with their guns.

The bullets reflected off the golden shield, not even leaving a scratch.

(Crow) “Well, that’s just great!”

Fie looked at his legs and reached for her belt.

(Fie) “Frag out!”

The grenade landed next to his legs and exploded, making him tilt slightly.

(Inquisitor) “TCH, INSOLENT FOOLS!”

He spun his torso around with his lance aiming straight for them.

The winds from the lance forced Thanatos and Arsene back, lest their users would get blown back as well.

The lance stabbed through the roof they were on and the entire building gave out from underneath them.

Ashe, Bernadetta, and Yukari fired arrows directly into the eyes. They landed their mark and the Inquisitor recoiled in pain.

Dimitri and Edelgard held their relic weapons and jumped into the air, striking directly into his chest.

A bright light shone from where their weapons were crushing into him, and they landed with smiles on their faces.

It quickly dissipated when they found the Inquisitor still standing.

The wounds he had sustained were slowly regenerating.

(Akihiko) “Pretty clear we’ll end up dead if we keep throwing ourselves into him!”

Linhardt and Towa rushed to get everyone from the building who was injured while the others stood there confused.

(Shinjiro) “What do we do?”

...

After finishing off the last Lesser Angel, Doomguy looked at the bridge and saw a massive scorpion monster there.

His visor picked up the distinct red and blue colors of Edelgard and Dimitri.

The Blue Lions and Black Eagles tried rushing at him but that didn’t work.

It was clear to him that they couldn’t fight that thing alone.

Ignoring the sound of gunfire, he looked around for a way to get into the fight quickly.

And that was when he noticed a catapult he hadn’t destroyed yet at this gate.

...

(Rean) “There’s no choice! Heed my call...VALI-...?!”

In the sky, there was some sort of humanoid shaped person dropping in-

No, it was a person!

Doomguy landed on top of the recoiling Inquisitor, and shoved his wristblade straight into his neck.

(Angelica) “Where the heck did he come from?!”

Doomguy looked at them with his free hand and motioned them away.

(Rean) “He’s buying us time, we gotta get out of here!”

(Dorothea) “And leave him to fight that thing?!”

Doomguy activated a sword and jumped off his back.

(Towa) “I-I’m pretty sure he’s got this one! Now come on!”

Edelgard and Dimitri nodded and turned to the others.

(Dimitri) “Grab the injured and lets move it to Valimar!”

Before they could move any further, a black portal appeared in front of them.

Doomguy landed on the ground and used his massive sword to cut off the lower half of the Inquisitor’s legs and his stinger in one cut.

As the Inquisitor lost balance, Doomguy grabbed his Super Shotgun and grappled onto the Inquisitor’s neck.

The sword dug itself into his neck, and Doomguy used his momentum to swing himself around, making the sword cut halfway around his neck.

When he landed again he pulled out his biggest weapon, the BFG-10000 and fired a massive green orb at his center.

The Inquisitor’s upper half exploded into chunks of glowing white pieces, the body slumping over.

Doomguy sheathed his guns and was about to move in with the others before realizing the Inquisitor’s body was glowing white.

It was all the pieces he had blown and cut off, fading into bright sparkles before the missing parts formed themselves on his body.

The Inquisitor had regenerated his parts and somehow looked angrier despite the fact his face was incapable of moving.

Doomguy cocked his shotgun before a hand with a black glove and sleeve was put on his shoulder.

(Lahabrea) “I think you have done more than enough, my friend.”

(Inquisitor) “AN AGARTHAN? I THOUGHT THAT YOUR KIND HAD ABANDONED THESE HERETICS.”

(Lahabrea) “They have. But I have not. I’d rather you didn’t kill them, they’re too useful to me.”

(Inquisitor) “YOU ARE IN NO PLACE TO MAKE DEMANDS!”

(Lahabrea) “Yes yes, quiet down now. We will speak later. I’ll make sure your golem is with you.”

He raised his hands into the air and snapped, making everyone teleport away.

The soldiers, The Black Eagles, Blue Lions, and House Isekai in an instant left the battlefield.

...

Garreg Mach Monastery, Present Day…

(Edelgard) “...Lahabrea never did tell us what happened that day.”

(Rean) “We were teleported pretty far, to the point we could see the entire city on a hill. After a few minutes, the sky turned back to black, and he teleported next to us, telling us where to go.”

(Ainz) “But, a siege was ongoing wasn’t it? I doubt it ended JUST because you left.”

(Dimitri) “The only answer we got was...not to worry about it, which does NOT bode well.”

(Yuri) “What? But...We still have reports that you all are in Enbarr. It’s been months since you left, right?”

(Edelgard) “And that’s what has me worried the most...”

(Akira) “Lahabrea told us to come here first before we were to return, and he said not to worry about the time it’ll take to get us here.”

(Kazuma) “To Garreg Mach? What’s for you guys here?”

(Minato) “Well, first there’s you all, but I don’t think he accounted for that so...”

Minato turned to Sitri.

(Minato) “I think he wanted us to come for her.”

(Sitri) “I find that a little hard to believe, honestly. I’ve been dead for so long I’m not sure I have anything to offer with knowledge.”

(Aqua) “She’s not a fighter either, I’m not sensing any magic from her.”

Emma adjusted her glasses and looked at her as well.

(Emma) “Neither can I.”

(Ainz) “That doesn’t make sense. She was resurrected with what we’re assuming is Dark Magic, right? Then she should have some semblance of magic we can detect...”

Sitri examined herself and put her hand to her chest.

...And that was when she noticed something off.

(Sitri) “Huh?”

(Megumi) “What is it?”

(Sitri) “My...my heart. It’s not beating?”

(Sara) “...Just like Byleth.”

Sitri realized what Sara had said and turned to her.

(Sitri) “His doesn’t beat either? Then how is he...How are either of us alive?”

(Demiurge) “Perplexing. We’re able to detect life force from Byleth, so despite that abnormality he IS indeed alive. You on the other hand...”

(Kazuma) “Wait a second...are you like Wiz?”

(Albedo) “Who is Wiz?”

(Kazuma) “She’s an undead friend of mine, a Lich. If Sitri was resurrected by dark means then...”

Kazuma moved over to Sitri and grabbed her hand.

(Kazuma) “Aqua. Cast some baby healing spell or something.”

Aqua shrugged and did as he asked, a bright light formed from her hands and onto Sitri, making her hand recoil back.

(Sitri) “O-Ow!”

Kazuma reached for Darkness’s hand. She at first hesitated but when Kazuma raised an eyebrow, she sighed and gave it to him.

(Kazuma) “Drain touch.”

(Darkness) “OOOOOOOOW! OWWOWOW!-”

Sitri felt the pain go away in an instant when she felt Darkness’s life force enter her hand.

(Kazuma) “Sorry. And thanks to both of you.”

Sitri reached for her hand and stared at it in confusion.

(Miki) “Does that mean she’s a...?-”

(Junpei) “Holy SHIT, SHE’S A ZOMBIE?!”

(Yukari) “I’d hit you for saying that but...I don’t think thats far off the mark.”

(Cocytus) “THAT EXPLAINS WHY WE CANNOT DETECT HER LIFE FORCE LIKE WE CAN WITH YOU ALL...”

(Yuri) “Wait a second, you knew about this?”

(Shalltear) “It was...just a suspicion we had. We didn’t want to say anything until we were all here.”

(Akira) “Hmph. Fair enough. I think we would’ve done the same thing.”

(Kasumi) “Um, so getting back onto the topic at hand, Lahabrea made us come back for Sitri, who’s now an undead...But why? Why resurrect her at all?”

(Edelgard) “Not to mention how he didn’t bring this up until now. What is he playing at?”

(Kazuma) “And another thing. He seems to have a hard-on for our Household while the rest of the Agarthans just want us dead. I get why we’re important to you guys, but why him?”

(Everyone) “...”

A heavy atmosphere took over the room before Yuki spoke up.

(Yuki) “U-Um, excuse me.”

Everyone turned to her.

(Megumi) “Yuki-chan? What is it?”

(Yuki) “What time is it?”

Ryuji pulled out his phone and checked.

(Ryuji) “Hm...According to the phone, time in Fodlan’s about 9 in the morning. You forget something to do, Takeya?”

(Yuki) “Should...it be THAT bright outside?”

Everyone paused for a moment before slowly turning to the door behind them.

The outside shone an eerily bright white on the grass, and the wind appeared to stop blowing against the trees.

And the sound of footsteps seemed to be approaching from the main hall.

Megumi got the School-Living Club and Sitri behind her as everyone slowly stood up and reached for their weapons...

-----

Year 4, Outskirts of Enbarr...

(Lahabrea) “Yes yes, quiet down now. We will speak later. I’ll make sure your golem is with you.”

He raised his hands into the air and snapped, making everyone teleport away.

The soldiers, The Black Eagles, Blue Lions, and House Isekai in an instant left the battlefield.

As he turned around, another portal appeared beside him.

(Lahabrea) “I trust you find your new sword to your liking, Byleth?”

Byleth stared at the weapon. It resembled and functioned just like the Sword of the Creator, even down to the whip function. But...

(Inquisitor) “Y-...YOU ARE THE-”

(Lahabrea) “Ah, allow me to introduce my friend, good Inquisitor-”

The middle orb started to emit a dark purple, making Byleth’s reflection fade away into black.

Lahabrea looked to the side and saw Byleth’s white hair blowing back from the dark aura flowing from the sword.

Byleth’s free hand moved down his face, the Crest of Flames glowing a bright red and floated in front of him for a brief flash.

He took a step toward the Inquisitor, making him step back in terror.

(Lahabrea) “-Byleth. Wielder of many titles, Child of the Fell Star by the Agarthans, The Ashen Demon by Fodlan and yourselves but to me...

The Warrior of Darkness.”

PART 3: END

[Escape - Darling in the FranXX OST]

The forecasted rain wets us

What should I say to you, as you tremble? My soaked blazer is cold and heavy

I feel as helpless as a chick who’s left its cage. I felt that my dreams were on the other side of the heavy clouds

I digested only the sweet pain that spread in my chest

I wonder if it’d be better if I’d never met you

Hey, I can’t even see the stars

Hey, my tears won’t fall either

To Be Continued in:

12 notes · View notes

averycanadianfilm · 3 years

Text

READING GUIDE TO : Bourdieu, P. and Passeron, J.C. (1979) The Inheritors: French students and their relation to culture, Chicago: University of Chicago Press. - Dave Harris

Chapter one

Class chance data is presented for France, covering access to university and also choice of subjects. Generally, Arts and Sciences are preferred for lower class applicants, while the other professions attract upper class students. Gender is magnified by class in terms of access, especially for lower class students, and a strong influence on subject choice throughout. However, some Arts students are also relegated from the upper class: for them, arts subjects are a refuge.

There are therefore economic and cultural obstacles to success at the university. These include religion and age [in France, the older students are often those who have had to repeat grades].

Social origins produce different rates of financial provision, affect where people live, and affect the sort of work they do. For example, they influence the amount of parental subsidy.

As a result, students do not really have a common situation or experience. They come from very different cultural backgrounds, and quite different experiences from being at home or feeling out of place (13). They experience differential success according to their 'previously acquired intellectual tools, cultural habits' (14). Particularly important is their ability to manipulate 'the abstract language of ideas', which is much easier if you have done Greek or Latin. Cultural heritage is also amplified by various scholastic streams and channels, which produce 'sanctions which consecrate social inequalities' (14). For some, their educational past is a definite handicap, including the absence of classical languages or adequate advice on careers.

These inequalities are concealed by their belief that some students possess 'gifts', producing a disdain for practical techniques of study noted below. University life tends to be eclectic and dilettante, mostly because bourgeois students are 'more assured of their vocations or their abilities' (15). Those from other origins are far more dependent on the university. For the bourgeois, a liking for 'intellectual exoticism and formalistic purity' helps 'liquidate a bourgeois experience while expressing it' (15). Detachment and a willingness to take risks 'presupposes a greater security’ (15). Self assurance pays off in exams, especially in orals [presentations?]. This stance is helped by universities themselves who value 'remaining aloof from "academic" values and disciplines' (17).

Bourgeois students inherit 'habits, skills and attitudes… knowledge and know how, tastes and a "good taste"'(17), which do pay off even if indirectly. A suitable extracurricular culture is the 'implicit condition for academic success in certain disciplines'(17), for example coming from a family with experiences in the theatre, art galleries, concerts, knowledge of modern works even jazz or the cinema. These experiences display a combination of cultural and economic factors here [and strongly prefigures the work in Distinction, even with some initial survey data]. The absence of explicit instruction in universities makes this cultural influence more important. Influences are often subtle, for example in the displaying of knowledge of the past in the effortless reproduction of academic argument. Interests are often combined, enabling those from suitable backgrounds to distinguish themselves from those possessing purely scholastic knowledge. There is a whole constellation of knowledge to draw upon. There also important personal qualities such as 'ironic casualness, mannered elegance, or… assurance which lends ease or the affectation of ease' (20). [So common among the English upper classes as well].

This sort of cultural background works indirectly, casually and informally, it seems effortless, acquired by osmosis [some nice examples on page 20—like the casual disclosure of cultural interests, 'acquired without intention or effort']. Those from lower and middle class backgrounds try to catch up at university, for examples by going to film clubs. Schools could compensate, but they also tend to ignore social inequalities and devalue 'the vulgar mark of effort' (21). Thus universities offer only a misleading formal equality, and ignore marked social differences, whole areas which are clearly related to success. Teaching presupposes a level of knowledge, skills and culture which are the 'heritage of the cultivated classes' (21).

Secondary school uses a number of secondary significations which take for granted 'the whole treasury of first degree experiences’—books, entertainment, holidays as 'cultural pilgrimages', and 'allusive conversations' (22). The universal nature of education simply means all must enter. Working-class children can only imitate, and the whole experience for them is unreal.

Access needs to be not just a matter of economic background. 'Ability' should not be seen as a matter of a gift but the result of 'affinities between class cultural habits and the demands of the education system' (22). Knowledge and techniques are inseparable from social values. Some working-class students are willing to undertake university experience because they see academic knowledge as high status, and it 'symbolises entry into the elite' (22). However, social mobility via education is 'a fantasy, and abstraction for [most] manual workers' (23). Their ambitions are lower: they make an objective adjustment. The petty bourgeoisie are the most keen on education, and they openly support elite culture even though they find it just as difficult to acquire: they think they can make up the deficit with hard work.

Teacher judgments are ultimately based on the closeness to elite culture. Teachers classically devalue other approaches such as seriousness and hard work. Social advantages and disadvantages are cumulative as a result. Even geographical location is important because living in a city means greater access to cultural facilities.

There is no mechanical determinism here, though, since inheritance is not always successful. Upper class culture can merely lead to the 'superficial pastime of elegant parlor games' (25), but usually it is exploited to find a comfortable way through an education system. It is true that working-class entrants to university can gain in ambition and determination. However, those who succeed nearly always have some kind of unusual family background like a successful relative, who will raise their ambitions and reject fatalism. [In conventional research as well as in policy and common sense] isolated factors are seen as important [instead of seeing qualifying factors as well].

It is more common to persuade the underprivileged to drop out rather than to exert a direct influence on them, or to reveal open determinism. It would be wrong to attribute all the blame to economic or political factors, but social mechanisms work well despite minor adjustments such as scholarships. Indeed, these minor reforms can help to justify the system by locating 'giftedness’ as the issue. The same goes for moves to equalise the economic circumstances of students [grants?]—they would only legitimise a system which itself legitimises privilege.

Chapter two

There is no unified student world or culture, but a constant flux with only periodic routine. There are cycles of study leading to exams, but it is a unique time of life where normal oppositions do not apply, including the opposition between work and leisure [lots of quotes on page 30 from students saying that they regard their work as a form of leisure:

'It's the only time in life when you can put off what you've got to do, work when it suits you, be unemployed if you feel like it… (Senior executive' son, Paris, aged 26)… There's no such thing as leisure: I refuse to draw a line between work and leisure, I don't accept that dichotomy… (Junior executive son, Paris)… My work isn't unpleasant; it's not something I'm forced to do. I could almost say all my work is in leisure… (A junior executive son, Paris)… I don't separate work and leisure. If there's a decent movie on I go and see it, whether it's a weekday or a Sunday. The question really doesn't arise. There is no particular pattern to my leisure activities; I choose what I'm going to do but I don't organise it… There's nothing fixed (senior executives daughter, Paris)' (30).

However…

'Yes I waste a terrible amount of time; I don't know how to organize my work properly, and, since workhouse to come by for leisure… I have no time left for leisure (senior executives some, Paris). The fact is I don't seem able to discipline myself, it's always the same story (senior executive's son, Paris)'. NB Bourdieu and Passeron see this as an aristocratic form of lifestyle.

There is a characteristic student lifestyle with a lack of discipline and a ‘libertarian use of “free time”’ (31). Students are individualised, despite occasional ‘islands of integration’ (32). Integration has no institutional basis. It is therefore not easy to organise collective work, or cooperation, or small workgroups. Individualistic competition persists instead. The old traditions like student festivals and songs are in decline, and there are not even initiation rituals, except possibly in Law and Medicine. There are no real social divisions or any bases for solidarity—for example the rivalry between different disciplines or other signs of the persistence of sub cultures, including argot. Students are not even well connected through friendship groups, except where these depend on earlier shared schooling or regional identity. Upper class students are the most integrated socially. Friends’ advice is not sought in the choice of a subject or career, rumours spread but not information.

The student milieu is therefore not autonomised, but consists of a ‘fluid aggregate [rather] than an occupational group’ (36).There is a nostalgia for integration, but actual organisation fails. Girls are the keenest to initiate collective activity, following the ‘characteristics of the woman’s traditional role’ (36). Staff participation helps. The most common result of this lack of organisation is resignation or utopianism, especially in Paris students’ activism, which includes ‘conceptual terrorism of verbal demands’ (37). A belief in cooperative work, small groups and so on persists, but as the projection of an ideal.

Yet such projections reveal an underlying objective reality [by contrast]. Students want to identify individually with this mythical unity. Characteristic student behaviours are ‘symbolic’ indicators of this project. 'Student' is therefore a chosen identity, the rejection of past identities, including those associated with the occupation of one’s parents, part of a general denial of class determinism [but not gender?]. It is important to not conform, to distinguish oneself while labelling others. This is another example of the transformation of necessity into freedom (39) [so it is not just the working classes who have to do this?] Student identity means the rejection of any actual bonding. For example cafes are frequented because there, one encounters the ‘archetypal student’ [rather as students went to the library in Lille to conform to the archetypal student, in Academic Discourse].

Students live out their relations to their class of origin according to ‘the models of the intellectual class reinterpreted’ (40). They display a reaction to the discipline of the secondary school. By comparison, student identity is a sign of ‘cultural free will’ (40). Guidance from older students is important here, and prestigious examples can include university teachers. Everyone knows a high prestige professor who is far from being a mere pedagogue. This only disguises power relations.

The university is still a very important influence, though. Students still do well if they are ‘adapted to the university and can transpose its scholastic techniques and interests’ (41). So called alternative cultural worlds, based around jazz or cinema actually complement the university world [is this still the same with contemporary universities and contemporary commercial popular culture?]. [There is a hint of the cultural omnivore thesis here, 41]. Students’ public denial of the importance of university culture and teaching disguises the real influence at work through the ‘cultural goods market’ (42).

An important role in actually orienting the tastes of students is played by ‘Professorial charisma… The display of virtuosity, the play of laudatory allusions or depreciatory silences’ (42). Students are passive and willing to be taught, or to let teachers guide them. So close is the connection that ‘the study of consumption can be collapsed into a study of production’ (42). University culture includes ‘the scholastic consecration of novelties’ (43). As a result, university culture is more homogenous than it looks [in support, student prize winners are given as examples, revealing their conformist tastes, even if those cover the avant garde]. The ideal student is still a homo academicus, often the son and grandson of teachers, often wanting to be a philosophy lecturer, often showing some precocious talents. The university therefore ‘always preaches to the converted’ (43).

However, some students are only playing at having intellectual tastes, displaying ‘collective bad faith’, or deploying the ‘ruse of reason’ (44). An illusory intellectual life is possible. It usually involves ignoring social origins and destinations, and ‘autonomising the present of studenthood’ (44). It involves games and tricks, and is assisted by the ‘unreality of university practice’ (44), where there are no real sanctions, and even examinations are playful rather than work-like. Students do feel insecure, and lecturers do judge their work, but there is a constant ambivalence—for example students and lecturers commonly joke about examinations and yet still see them as a matter of ‘personal salvation’ (45) especially the dissertation. It is a very involving game. Even the student challenges are within the rules of the intellectual game of contestation: thus ‘Revolts against the system… achieve… the ultimate ends pursued by the university’ (45) [reads pretty much like Willis on working class lads rebelling but then ending up in manual work]. Even student rebels worship culture if not the university. Bohemian behaviour still equates to obedience to traditional models. Any escape into popular culture is still characterised as a form of literary discussion.

This is especially marked in the Paris Arts Faculty. Students are mostly bourgeois, but commonly deny their background and espouse left wing causes, but without adopting any particular orthodoxy or party membership. Instead, they adopt new labels. They have a mostly aesthetic commitment to an avant garde, which leads to a ‘conformism of anti conformism’ (46). Rebellion is little more than the ‘symbolic breaks of adolescence’ seen as an ‘intellectual self realisation’ (46). Any sexual liberation pursued by women can be seen simply as a formal reversal of the value of virginity. Extreme political views are best read as a symbolic break with the family. Symbolic differences are more important than the real differences provided by social origin. Student radical life features endless argument to establish differentiations within the general consensus of the avant garde. Concrete commitments tend to be applauded. Political debate is seen as a kind of play, and is work. Politics becomes a pastime. In reality, it is wealth and privilege that enables intellectual detachment, intellectual mastery, and political audacity. Privileged students are also better able to accumulate a ‘capital of information’, based on their membership of literary and philosophical political coteries, and the ability to attend lots of outside lectures and assemblies [in Paris] (49). Any diversity in the academic world produces the relativisation of professorial privilege [not enough to lead to serious criticism?] , and the opportunity for more intellectual adventure.

University life becomes an excellent preparation for the later literary games played among the Parisian bourgeoisie, and wider philosophical discussion, for example of the crisis in education, shows the ‘beginners’ illusion [masquerading as a] basis for a universal reflection’ (15). There is still a lot of studentanxiety however, and here, ideological debates offer assurance. A liking for student [revolutionary?] festivity is really a form of symbolic integration.

The ideal type Parisian Arts student draws from a literary education and from the cultural opportunities offered by Paris, and the ‘risk free freedom that a well to do social origin makes possible’ (51). Bourgeois students see university life as intellectual adventure, not as ‘an apprenticeship subject to the test of occupational success’ (51).

There are more working-class students now, but bourgeois values persist: those values ‘will not cease to be regarded as inseparable from the [student] milieu’ (51). Nevertheless, modern students can perceive university teaching as somehow unreal, possibly because they have experience of real occupations. Thus actual students will vary according to their commitment to the ideal type, and this will vary according to their social origins. ‘Serious’ students can be both critics of this unreality, and still prepared to consider only university problems as serious.

[What a condemnation of student activists! I do recognise the posturing bourgeois type from my own experiences during the student revolt at LSE, and, later at Essex, and I know exactly what they mean by the insistence on preserving literary forms of argument while discussing radical overhauls. During one sit in at LSE, friends made it their business to guard the library! Proles werestill mocked for their vulgarity. Several dreadful poseurs made fiery speeches proposing solidarity with the north Vietnamese army, and then fled at the prospect of being arrested by the metropolitan police! However, I think they do underestimate the impact on some working class lads such as myself, who did gain an insight into professorial incompetence that led to a lifetime’s scepticism. Nevertheless, I think they are broadly right. Interestingly, the ideal type bourgeois radical manifests itself best in education departments of respectable UK universities, where students are still harangued with idealist and utopian visions, and words like ‘oppression’ or ‘struggle’ are used both to describe third world radical movements and the need to cope with an inconvenient timetable].

Chapter three

[This chapter starts with an astonishing criticism of child centred and play-centred education—by Hegel! Such an education preserves immaturity, it is indifferent to the intellectual world, and it shows contempt for elders! (54)]

It is possible to construct an ideal type of rational conduct for student, based on the claims that characterise university life. However, the real issue is self-creation, and to be a participant in academic culture. The rational type will argue that university culture is to be mastered, yet this is denied in practice, and instead there is a goal of independence, the abolition of the distinction between the student and the teacher. However, this distinction is abolished only in the imagination, without going through the painful process of subjection first [very familiar terminology here!]. Indeed, there is often a straightforward denial of student passivity. This imaginary resolution is satisfactory to students and professors, although denied by both conservatives and revolutionary utopians. Rational conduct, however would involve seeing passivity as a means to an occupational end. The denials involve a view that the present should dominate the future, and that the status of student should become more autonomous.

Students occupy pre- constructed roles, like the 'exam hound' or the dilettante. Life goes on in a magical mode [compare with the notion of magical resolution in gramscian work]. Options can coexist in that world. The magical world is supported by professors, 'the students'opponents and accomplices' (57). Professors do not want to appear as having a rational role, as a mere 'teaching auxiliary' (58). The whole experience is therefore mystified or enchanted, and this mystical relation rather than the technical function of education affects the teaching experience. Professors claim they have some gift in transmitting culture, and this notion of gift is reciprocated by students [very similar arguments are made in Academic Discourse].

Students do vary, however. The awareness of an occupational destinations seems particularly vague for Arts students, and uncertain for sociologists: these views actually mimic the real possibilities! There is no occupational point to study for the students, so it is justified instead as an intellectual adventure. Their values ‘depend on mystified experience' (59). [There is a hint here that the enchantment of rationalised study is deliberate].

Women students have more reason to mystify, although for them reality dawns earlier. They often describe the substantial freedoms involved in using academic work to escape [rather like the stuff I have been quoting from Quinn!]. However, intellectual escape is still associated with the traditional female values, including their desired destinations as teachers, and their lower confidence in their intellectual capacities. They're still more likely to be instrumental, and to use their 'scholastic zeal and docility as a way of avoiding the question of the future' (61). Another option is female student apathy. [Or] female students report high levels of commitment to university life, again echoing traditional female values such as exalting sacrifice, and using words like relationship or enrichment, or talking about the development of personality [lots of examples PP. 61,62]. This can be an alternative to the magical concealment preferred by men. Female options echo the sexism of the university.

Social origin has effects as well. There are parallels between working class origins and being female. Neither are likely to get an intellectual occupation and so they are less likely to invest in the intellectual game approach. They need to bow to necessity and acknowledge the importance of an occupation. Upper class students are happier with vague projects, but working-class students are more focused, because they are more aware that they need not have been students at university at all. Upper class students are more distant, more prone to mystification, more contemptuous of pedagogy and methods, and of scholarly discipline. They, and many professors, would find any kind of practical instruction about coping with university life—like using a card index for drawing up a bibliography—as demeaning, the act of a 'vulgar schoolmaster' (63). The same goes for any kind of intellectual training—instead, upper class students and professors prefer the romantic image of free. inspired creation.

Magical perceptions are common. Professors collude by denying clear information, such as their criteria, and the techniques necessary to succeed. Students deny the importance of hard work and routine, and see success arising from a gift or by magic. This explains their following examination rituals, whether it be feverish last minute revision, or obsessive note taking—'a technique for spiritual consolation' (64) [modern students attend lectures and seminars obsessively, and even complain if they are cancelled—but never take notes!]. There are superstitions, guessing rituals, amulets and fetishes, and the repetition of successful conduct. Success is seen as a reward for having a gift, including the gift of successful guessing (65). There is 'overt contempt’ for any rational approach (65). Professors collude in this too: it is reciprocal—for example the lecture style means that students can enjoy anonymity [and ritual attendance]—and both professors and students oppose rational approaches.

These findings show the ultimate goal of the university system [social reproduction]. The rational approach contradicts these ultimate goals. Cultural transmission could be rationalised, and it would benefit the most disadvantaged students [more on rational teaching later].

Conclusion

Because real educational inequalities are never discussed, differences are seen as a result of ‘giftedness’ (67). Differences are tolerated only if they are seen as differences in gifts, or as the occasional social handicap faced by a gifted student. The lack of talent or enthusiasm in students is never explained. Formal examinations express a purely formal equality: as they are anonymous it is impossible to see how they reflect cultural inequalities. The formal policy of equal opportunity only ‘transforms privilege into merit’ (68). It is impossible to have any other outcome unless serious weight is given to the social origins of students [or value added?]. However, we would then expect unequal terminal performances. This could lead to a hierarchy of institutions, and the degree overall could be devalued. Experience in some communist countries might be cited, but even there there is often a tension [between rewarding 'redness' and expertise]. Overall, the roles of the game have to remain unquestioned. The lack of questioning is shown in the continuing attraction of the grandest institutions and most prestigious disciplines in French universities to all recruits. The credibility of the system requires that inequalities affecting students from outside the university are ignored. Insisting on the role of social differences is therefore a challenge to the whole system.

Giftedness is like charisma. It benefits the privileged and legitimates their contempt for the less privileged. Working-class students accept this as a kind of essentialism (70), and personalise their disadvantage. Indeed, working-class students are among those who believe most strongly in the idea of a charismatic gift. The tendency to reduce to essentialism is common among students because they are already prone to see who they are as what they do.

Teachers also assume their success arises from some personal gift, another essentialism. Often, the education system has been their only route to success, confirming this essentialism. It is often linked with the denigration of vulgar effort.

Students are only too willing to accept their status as victims rather than blame ‘clumsy teachers’ (71). Often their parents are over impressed by teachers' opinions or by the simple scores in educational tests, and are liable to say things like ‘He’s no good at French’, which naturalises inequality. Student objections to the system are often still couched in [victim vocabulary], and they expect solutions to be provided only by the generosity of teachers. Populist demands [such as that working-class culture has to be valued alongside elite culture] are also limited, since the dominant system is not just a simple class culture. Furthermore, academic skills and aptitudes can be learned.

The first requirement is to aim to affect the home environment. Teachers need to be fully explicit about what is required. The usual formulae are not enough [superstitions, but also including routine study skills advice?]. Teachers need to avoid any claims to have professorial charisma, and to develop a rational pedagogy, although this is ‘still to be invented’ (73). Scientific pedagogy is no good because it ignores social conditions [so a real difference between Bourdieu and the educational technologists here]. We need to evaluate different methods of teaching, modes and actual procedures—for example, should we give general technical advice or close direction of student work? Efficiency should be seen as related to students' social origins. We might need constant exercises to build up the skills needed. At the moment, this is denied by the myth of student autonomy and independent learning (74) which only help legitimates the charismatic teacher myth and see alternatives as pedantry.

Students vacillate between the perceived need for discipline and the myth of the aristocratic stance. Teachers also vacillate, taking an aristocratic stance until they have to do assessment (75). Professional judgments in reality are 'based on personal criteria, variable from teacher to teacher and… tied to the particular case' (75). Students need to decipher these criteria and try to rationalise them.

Students from upper class origins can adapt to these diffuse requirements, because of a 'clear affinity between school culture and the culture of the cultivated class' (75). When asked to undertake oral exams, upper class students just demonstrate the skills which are already unconsciously valued [in presentations too?]. Any open recognition of the effects of social origin 'would be regarded as scandalous' (75).

In a rational approach, there would be clarity about the 'reciprocal requirements of teachers and taught… the organisation of study… to enable students from the disadvantaged classes to overcome their disadvantages' (75). [Then a strangely utilitarian remark]: we should permit the 'greatest possible number of individuals to appropriate in the shortest possible time, as completely and perfectly as possible, the greatest number of the abilities which constitute school culture at a given moment' (76). This approach will be neither traditional nor technical/specialist. Until we develop it, education cannot overcome inequality. At the same time, a rational pedagogy is in its turn impossible unless recruitment of teachers and students is democratised.

Epilogue

The middle class demand for university expansion arises from the need to secure their social places [credentialist closure]. The response to the development of a modern economy has been to demand more kinds of education. Diplomas themselves have probably been devalued in terms of their role in regulating access to jobs. The rapid growth of more functional [vocational?] education and more functional jobs have devalued traditional diplomas, and excluded non holders of diplomas altogether. Academic qualifications have also helped to unify the whole system of qualifications [compare with the British government's model of 8 different levels].

As well as obtaining a diploma, it is important to exploit its value, and this requires further investments of educational and social capital. Those stopping at the lower levels, and new arrivals at the higher ones, are likely to suffer most from devaluation. They can fight back, for themselves and for their children, by demanding even more better qualifications [as in the credentialist spiral].

Educational qualifications can be converted to economic capital in several ways. Graduates might be able to demand higher wages: those holding diplomas have overtaken small independent businessmen in terms of income [almost a counterbalance argument here, based on some statistical evidence, the authors claim]. Alternatively, graduates might be able to shift into new businesses. This can be seen in the changes around craft work, for example, which now feature luxury and leisure goods. These require a more cultural capital (80). For such goods, value lies in the 'casual distinction of the vendor [as much] as on the nature and quality of the wares' (81), and it is important to demonstrate a mastery of taste rather than technical skills. These sorts of new cultural industries seem ideal for those with cultural capital rather than high levels of educational capital [as an example, the denser members of the UK royal family seem to be able to make a good living making very posh furniture].

Holders of devalued qualifications can try to retain their value [an interesting possibility relating to the recent work on knowledge economy in the UK, which also predicts falling returns to university degrees]. For example, the diploma can become a licence to gain privilege rather than an actual job, and to increase self esteem. Again more objective mechanisms are required, including a need to invest in valuable educational capital, perhaps by pulling out of unfashionable subjects [or unis]. It is possible to cling on to the old values to some extent, if you can persuade colleagues and the family of the value of your diploma, this can sometimes mask a real devaluation. In some circumstances, it might lead to actual revaluation [if particular degree subjects become fashionable, or if you can persuade employers that the prestige of the qualification is the most important thing]. Those who supply jobs however are likely to reward their real value of diplomas, especially if they are pursuing deskilling strategies as well. [I can still see a place for well educated but non technical people as decorative members of boards of directors]. In the worst case, diploma holders can be unemployed, and can see themselves as refusing to play the game [hence the moral drop out, who gains an engineering degree, finds it overtaken by technical developments, and gives it all up to run a smallholding in Devon].

#Oxford University #Oxford

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