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#the dreaming cities
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"Now," Eris demanded, her uncovered eyes glowing fiercely. "Tell us how to follow the Witness."
"Tell you?" Savathûn frowned, her voice edged with disappointment. "I already showed you."
Ikora leapt to her feet, roaring Void energy distorting the air around her. She took a measured step toward Savathûn.
"No tricks, no riddles, no lies twisted around the truth," she said, her voice firm. "Tell us now, or I don't have any reason to let you leave here alive."
Savathûn slowly drew herself to her full height and grinned down at Ikora, spreading her wings wide. "Eris may have managed an interesting sword logic stunt, but I have lost none of my power." She began to hover, her talons dragged across the ground as she floated toward the Warlock. "You're in no position to stop me."
The Guardian rose from Eris's side.
"I am," they said.
Savathûn paused for a long moment, her ossified face unreadable.
Finally, she sighed.
"Just when you were starting to impress me," she said as she closed her wings and stooped to Ikora's height. Immaru bobbed awkwardly to keep level with her.
"We both need to stop the Witness, and to that end, I have given you what I promised," she said slowly. "You will find you have it when you are ready. Like Eris said: our bargain is complete. There's no need for drama."
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Here at the center, I lie to you the truth. You have everything you need to know it, but I will give you a clue, as the duelist gives warning before she draws. The answer you seek to the Dreaming City is simple, not complex.
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JALAAL >> REY
How is anyone supposed to arrive at this by studying the Truth to Power text?
REY >> JALAAL
Very easily. This is why I believe I'm right. This is the analogy our Guardian analysts failed to grasp. Look at the structure of the text.
At first, Eris is real. Then we learn Eris's voice is a deception by Medusa. Then we learn Medusa is nested inside Quria. Then we learn Quria is a fiction of Dûl Incaru. And at the center, Savathûn reveals herself to be the parent of it all.
We are headed inward, as if moving from parent to child universe.
Then we proceed in reverse. Savathûn is revealed to be a fiction of Dûl Incaru. Dûl Incaru a simulation by Quria, and so on.
So in the end, Truth to Power moves outwards.
Just as Savathûn plans to move. In from our universe and out to the Distributary—
Or out from our universe to its parent.
JALAAL >> REY
Oh. I see. I see! A literary structure like that is called a chiasmus, and chiasmus means "crossing point"! Like a wormhole or a portal! It was hidden in plain sight.
But then we must act urgently to stop this! Savathûn cannot be allowed to depart our universe into some reality superordinate to ours—
But now you'll tell me: so what if she does? What can she do to us out there?
REY >> JALAAL
It's all beside the point anyway. She may have already accomplished what she wanted. Some damn fool Guardian carried out her instructions on a dare. I don't know why she wanted a powerful Guardian to destroy her daughter in the ruins of Mara's throne. But she wanted it to happen. And I'm guessing the effects weren't felt here.
I think she got a glimpse into a world above our own. Maybe even a kind of influence.
Of course, Savathûn is still with us. She walked among us as Osiris; she tricked us into removing her worm; she hasn't vanished into some higher reality. I do not think she built a wormhole into another universe and walked through it—although her intrigues with the Nine have focused on creating singularities from dark matter.
She keeps a lot of irons in the fire, our Witch Queen.
I think, rather, that she sent instructions on how to mantle her.
I think the whole Truth to Power manuscript is an ova, a manual on how to behave like her, how to describe her through action and thought so completely that you become her and thus give birth to her.
It's done in the Books of Sorrow, to recall her from true death. It might be done again.
So a part of her is out of the jar. Slithering into that other world.
Let's hope no one there has given birth to her yet.
JALAAL >> REY
Maybe you're the one who has it all backwards.
The Light is noncomputable. It can't be simulated in conventional physics. That proves that any universe with the Light cannot be a simulation. Our universe can contain simulations, but it cannot be one.
Maybe this other world Savathûn's touched is subordinate to ours after all. Maybe they are the ones who exist in our minds. A dream of a purely material world, adrift in the true cosmos of Light and Dark.
Poor frail dreams. The things she'd do to them…
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liminal-x-wave · 3 months
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r e f l e c t 陰遠椅
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ecoharbor · 1 month
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📍Cappadocia, Turkey 🇹🇷
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happyheidi · 8 months
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𝖡𝖺𝗅𝖼𝗈𝗇𝗒. 𝖯𝗋𝗈𝗏𝖾𝗇𝖼𝖾, 𝖥𝗋𝖺𝗇𝖼𝖾 𝖻𝗒 𝗋𝗈𝖻𝖺𝟨𝟨
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365filmsbyauroranocte · 9 months
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20th Century Nostalgia (Masato Hara, 1997)
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one-time-i-dreamt · 3 months
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The queen of England was chasing me through a 2D city and then she became Godzilla with badly edited 90s laser eyes and told me to cut my head off.
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queencaramilflinda · 2 months
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On the prompt of “make a D20 big bad”
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ai-dream · 4 months
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My unsleeping city illustrations! Available early on my Patreon!
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nekupilled · 5 months
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Me and you and miles Kane
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pixel8or · 3 days
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pascow · 15 days
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THIRTEEN HORROR FILMS THAT SCARED TF OUT OF ME!
tag rules: select 13 horror films that at one point in time terrified the hell out of you (gifs optional)
tagged by: @animusrox
tagging: @losthavenmine @90scully @saw-x @stephendorff @dushku
@classichorrorblog @kizzyedgelll @rogerdeakinsdp @deadringers2023 @madeline-kahn
@j0el-miller @ethan-hawke @ricky-olson @ncutisgatwas @jodifosters and anyone who'd like to do this!
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ilovehowyoufeel · 3 months
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mummer · 11 months
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just saw asteroid city last night, pls explain the proposed significance of the kiss!!
answering this publicly hope thats ok! cant do a readmore im on mobile *****asteroid city spoilers below beware*****
i dont remember anyones names so this is gonna sound partly unhinged. okay so the edward norton playwright and jason schwartzman actor (not character, in the black and white parts) are lovers right. tbh i thought this was kind of a gag and forgot about it. but later we find out that the playwright died 6 months into the production. i didnt make the connection that THAT’s why the actor-jason has to suddenly leave the stage and freaks out backstage about how he’s not sure he’s Doing it right. hes not talking about acting!! because he himself is literally grieving his lover while he’s playing a character who’s grieving his wife written by his lover so obviously it’s too much!!! actor-jason is trying to find meaning in his death through his writing but there isnt any meaning in death [gerris drinkwater voice] which is what the play is trying to say anyway. he doesnt think he’s performing grief right even in his own life!!! (and tbh it’s the 50s so he wouldnt be able to perform grief publicly anyway!!!!) the play starts with a car accident… anyone would search for some hidden meaning there, some sign…. so when he talks to margot robbie outside it’s not really about finding the CHARACTER’s motivations it’s about the actor himself being able to process the playwright’s death! and adrien brody director was probably also dealing with that too (him and norton seemed to be good buddies) so the whole “sleeping backstage” thing gets a bit sadder maybe? maybe everyone else got this in the theatre and im just stupid lol but crazy making stuff to me!!! the whole story is about sublimated gay grief that cannot be expressed?!?!
the tweet that caught me onto this was here which posits that the playwright’s death was a suicide but i think that’s pretty stupid and unnecessary because the whole thing about the play asteroid city is that death is random and meaningless. im pretty sure that’s what the alien represents— a shocking and absurd event that isnt outright evil or menacing, not something anyone can predict or make sense of, it’s just a thing that happens to you out of nowhere, it doesnt mean anything. he’s a little black figure, he’s death! giving and taking! aagh
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black-berryies · 6 months
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it’s the November 16th, my dudes :)
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365filmsbyauroranocte · 3 months
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Farewell to Dream (Keisuke Kinoshita, 1956)
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