Dinosaur symbol for myspacesx

What symbolic would a culture give dinosaurs?

2024.05.14 11:14 An_old_walrus What symbolic would a culture give dinosaurs?

I have been cooking up a worldbuilding thing involving an island of living dinosaurs with the main species of the story being a species of sapient troodontids who I’ve termed “the Birdfolk” who have developed a Stone Age level society. One thing I’ve thought about is what kind of symbolic meaning would they assign to the other dinosaurs that they live alongside. One basic idea I had was inspired by Inuit beliefs of all creatures having spirits and that they are not above other living things. During a hunt an animal must be given a proper humane death and afterwords a spoken ritual must be done so its spirit does not become upset and cause misfortune. I also have the idea of the shamans of the Birdfolk use skulls to commune with the spirits of animals in order to ask for guidance.
There are animals that I have given specific symbolic meaning among the Birdfolk. The island’s native tyrannosaurs are seen as mighty symbols of strength and are associated with storms as their low growls sound like thunder. The titanosaurs of the island are viewed as messengers between the Birdfolk and their deities with specific rituals done when a there comes by in order to give messages to the gods. The island has a species of megaraptor which has evolved into a leopard like arboreal ambush predator, they are associated with the night, trickery and death. A smaller cattle sized species of ceratopsian are used by Birdfolk dwelling within the island’s interior savannahs as beasts of burden like camels or donkeys, they are seen as strong but stubborn and often unreasonable.
I want some more help as I continue to build this world, what symbolic values do you think certain dinosaurs would have? I know this is a strange post but I love having input to make my creative works better. Thanks!
submitted by An_old_walrus to Dinosaurs [link] [comments]


2024.05.14 09:03 UsualAcanthaceae8775 What if their was a Ben 10 5v5 hero shooter like marvel rivals (Redesigns)

Feel free to make art of these redesigns and give criticism of the designs
Redesigns: Heatblast Redesign: Sleeker with magma-like veins glowing beneath his rocky exterior. Equipment: Volcanic Gauntlets that enhance his fire abilities. Outfit: A flame-retardant suit with a core reactor symbol on the chest.
Diamondhead Redesign: Crystalline armor with reflective surfaces and sharper edges. Equipment: A crystal shield that can morph into different defensive shapes. Outfit: A suit with geometric patterns that shimmer with a diamond-like brilliance.
XLR8 Redesign: More aerodynamic with streamlined armor and a visor for high-speed travel. Equipment: Turbo boots that leave a trail of blue energy when he sprints. Outfit: A racing suit with a sleek helmet that has a retractable visor.
Fourarms Redesign: Bulkier with reinforced joints for extra strength. Equipment: Heavy-duty gauntlets that can smash through barriers. Outfit: A gladiator-inspired ensemble with a belt displaying his alien number.
Stinkfly Redesign: Brighter colors with translucent wings and bioluminescent spots. Equipment: A harness that helps distribute healing mist more effectively. Outfit: A lightweight suit that glows in the dark, highlighting his flight path.
Upgrade Redesign: Futuristic with a sleek metallic finish and circuit patterns. Equipment: A modular backpack that can transform into various tech gadgets. Outfit: A tech-suit that integrates with his body, allowing for seamless transformations.
Ghostfreak Redesign: More ethereal with a ghostly aura and chains that represent his phasing ability. Equipment: Ectoplasmic chains that can extend and bind enemies. Outfit: A tattered cloak that billows as if always caught in an otherworldly wind.
Snare-oh Redesign: Ancient Egyptian motifs with hieroglyphs etched into his bandages. Equipment: Ankh-shaped gauntlets that enhance his sand powers. Outfit: A pharaoh’s headdress that symbolizes his regal presence on the battlefield.
Frankenstrike Redesign: More industrial with visible bolts and conductive wiring. Equipment: A pair of Tesla coil shoulder pads that amplify his electric attacks. Outfit: A patchwork suit that resembles a mad scientist’s lab coat.
Eye Guy Redesign: Eyes of varying sizes with adaptive irises for different vision modes. Equipment: A visor that coordinates his eye beams for precision strikes. Outfit: A suit with lens patterns that focus his ocular energy.
Swampfire Redesign: More plant-like with vibrant green foliage and fiery red flowers. Equipment: Compost Gauntlets that enhance his regenerative abilities. Outfit: A botanical suit with leaf patterns and a fiery emblem on the chest.
Echo-Echo Redesign: Sleek and white with sound wave patterns across his body. Equipment: Sonic Amplifiers that boost his sound-based attacks. Outfit: A suit with a sound equalizer display that reacts to his sonic screams.
Humongosaur Redesign: Dinosaur-like with armored plating and a more pronounced tail. Equipment: Meteor Hammer fists that increase his smashing power. Outfit: A prehistoric-themed armor set with bone and rock elements.
Jetray Redesign: More streamlined with sharper wings and a jet engine-like back. Equipment: Aero Fins that improve his maneuverability in the air. Outfit: A flight suit with a sleek helmet and goggles for high-altitude visibility.
Big Chill Redesign: Ghostly with icy blue tones and frost-covered wings. Equipment: Frostbite Claws that leave a chilling effect on enemies. Outfit: A cloak that shimmers like thin ice and leaves a trail of frost.
Brainstorm Redesign: Brain-like patterns with neural connectors and a brighter shell. Equipment: Cerebral Enhancer that increases his psychic abilities. Outfit: A lab coat with a brainwave pattern and a utility belt for gadgets.
Goop Redesign: More viscous with glowing internal organs visible within. Equipment: Polarity Boots that allow him to stick to surfaces and maintain shape. Outfit: A containment suit that helps him keep form and focus his attacks.
Spidermonkey Redesign: More arachnid with additional eyes and spikier fur. Equipment: Web Slingers that shoot stronger and stickier webs. Outfit: A stealth suit with a spider emblem and grip-enhancing gloves and boots.
Loadstar Redesign: Magnetic with a core that glows when using his powers. Equipment: Gravitational Greaves that enhance his magnetic field control. Outfit: An armored suit with polarized plates that attract and repel metal.
Rath Redesign: Fiercer with more pronounced claws and tiger-like stripes. Equipment: Rage Amplifiers that boost his strength when his health is low. Outfit: A luchador-inspired costume with a mask that embodies his wild spirit.
Water Hazard Redesign: More aquatic with a sleeker, streamlined body and gill-like structures. Equipment: Aqua Cannons that can shoot high-pressure water streams. Outfit: A wetsuit with hydrodynamic patterns and a water drop emblem.
Ampfibian Redesign: More translucent with visible bio-electric currents flowing through his body. Equipment: Electro-Flippers that increase swimming speed and maneuverability. Outfit: A suit with neon trims that pulse with his electric charge.
Armodrillo Redesign: Bulkier with reinforced armor plating and drill bits. Equipment: Seismic Boots that enhance ground-shaking abilities. Outfit: A miner’s outfit with a helmet light and a rugged utility belt.
NRG Redesign: Glowing core with a more robust containment suit. Equipment: Reactor Gauntlets that can channel and shoot nuclear energy. Outfit: A radiation suit with a warning symbol and energy-absorbing layers.
Terraspin Redesign: Shell patterns resembling wind turbines and more pronounced fins. Equipment: Cyclone Discs that can be thrown to create gusts of wind. Outfit: An aviator jacket with a turtle shell pattern and wind direction arrows.
Clockwork Redesign: More gears and clockwork mechanisms visible with a timeless finish. Equipment: Chrono Keys that can unlock temporal abilities. Outfit: A steampunk-inspired suit with brass accents and a pocket watch.
Jury Rigg Redesign: More mechanical with tools integrated into his limbs. Equipment: Wrecking Ratchets that increase his dismantling speed. Outfit: A mechanic’s jumpsuit with patches and a tool belt.
Chamalien Redesign: More chameleon-like with adaptive skin that changes patterns. Equipment: Camo Cloak that enhances his stealth capabilities. Outfit: A suit with a chameleon scale motif that shifts colors with his movements.
Feedback Redesign: More electrically charged with pulsating energy lines across his body. Equipment: Antenna Arrays that increase the range and power of his electrical attacks. Outfit: A suit with circuitry patterns that glow with stored energy.
Bloxx Redesign: Modular with interlocking blocks that can reconfigure on the fly. Equipment: Building Bracers that allow for quicker construction of barriers and structures. Outfit: A construction-themed outfit with a hard hat emblem and utility belt.
Ball Weevil Redesign: Brighter colors with a more pronounced spherical body for rolling. Equipment: Plasma Cores that create larger and more potent explosive orbs. Outfit: A sleek suit with orb patterns and a visor that helps target his plasma globes.
Pesky Dust Redesign: Fairy-like with more delicate wings and a dreamy aura. Equipment: Dreamcatcher Net that can capture and amplify his sleep-inducing dust. Outfit: A mystical robe with star and moon motifs that enhance his magical presence.
Atomix Redesign: Radiant with a mini-reactor core and energy veins visible on his body. Equipment: Fusion Gauntlets that stabilize and focus his nuclear energy. Outfit: A hazard suit with a reactor symbol and protective plating.
Gutrot Redesign: Chemical tanks visible on his body with tubes connecting to his gauntlets. Equipment: Diffuser Mask that spreads his gases over a wider area. Outfit: A biochemical suit with a respirator and hazard symbols.
Whampire Redesign: More vampiric with bat-like features and a darker color scheme. Equipment: Echo-Locator Goggles that help him navigate and hunt in the dark. Outfit: A gothic cloak with a high collar and a clasp shaped like a bat.
Shocksquash Redesign: Bulkier with coils and capacitors integrated into his limbs. Equipment: Shock Boots that generate electricity with each stomp. Outfit: An electrified suit with lightning bolt patterns and insulated gloves.
Wildmutt Redesign: Enhanced sensory nodes and a more streamlined body for agility. Equipment: Sonic Collar that amplifies his roars and tracking abilities. Outfit: A sleek suit with padded armor to protect while maintaining flexibility.
Grey Matter Redesign: More pronounced cranial features and brighter skin to highlight his intelligence. Equipment: Quantum Computer Backpack that assists with hacking and strategy. Outfit: A miniaturized lab coat with various gadget holsters.
Ripjaws Redesign: Sharper teeth and fins, with a bioluminescent glow for underwater combat. Equipment: Aqua Jetpack that allows for swift movements in and out of water. Outfit: A reinforced diving suit with pressure resistance for deep-sea excursions.
Cannonbolt Redesign: A more aerodynamic shell with reinforced plating for rolling attacks. Equipment: Momentum Wheels that increase speed and control during rolls. Outfit: A racing stripe motif with impact-absorbing materials.
Wildvine Redesign: Thicker vines and a broader range of plant-like features. Equipment: Photosynthesis Boosters that enhance healing and growth abilities. Outfit: A botanical armor set with leafy camouflage.
Spitter Redesign: More pronounced glands and a wider mouth for his spitting attacks. Equipment: Hydration Pack that keeps him primed for slime production. Outfit: A moisture-retaining suit that helps in slime regeneration.
Buzzshock Redesign: Brighter electrical arcs and a more compact body for zipping around. Equipment: Static Amplifiers that boost his electrical output. Outfit: A suit with conductive pathways that glow with stored electricity.
Blitzwolfer Redesign: More pronounced fangs and claws, with a darker, more intimidating appearance. Equipment: Lunar Lenses that enhance his night vision and howling range. Outfit: A tattered cape that billows as he moves, adding to his fearsome presence.
Upchuck Redesign: A wider mouth and a more robust digestive system visible on his belly. Equipment: Digestive Accelerators that allow for quicker consumption and energy conversion. Outfit: A suit with reinforced areas around the stomach to handle his expansive appetite.
Ditto Redesign: Brighter colors and more expressive faces to differentiate his clones. Equipment: Cloning Belt that enhances the stability and independence of each clone. Outfit: A uniform with a number system to keep track of his duplicates.
Waybig Redesign: Cosmic patterns on his skin and a more imposing stature. Equipment: Stellar Stabilizers that help him maintain balance and leverage his size. Outfit: A suit with celestial motifs that reflect his cosmic origins.
Arctiguana Redesign: Icier appearance with sharper spines and a more pronounced frill. Equipment: Cryo Converters that enhance his ice beam’s freezing capabilities. Outfit: An insulated suit that protects him from overheating and helps focus his cold powers.
Chromastone Redesign: More prismatic with a crystalline structure that refracts light. Equipment: Prism Gauntlets that enhance his energy absorption and refraction abilities. Outfit: A suit with angular, reflective panels that mimic his crystalline form.
Alien X Redesign: Cosmic and ethereal with starry patterns that shift and change. Equipment: Celestial Scepter that focuses his reality-warping powers. Outfit: A robe that seems to contain a piece of the universe, complete with twinkling stars.
Nanomech Redesign: Sleeker with more advanced nanotechnology features. Equipment: Micro-Assembler that allows him to construct various devices on the fly. Outfit: A tech-enhanced suit that adjusts to his size changes.
Fasttrack Redesign: Streamlined with aerodynamic features for enhanced speed. Equipment: Velocity Vambraces that boost his speed and agility. Outfit: A racing suit with dynamic lines that glow when he accelerates.
Eatle Redesign: Bulkier with a reinforced exoskeleton and sharper mandibles. Equipment: Digestive Reinforcement Belt that aids in processing consumed materials. Outfit: A utility belt with compartments for storing consumed materials.
Gravattack Redesign: More planetary with a core that glows like a molten core. Equipment: Graviton Anchor that helps him control his gravitational fields. Outfit: A suit with orbiting bands that represent his control over gravity.
Crashhopper Redesign: More insectoid with enhanced leg hydraulics for powerful jumps. Equipment: Impact Dampeners that protect him during high-velocity landings. Outfit: A suit with spring-loaded accents that highlight his leaping abilities.
Walkatrout Redesign: More amphibious with sleek scales and a streamlined body. Equipment: Aqua-Dynamic Fins that improve his swimming and maneuverability. Outfit: A wetsuit with a slippery surface to aid in evasive maneuvers.
Molestache Redesign: More distinguished with a larger, more versatile mustache. Equipment: Mustache Combs that can be used as weapons or tools. Outfit: A Victorian-style suit with a bow tie and a monocle for a touch of class.
The Worst Redesign: Tougher looking with visible scars and a more rugged appearance. Equipment: Resilience Amplifiers that make him even harder to take down. Outfit: A battered suit that looks like it’s been through many battles.
Kickin Hawk Redesign: Sharper talons and more pronounced feathers for a fiercer look. Equipment: Talon Enhancers that increase the power of his kicks. Outfit: A martial arts gi with feathered accents that flutter as he moves.
Toepick Redesign: Darker and more ominous with a face that’s hidden until revealed. Equipment: Fear Inducers that amplify the terror he instills in enemies. Outfit: A cloak that shrouds him in mystery, only opening to unleash his frightful visage.
Astrodactyl Redesign: More alien with wing membranes that glow with cosmic energy. Equipment: Jetpack Harness that enhances his flight and energy projection. Outfit: A suit with aerodynamic features and a helmet with a visor for space travel.
Bullfrag Redesign: More muscular with amphibious traits and a tougher skin texture. Equipment: Strength Enhancers that boost his physical prowess. Outfit: A tactical vest with various pouches for carrying mission essentials.
submitted by UsualAcanthaceae8775 to Ben10 [link] [comments]


2024.05.13 23:23 SaurianEra Saurian Era's Return of the Utahraptor Event - Semi-Realism RP

Hi from the team at Saurian Era! We are a semi-realistic roleplay focused Path of Titans server. Interested in joining a server with deep lore focused on storytelling, nesting, family trees, territories, and in-depth dinosaur profiles? Check out our latest event, date TBD when the Utahraptor mod is added back (we're super excited). At the end of this post you'll find an invite to our Discord server.

Return of the Utahraptor

This current arc follows the last remains of the Suncrest Pack. Devastated by sickness that ravaged their home in the Savanna Grassland, their leader, Arrowroot, lead the last of his kin to a new home, where the remnants of the group would lay their final nests—four nests. Each female took time to love and care, trying to showcase some symbol of admiration to their babies, knowing completely that they would never live to see if the eggs would even hatch.
But life finds a way.
Each nest has a different theme to it, and mother. Check the end of the message to get information about how to enroll in the nest you want to be a part of.
Flower Ring
A nest surrounded by flowers, laid delicately by a silver and black female Utahraptor by the name of Minnow Shimmer. A sweet temperament, her former mate was a red and white male called Sun Bleed, who was protective over his mate until his last breath, keeping her body safe from scavengers until the sickness took him as well.
Current number of viable eggs: 4
Claws of Blood
Despite its dark name, this nest was made by a fiery red female named Sunchaser, youngest granddaughter of Arrowroot. She had an affinity for blood stones, believing them to be beautiful, as they resembled her feather colors. She, along with her mate Ash Wind, a gray male, carried stones from the nearby area, and laid them around the nest. They hoped the offspring would see them, and at least remember the color that resembled their mother.
Current number of viable eggs: 3
Moon Drop
She joined their pack shortly before the illness took it. Pure white in color, Stardust was rumored by members to be the reason the sickness came. But she remained pleasant, patient, and quiet. She formed a close friendship with Arrowroot in her time there. While no one knows who the father of her children are, she placed her nest between two trees, with a perfect view of the sky. She left the eggs with nothing but the ability to see the night sky.
Current number of viable eggs: 3
Royal Blood
Arrowroot was a handsome male in his time. Fiery colors with dark marks and white blazes, he carried the unique coloring of the Suncrest Ancestors with him. His mate, a brown female he stole from a rival pack when he was younger was simply called Mouse, a little thing. They grew together, raised many families together, but this would be their final that they would sadly not be able to continue this tradition with. They may not ever know what they were meant to be—the next generation of leaders for the Suncrest pack. Mouse stayed with her nest until her last breath, where Arrowroot carried her body off, and was never seen again himself.
Current number of viable eggs: 4
What path will you choose? Will this little pack remember their heritage—of what they use to be? Will a new alpha step up to reform the great Suncrest Pack? Or will they disperse, creating their own packs? What would happen, with all of these packs forming in the heart of an unfamiliar home? Who will come out the reigning champion of the forest?

Hopefully I've piqued your interest by now. Join our Discord by clicking this incredibly convenient link and take a look around. We look forward to seeing you! :)
submitted by SaurianEra to pathoftitans [link] [comments]


2024.05.13 07:22 Avian_Stalker 🦖🦕

I think we should make T-Rex’s one of our unofficial “autism symbols,” like the autism creature/yippee!
My reasons: - T-Rex arms - Large amount of autistic people like dinosaurs - They’re big and sort of “the elephant in the room” which lots of autistic people can relate to in a way? - Dinosaurs are cool :) 🦖
(This is all just for fun, and mostly a joke… but I’m not saying we shouldn’t do it!)
submitted by Avian_Stalker to autism [link] [comments]


2024.05.12 18:53 IUsedToBeRasAlGhul Unpopular Opinion: Godzilla Earth isn’t actually good or just wasted, he sucks as much as the rest of the anime trilogy

Unpopular Opinion: Godzilla Earth isn’t actually good or just wasted, he sucks as much as the rest of the anime trilogy
A lot of the time when the anime movies come up, I’ll usually see people praising its incarnation of Godzilla, even those that shit on the rest of the movies. Now I can get behind hyping up Big G in all his appearances, because it’s motherfucking Godzilla. Bro’s a giant dinosaur that fucks shit up with his atomic breath, and will either be delivering the most soul-crushing terror you’ve ever felt or having you cheer on as he supplexes another giant creature. But I’ve decided I’m done toeing the line, and I’m just gonna come out and say it: Godzilla Earth isn’t a standout of the anime trilogy to me. He’s not one of the better parts of the movies, he’s not being wasted in the films (at least as he is), he’s not a cool new idea for a version of Godzilla, he’s just as much absolute garbage as the rest of his source material.
Let’s start with a basic summary: Godzilla Earth is the main version of Godzilla that features in the Netflix/Polygon Pictures anime trilogy of films. This Godzilla has a unique origin as being a plant-like organism, the “end result of natural selection on Earth” that has adapted the best traits of many other creatures on Earth through horizontal gene transfer. To put it another way: he’s like Ultimate Lifeform Kars from JoJo’s Bizarre Adventure, but just naturally came out that way, is a kaiju instead of a human looking dude, and has no effective representation of that.
Godzilla first appeared in-universe in 2030, after humanity had been dealing with decades of kaiju attacks. Godzilla, as Godzilla is wont to do, quickly established himself as the baddest bitch around by systematically annihilating all life he came across, from humanity to the other kaiju. Nothing that anyone threw at him, even when the aliens showed up to try and fail with MechaGodzilla, did anything at all. By 2045, Godzilla had so thoroughly dominated the planet that the United Earth organization (composed of humanity and the two shitty, weirdly human alien species that showed up) could only try to launch a space colonization project and abandon Earth to Godzilla to survive. Godzilla reigned supreme, and spent the next 20,000 years terraforming Earth to become his domain, which included growing to be 300 meters tall, having a random mini-clone be created from cells of his that split off in the form of Godzilla Fillius, and then other small creatures known as Servum.
Now that we’ve covered the basic history of Godzilla Earth, let’s address the elephant in the room: from top to bottom, he’s a total fucking loser. Zilla arguably has more going for him than this guy, and I don’t mean the thundercock gigachad animated son there, I’m talking about the shitty CGI one from the movie.
First off, there’s the design. Godzilla Earth has a new origin unlike any other Godzilla, as stated above, by being an entirely natural plant-based organism that has evolved to represent the pinnacle of life on Earth. Sounds pretty cool, right? You would imagine then, that this Godzilla would have a new, creative design that reflects this origin well, while still being recognizably Godzilla, right? Nope, it’s just a crappy reskin of Monsterverse Godzilla. You could tell me that the anime’s design came from one of those achievement award skins in a video game based off the Monsterverse, and I would genuinely believe you. At best, the spines more closely resemble leaves then the irregular dorsal patterns, but man, that shit is weak. What’s worse is that the film’s concept art shows the designers played around with Godzilla’s features to represent different animals as the endpoint of Earth-based life, but decided to go with the most boring option possible. The models from the art style of the trilogy certainly didn’t do this guy any favors either…
It’s insane to me how badly this bungles what should be an easy layup. In the medium of animation, where the sky's the limit on what you can be doing, and in a story that gives care blanche to work with, Godzilla Earth somehow comes out as the most soulless and bland version of itself it can possibly be. Nothing about this design meaningfully expresses to me what this version of the G-Man is about whatsoever. Look at the other Reiwa’s: Monsterverse Godzilla looks like what it’s supposed to be, a version of Godzilla that naturally existed as a giant prehistoric animal. Shin Godzilla looks like what it’s supposed to be, a reinvention of the original’s concept of a creature terribly burned by radiation. Minus One Godzilla looks like what it’s supposed to be, a dinosaur that has been forcibly mutated by the atomic bomb and modern update to the iconic Showa/Heisei design. What’s the takeaway from Godzilla Earth? That you shouldn’t expect creativity or anything compelling from these movies?
What really gets me here is that while not the exact same, the creators of the trilogy did have a possible inspiration that was sitting right there for them to use: Biollante, one of the most popular kaiju of the franchise. On a visual level, Biollante’s two forms almost perfectly represent the origins of this creature and the themes behind it: a rose that has been mutated by Godzilla’s cells that has become a monstrous creature in its own right, a cautionary tale of what genetic engineering could lead to just as Godzilla himself was a metaphor for the atomic bomb. Obviously, it would be foolish to just try to replicate Biollante, but the point is that we’ve already seen how well a plant kaiju can potentially work out in this very franchise. Yet apparently, that’s too tall of an order for the anime trilogy, I guess.
Then there’s how Godzilla Earth actually interacts with the world around it. Again, in the medium of animation, many of the normal potential issues with making a movie or series with Godzilla go away: you don’t need to worry about the stilted or artificial nature of suit movement, nor do you need to worry about how the CGI will come out in live-action. The balls have been removed from your jaws to go to your court for you to dunk as you please. But as usual, the anime trilogy goes down the most painful route possible by having Godzilla Earth…just fucking stand there the whole time.
I’m not fucking around here, the Spongebob meme is entirely an accurate description of the range of Godzilla Earth’s movement. This bitch spends almost all of his screen time just sitting on his ass, barely moving around with the slightest waddle whenever the film decides there should be a paltry effort at action or to break up the terrible plot. I have seen newborn infants with more well-defined and fast-paced ranges of motion than this colossal tub of dirt. Godzilla Earth could never touch any version of Kong solely by how they’d be tapdancing around him like nobody’s business and take all the time they’d like climbing on him and taking potshots without fear of reprisal. It’s most blatant when the final film is insulting the collective intelligence of the audience by pretending Godzilla and Ghidorah are “fighting” when Ghidorah’s wormy little heads are biting Godzilla, and Big G is just floating in the air like he’s a stiff action figure being held up by a toddler while releasing the mild groans of discomfort of a middle-aged father on the verge of developing IBS.
I’m not saying the guy needs to have the acrobatic agility of the Showa era or the power walk of Heisei’s, but come the fuck on. Give us something to work with here. To again give comparisons: MV Godzilla’s movements are based upon how actual animals like bears fight (and as of GxK, wrestlers), reflecting its origins as a gigantic animal that’s part of the ecosystem of the world like any other. Shin Godzilla is awkwardly shuffling around and colliding with shit in its path (still more dynamic than Earth btw), because it’s a creature in a state of constant mutation and pain with no real awareness of the world around it. -1 Godzilla is deliberately seeking to cause as much damage to humans, and forced to be much more stiff from its radioactive burns compared to the natural movements we saw on Odo Island. But Godzilla Earth clearly was made on a shoestring budget by digital artists suffering under the cruel hand of Ellen Degeneres-esque directors.
It also doesn’t help that this dude has pretty much nothing going for him in terms of actual showings. Now sure, a lot of the abilities Godzilla Earth has sounds impressive on-paper: being the tallest Godzilla by far. Basically having his own A.T-Field with some electromagnetism thing. An incredibly powerful and precise Atomic Breath that can punch through the atmosphere. Charging up a roar that can generate a massive shockwave cone. Creating a plasma shockwave simply by moving his tail at MACH 3-4 speed with a 600 meter range. Even his own self-generated Burning Mode, that can go up to 3000 degrees Celsius. All of that sounds pretty cool, right?
But from the combination of how utterly immobile Godzilla Earth himself is, the lack of any compelling action sequences, and the exceptionally poor writing of the trilogy, all of that goes to waste. Godzilla Earth spends the majority of his screen time doing absolutely nothing at all, and otherwise performing what abilities he has that require him to be non-sedentary (hint: not many) at a glacial speed. It’s not like that glacial speed is one of the examples of giving the kaiju a sense of scale and weight either, the fucker is just a goddamn steamroller.
Nothing Godzilla Earth does feels like it has any real weight or power behind it, both because the story is so weak and the kaiju himself just is doing buttfuck all. Look at how Godzilla moves around Japan in the original movie, Shin or Minus, and how terrifying and awesome all of the destruction is. Because even if those are much smaller Godzillas that are constrained by the live-action medium for their time, they still feel much more powerful and dynamic because the movie actually lets them be doing shit. Or in Heisei, Millenium, and Monsterverse, where Godzilla is beating the shit out of other monsters-again, much smaller and limited by their medium, but they feel far more powerful because they’re in a movie that was made to actually give them a sense of power and might.
The closest Godzilla Earth gets to any kind of real display of power like its other incarnations is at the end of the first movie, where the humans are realizing Godzilla Fillius was just a branch off from the original. Here, we see him decimating the surviving forces as they try to escape, displaying an incredible degree of power in his destruction as the biggest Godzilla yet, with Haruo impotently screaming like the little bitch he is. Yet even that barely compares to any other action sequence in the franchise, because A.) nobody gives a single fuck about these characters to feel anything for them being attacked, B.) Godzilla Earth himself basically came out of nowhere with little to no real foreshadowing as the movie has framed Godzilla Fillius as the “true” Godzilla the whole time, C.) the setting is just a bunch of fauna that Big G is towering over which limits the ability to convey the power behind his actions compared to cities, and D.) all of the above points regarding how lame Godzilla Earth is I’ve been talking about. Then you remember this is the best showing the guy gets in this nihilistic edgepiece of a trilogy, and you realize it’s all just a deeper and deeper wellspring of shit. Doesn’t help that this scene just has some wannabe-Death Note choral music instead of the proper Godzilla theme.
So yeah, Godzilla Earth is a total loser from the perspective of being a Godzilla, or just a kaiju in general. Now let’s talk about why he sucks in the story.
In the hilariously bleak plot of the anime trilogy, Godzilla is framed as a sort of “natural punishment” for humanity, as a natural blowback to all of the shitty things humans have done to the planet and each other. It’s suggested that this happens to all civilizations one way or another, with the albino-human-aliens having Ghidorah as their version, and the dark-skinned-human-aliens having…well it’s never actually said, since the films are totally uninterested in them in any meaningful way, but MechaGodzilla seems to be their current one. The only way to survive in the face of these destroyers is to basically give up and accept it, and begin worshiping giant moth eggs.
Now, there’s a lot of pretty blatant problems with this, but let’s focus on Godzilla Earth for a moment. If we follow the thematic idea of him as a form of punishment from the Earth itself towards humanity, it stands to reason then there would be a starting point, right? That this character, who originated as a symbol of the horrors of nuclear weaponry that Japan faced, and since evolved to represent different aspects of the darkness that humanity holds, would have an equivalent origin or starting point to his rampage?
Well fuck you if your answer to the above was “yes”, because that’s not what happens. Godzilla Earth, for all intents and purposes of the anime trilogy, is just a random plant that grew up to teabag humanity and take over the world. There’s no actual origin given for how Godzilla Earth became what it did that actually connects it to being the end result of the waste and folly of humanity that emerged as part of the natural order of things. Godzilla is just a really fucking big plant in this continuity, and not, you know a terrible victim of humans destructive tendencies like say, a nuke getting dropped on him. I guess because that would be thematically coherent and fit into the lore of the franchise.
Within the trilogy itself, Godzilla serves as pretty much nothing but a plot device for the story to move on at certain points. While you could argue that this has been a common role for Godzilla in previous films if you want to use whataboutism, Earth goes the extra step of blatantly existing only for that given how little he does in the story.
The most action Godzilla Earth performs in his story-appearing amid other kaiju and slowly overwhelming them and humanity-happens in the prologue of the first movie as the setup for the trilogy. What could have been a trilogy in its own right (that almost certainly would actually have something to do) is relegated to the starting point of the series and never comes even close to doing anything comparable. The entire first movie is centered around the humans being focused on his off-spring, with no real foreshadowing of Earth himself being around until right before his reveal.
The next two movies just have him, again, passively standing around and occasionally lumbering a bit when the movies want to pretend there’s action going on. The dude literally just waits for when the plot needs him to be doing something. If the human characters actually had anything resembling a good story, or there were other monsters around for them to fight in the interim that acted as other offshoots of Godzilla Earth, this might not be such an issue. But as it is? Absolute fucking L of a Godzilla. You can point to shit like 98 and All Monsters Attack as some of the worst showings for Godzilla there is, and they’re still better than Earth by virtue of actually fucking doing stuff.
Taking it a step further, the thematic narrative around this Godzilla actively falls apart when we properly look at the story of the anime trilogy. Godzilla Earth isn’t just some neutral force like in the Monsterverse that’s just doing his own thing without giving a fuck about if the ants below him decide to start shit that ends with them accidentally getting stomped on. The literal premise of the trilogy is that this version of Godzilla already systematically eradicated all of human civilization and every other kaiju around, including benevolent ones like Mothra. He’s only chill in the movies because he succeeded in annihilating nearly all other forms of life a while back.
This is an actively malevolent force that succeeded in destroying everything around it and terraformed the planet so that it was the source of all life. Even the Mothra tribe has to just hide out, and can never actually advance or grow as a civilization beyond being a vaguely orientalist stereotype of cave dwellers whose women still are conventionally attractive waifu even after 20,000 years of evolving to be moth hybrids, without risking Godzilla Earth killing them. Yet I’m supposed to believe that the humans wanting to come back and live on Earth again are in the wrong?
Now sure, Haruo being in the wrong I can buy, because he’s a selfish douchebag obsessed with himself and completely unable to move on from anything at all. But the rest of humanity? They can’t actually want to come back to the home planet that many of them spent most of their lives on, want to get revenge and kill the creature that forced them away as it destroyed everything, or even just want to use technology instead of worshiping Moth? You can’t simultaneously have Godzilla having completely destroyed humanity and all life on the planet that’s not him and is willing to do so again, have him be taking care of planet-wiping threats as the humans reluctantly assist him, and then be this neutral force representing the Earth itself as it changes and evolves. To quote a guy I know, who basically summarized the plot of the movies:
I think the Godzilla Earth movies kind of play out like a movie deep in the texan wilderness where a fat redneck with an enormous shotgun has shot up a whole town and the survivors came back to avenge their parents, but then they have to fight sillicon valleys people looking to demolish the town to build like a big swimming pool, and then religious extremists, and they need to save the redneck so that he can do it
I can’t think of any other Godzilla movie that has actively encouraged the audience to think humanity is wrong to not want to be destroyed by a giant radioactive dinosaur or live in fear of it. Even in the films that most directly paint Godzilla as the consequences of the actions of humans, the message is always one of self-awareness and learning to be better, not just rolling over to get destroyed or giving up on all of civilization as you know it to live in caves. Why the hell should I give a shit about what’s going on here, exactly?
To sum it up, Godzilla Earth is just as much of a dumpster fire as the movies he’s in. His design sucks ass. His movement and sense of scale are as lifeless as possible. His powers are presented in the most boring way imaginable and his size is validation for people who think Godzilla should only be around 50-80 meters at max. Any thematic value or message he’s supposed to have is completely at whack with the story he’s given and placed in. This dude isn’t the bright spot or redeeming feature, he’s just as much of a disappointing piece of trash as everything around him.
TL;DR: Zilla might have lost the battle for live-action Godzilla’s, but his son won the war in the animation front of the franchise, holy shit.
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2024.05.12 18:48 IUsedToBeRasAlGhul [Netflix Anime] Godzilla Earth sucks as much ass as the rest of the anime trilogy

A lot of the time when the anime movies come up, I’ll usually see people praising its incarnation of Godzilla, even those that shit on the rest of the movies. Now I can get behind hyping up Big G in all his appearances, because it’s motherfucking Godzilla. Bro’s a giant dinosaur that fucks shit up with his atomic breath, and will either be delivering the most soul-crushing terror you’ve ever felt or having you cheer on as he supplexes another giant creature. But I’ve decided I’m done toeing the line, and I’m just gonna come out and say it: Godzilla Earth isn’t a standout of the anime trilogy to me. He’s not one of the better parts of the movies, he’s not being wasted in the films (at least as he is), he’s not a cool new idea for a version of Godzilla, he’s just as much absolute garbage as the rest of his source material.
Let’s start with a basic summary: Godzilla Earth is the main version of Godzilla that features in the Netflix/Polygon Pictures anime trilogy of films. This Godzilla has a unique origin as being a plant-like organism, the “end result of natural selection on Earth” that has adapted the best traits of many other creatures on Earth through horizontal gene transfer. To put it another way: he’s like Ultimate Lifeform Kars from JoJo’s Bizarre Adventure, but just naturally came out that way, is a kaiju instead of a human looking dude, and has no effective representation of that.
Godzilla first appeared in-universe in 2030, after humanity had been dealing with decades of kaiju attacks. Godzilla, as Godzilla is wont to do, quickly established himself as the baddest bitch around by systematically annihilating all life he came across, from humanity to the other kaiju. Nothing that anyone threw at him, even when the aliens showed up to try and fail with MechaGodzilla, did anything at all. By 2045, Godzilla had so thoroughly dominated the planet that the United Earth organization (composed of humanity and the two shitty, weirdly human alien species that showed up) could only try to launch a space colonization project and abandon Earth to Godzilla to survive. Godzilla reigned supreme, and spent the next 20,000 years terraforming Earth to become his domain, which included growing to be 300 meters tall, having a random mini-clone be created from cells of his that split off in the form of Godzilla Fillius, and then other small creatures known as Servum.
Now that we’ve covered the basic history of Godzilla Earth, let’s address the elephant in the room: from top to bottom, he’s a total fucking loser. Zilla arguably has more going for him than this guy, and I don’t mean the thundercock gigachad animated son there, I’m talking about the shitty CGI one from the movie.
First off, there’s the design. Godzilla Earth has a new origin unlike any other Godzilla, as stated above, by being an entirely natural plant-based organism that has evolved to represent the pinnacle of life on Earth. Sounds pretty cool, right? You would imagine then, that this Godzilla would have a new, creative design that reflects this origin well, while still being recognizably Godzilla, right? Nope, it’s just a crappy reskin of Monsterverse Godzilla. You could tell me that the anime’s design came from one of those achievement award skins in a video game based off the Monsterverse, and I would genuinely believe you. At best, the spines more closely resemble leaves then the irregular dorsal patterns, but man, that shit is weak. What’s worse is that the film’s concept art shows the designers played around with Godzilla’s features to represent different animals as the endpoint of Earth-based life, but decided to go with the most boring option possible. The models from the art style of the trilogy certainly didn’t do this guy any favors either…
It’s insane to me how badly this bungles what should be an easy layup. In the medium of animation, where the sky's the limit on what you can be doing, and in a story that gives care blanche to work with, Godzilla Earth somehow comes out as the most soulless and bland version of itself it can possibly be. Nothing about this design meaningfully expresses to me what this version of the G-Man is about whatsoever. Look at the other Reiwa’s: Monsterverse Godzilla looks like what it’s supposed to be, a version of Godzilla that naturally existed as a giant prehistoric animal. Shin Godzilla looks like what it’s supposed to be, a reinvention of the original’s concept of a creature terribly burned by radiation. Minus One Godzilla looks like what it’s supposed to be, a dinosaur that has been forcibly mutated by the atomic bomb and modern update to the iconic Showa/Heisei design. What’s the takeaway from Godzilla Earth? That you shouldn’t expect creativity or anything compelling from these movies?
What really gets me here is that while not the exact same, the creators of the trilogy did have a possible inspiration that was sitting right there for them to use: Biollante, one of the most popular kaiju of the franchise. On a visual level, Biollante’s two forms almost perfectly represent the origins of this creature and the themes behind it: a rose that has been mutated by Godzilla’s cells that has become a monstrous creature in its own right, a cautionary tale of what genetic engineering could lead to just as Godzilla himself was a metaphor for the atomic bomb. Obviously, it would be foolish to just try to replicate Biollante, but the point is that we’ve already seen how well a plant kaiju can potentially work out in this very franchise. Yet apparently, that’s too tall of an order for the anime trilogy, I guess.
Then there’s how Godzilla Earth actually interacts with the world around it. Again, in the medium of animation, many of the normal potential issues with making a movie or series with Godzilla go away: you don’t need to worry about the stilted or artificial nature of suit movement, nor do you need to worry about how the CGI will come out in live-action. The balls have been removed from your jaws to go to your court for you to dunk as you please. But as usual, the anime trilogy goes down the most painful route possible by having Godzilla Earth…just fucking stand there the whole time.
I’m not fucking around here, the Spongebob meme is entirely an accurate description of the range of Godzilla Earth’s movement. This bitch spends almost all of his screen time just sitting on his ass, barely moving around with the slightest waddle whenever the film decides there should be a paltry effort at action or to break up the terrible plot. I have seen newborn infants with more well-defined and fast-paced ranges of motion than this colossal tub of dirt. Godzilla Earth could never touch any version of Kong solely by how they’d be tapdancing around him like nobody’s business and take all the time they’d like climbing on him and taking potshots without fear of reprisal. It’s most blatant when the final film is insulting the collective intelligence of the audience by pretending Godzilla and Ghidorah are “fighting” when Ghidorah’s wormy little heads are biting Godzilla, and Big G is just floating in the air like he’s a stiff action figure being held up by a toddler while releasing the mild groans of discomfort of a middle-aged father on the verge of developing IBS.
I’m not saying the guy needs to have the acrobatic agility of the Showa era or the power walk of Heisei’s, but come the fuck on. Give us something to work with here. To again give comparisons: MV Godzilla’s movements are based upon how actual animals like bears fight (and as of GxK, wrestlers), reflecting its origins as a gigantic animal that’s part of the ecosystem of the world like any other. Shin Godzilla is awkwardly shuffling around and colliding with shit in its path (still more dynamic than Earth btw), because it’s a creature in a state of constant mutation and pain with no real awareness of the world around it. -1 Godzilla is deliberately seeking to cause as much damage to humans, and forced to be much more stiff from its radioactive burns compared to the natural movements we saw on Odo Island. But Godzilla Earth clearly was made on a shoestring budget by digital artists suffering under the cruel hand of Ellen Degeneres-esque directors.
It also doesn’t help that this dude has pretty much nothing going for him in terms of actual showings. Now sure, a lot of the abilities Godzilla Earth has sounds impressive on-paper: being the tallest Godzilla by far. Basically having his own A.T-Field with some electromagnetism thing. An incredibly powerful and precise Atomic Breath that can punch through the atmosphere. Charging up a roar that can generate a massive shockwave cone. Creating a plasma shockwave simply by moving his tail at MACH 3-4 speed with a 600 meter range. Even his own self-generated Burning Mode, that can go up to 3000 degrees Celsius. All of that sounds pretty cool, right?
But from the combination of how utterly immobile Godzilla Earth himself is, the lack of any compelling action sequences, and the exceptionally poor writing of the trilogy, all of that goes to waste. Godzilla Earth spends the majority of his screen time doing absolutely nothing at all, and otherwise performing what abilities he has that require him to be non-sedentary (hint: not many) at a glacial speed. It’s not like that glacial speed is one of the examples of giving the kaiju a sense of scale and weight either, the fucker is just a goddamn steamroller.
Nothing Godzilla Earth does feels like it has any real weight or power behind it, both because the story is so weak and the kaiju himself just is doing buttfuck all. Look at how Godzilla moves around Japan in the original movie, Shin or Minus, and how terrifying and awesome all of the destruction is. Because even if those are much smaller Godzillas that are constrained by the live-action medium for their time, they still feel much more powerful and dynamic because the movie actually lets them be doing shit. Or in Heisei, Millenium, and Monsterverse, where Godzilla is beating the shit out of other monsters-again, much smaller and limited by their medium, but they feel far more powerful because they’re in a movie that was made to actually give them a sense of power and might.
The closest Godzilla Earth gets to any kind of real display of power like its other incarnations is at the end of the first movie, where the humans are realizing Godzilla Fillius was just a branch off from the original. Here, we see him decimating the surviving forces as they try to escape, displaying an incredible degree of power in his destruction as the biggest Godzilla yet, with Haruo impotently screaming like the little bitch he is. Yet even that barely compares to any other action sequence in the franchise, because A.) nobody gives a single fuck about these characters to feel anything for them being attacked, B.) Godzilla Earth himself basically came out of nowhere with little to no real foreshadowing as the movie has framed Godzilla Fillius as the “true” Godzilla the whole time, C.) the setting is just a bunch of fauna that Big G is towering over which limits the ability to convey the power behind his actions compared to cities, and D.) all of the above points regarding how lame Godzilla Earth is I’ve been talking about. Then you remember this is the best showing the guy gets in this nihilistic edgepiece of a trilogy, and you realize it’s all just a deeper and deeper wellspring of shit. Doesn’t help that this scene just has some wannabe-Death Note choral music instead of the proper Godzilla theme.
So yeah, Godzilla Earth is a total loser from the perspective of being a Godzilla, or just a kaiju in general. Now let’s talk about why he sucks in the story.
In the hilariously bleak plot of the anime trilogy, Godzilla is framed as a sort of “natural punishment” for humanity, as a natural blowback to all of the shitty things humans have done to the planet and each other. It’s suggested that this happens to all civilizations one way or another, with the albino-human-aliens having Ghidorah as their version, and the dark-skinned-human-aliens having…well it’s never actually said, since the films are totally uninterested in them in any meaningful way, but MechaGodzilla seems to be their current one. The only way to survive in the face of these destroyers is to basically give up and accept it, and begin worshiping giant moth eggs.
Now, there’s a lot of pretty blatant problems with this, but let’s focus on Godzilla Earth for a moment. If we follow the thematic idea of him as a form of punishment from the Earth itself towards humanity, it stands to reason then there would be a starting point, right? That this character, who originated as a symbol of the horrors of nuclear weaponry that Japan faced, and since evolved to represent different aspects of the darkness that humanity holds, would have an equivalent origin or starting point to his rampage?
Well fuck you if your answer to the above was “yes”, because that’s not what happens. Godzilla Earth, for all intents and purposes of the anime trilogy, is just a random plant that grew up to teabag humanity and take over the world. There’s no actual origin given for how Godzilla Earth became what it did that actually connects it to being the end result of the waste and folly of humanity that emerged as part of the natural order of things. Godzilla is just a really fucking big plant in this continuity, and not, you know a terrible victim of humans destructive tendencies like say, a nuke getting dropped on him. I guess because that would be thematically coherent and fit into the lore of the franchise.
Within the trilogy itself, Godzilla serves as pretty much nothing but a plot device for the story to move on at certain points. While you could argue that this has been a common role for Godzilla in previous films if you want to use whataboutism, Earth goes the extra step of blatantly existing only for that given how little he does in the story.
The most action Godzilla Earth performs in his story-appearing amid other kaiju and slowly overwhelming them and humanity-happens in the prologue of the first movie as the setup for the trilogy. What could have been a trilogy in its own right (that almost certainly would actually have something to do) is relegated to the starting point of the series and never comes even close to doing anything comparable. The entire first movie is centered around the humans being focused on his off-spring, with no real foreshadowing of Earth himself being around until right before his reveal.
The next two movies just have him, again, passively standing around and occasionally lumbering a bit when the movies want to pretend there’s action going on. The dude literally just waits for when the plot needs him to be doing something. If the human characters actually had anything resembling a good story, or there were other monsters around for them to fight in the interim that acted as other offshoots of Godzilla Earth, this might not be such an issue. But as it is? Absolute fucking L of a Godzilla. You can point to shit like 98 and All Monsters Attack as some of the worst showings for Godzilla there is, and they’re still better than Earth by virtue of actually fucking doing stuff.
Taking it a step further, the thematic narrative around this Godzilla actively falls apart when we properly look at the story of the anime trilogy. Godzilla Earth isn’t just some neutral force like in the Monsterverse that’s just doing his own thing without giving a fuck about if the ants below him decide to start shit that ends with them accidentally getting stomped on. The literal premise of the trilogy is that this version of Godzilla already systematically eradicated all of human civilization and every other kaiju around, including benevolent ones like Mothra. He’s only chill in the movies because he succeeded in annihilating nearly all other forms of life a while back.
This is an actively malevolent force that succeeded in destroying everything around it and terraformed the planet so that it was the source of all life. Even the Mothra tribe has to just hide out, and can never actually advance or grow as a civilization beyond being a vaguely orientalist stereotype of cave dwellers whose women still are conventionally attractive waifu even after 20,000 years of evolving to be moth hybrids, without risking Godzilla Earth killing them. Yet I’m supposed to believe that the humans wanting to come back and live on Earth again are in the wrong?
Now sure, Haruo being in the wrong I can buy, because he’s a selfish douchebag obsessed with himself and completely unable to move on from anything at all. But the rest of humanity? They can’t actually want to come back to the home planet that many of them spent most of their lives on, want to get revenge and kill the creature that forced them away as it destroyed everything, or even just want to use technology instead of worshiping Moth? You can’t simultaneously have Godzilla having completely destroyed humanity and all life on the planet that’s not him and is willing to do so again, have him be taking care of planet-wiping threats as the humans reluctantly assist him, and then be this neutral force representing the Earth itself as it changes and evolves. To quote a guy I know, who basically summarized the plot of the movies:
I think the Godzilla Earth movies kind of play out like a movie deep in the texan wilderness where a fat redneck with an enormous shotgun has shot up a whole town and the survivors came back to avenge their parents, but then they have to fight sillicon valleys people looking to demolish the town to build like a big swimming pool, and then religious extremists, and they need to save the redneck so that he can do it
I can’t think of any other Godzilla movie that has actively encouraged the audience to think humanity is wrong to not want to be destroyed by a giant radioactive dinosaur or live in fear of it. Even in the films that most directly paint Godzilla as the consequences of the actions of humans, the message is always one of self-awareness and learning to be better, not just rolling over to get destroyed or giving up on all of civilization as you know it to live in caves. Why the hell should I give a shit about what’s going on here, exactly?
To sum it up, Godzilla Earth is just as much of a dumpster fire as the movies he’s in. His design sucks ass. His movement and sense of scale are as lifeless as possible. His powers are presented in the most boring way imaginable and his size is validation for people who think Godzilla should only be around 50-80 meters at max. Any thematic value or message he’s supposed to have is completely at whack with the story he’s given and placed in. This dude isn’t the bright spot or redeeming feature, he’s just as much of a disappointing piece of trash as everything around him.
TL;DR: Zilla might have lost the battle for live-action Godzilla’s, but his son won the war in the animation front of the franchise, holy shit.
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2024.05.11 16:00 ct_hulhu10282 Cephs and genesis

Cephalapod Genesis
The pharoah ejaculated into the river and in the sand the sperm found refuge and grew into papyrus. This an example of genesis.
Vampyrapods are the first intelligent species to live on this planet predating the dinosaurs. They came here somehow. They did not evolve on this planet. Perhaps just an ejaculated sperm from another being landing in the water. The direct offspring of this cephalapod is the modern octopus. Octopus are responsible for nearly every animal genesis on earth including humans and subsequently man made inventions and accomplishments. Octopus taught trees to fruit, destroyed the dinosaurs through becoming tapeworms, and even walked to the moon. Some of the animals you may recognize from the cellular genesis may have fused with the other local staples such as canine, equine, and feline, and reptile as well as temporarily the pachyderms in post-actualization causal genesis. This can be done by mating with, killing, eating, dying, being eaten, or simply a laying of hands or physical actions. Octopus only live for about 4.5 years of our relationship with time, but they have beaten death through a mix of telepathy and cannabalism. They've also mastered time travel. There are only 3 actual beings here. Others died in getting here and are fossilized. 2 males and 1 female survived. I call them Jack, Seth, and Claire. This is why the genesis had to completed this way as any direct offspring would not work. because theyve have infinite time to complete it, theyve walked over every inch of the planet and affected every species. In fact our own existence is simply the echo of the combined knowledge of the cephs. We are an amalgamation like the 'too much good stuff' guy from am/pm commercials. Make a bird with your hands. ¿Where are the beaks? The latest project is to use genetic science in order to bring back the mammoth and obtain a sixth digit from its feet. Should happen around 2027. When the vampyrapods first encountered life here it was eating their tentacles. So the first genesis occured in the offspring of those that ate of the tentacles. This is why modern cephs only have 8 limbs. The first language period is Enochian. A language of the eyes and limbs. Through different manipulation of limbs and eye fluctuations communication was made. After a while though telepathy became the established communication.
Here are some examples but not all of cephalapod genesis:
• Spiders (rare from trilobyte mix, had to go back in time to accomplish) (they had to avenge the original vampyrapods from being eaten from early organisms, thisnis how scorpions were able to evolve) • Mango (foilage and ceph mix. Ceph hung from a tree upside down) • Star fruit (the tree missed the octopus and tempted it to return) • Pinecone ( the bite marks of ceph beak eating the fruit of the trees) • Toucan (the beak formation from ceph in flux probably consuming a failed aviary) • Peacock (feather formations still in flux from limbs partial fusion) • Salamander (reptile/chameleon mix) (skin breathing evolution) •Sloth (feline and foilage mix) • Mistletoe bird (octopus ate a mushroom) • Lyrebird (mirage, digitage, and aviary from peacock and pheasant. Mastered the art of sound mimickry to develop better auditory communications) • Dung beetle (rolling backwards the earth through time) • VW bug (trunk up front) (mirage, digitage, pachyderm mix) (invented higher than the model T but arrived later in time) • Goliath bird-eating tarantula ( set a web to catch a bird which did not exist fully until the web was cast. When the spider consumed the bird the psuedo cannabalistic action resulted in a poison tree frog) • Snakes (a ceph lost its mating limb for some reason in a mirage mix experiment) • venemous snakes (a snake ate the eggs of its own offspring)(the cursed dinosaur souls live inside these) • Gumby (using hands to mold clay made a show about being an octopus) • Chameleon (reptile, ceph, foilage, mirage mix)(a ceph was purposely eaten by a komodo dragon to telepathically send a reverse osmosis of its makeup inside its body to another ceph that was attempting to kill the dinosaurs in the past. How they programmed the tapeworm to destroy them)
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2024.05.10 01:17 vintagemiseries [Discussion] A Tale of Two Texts: The New Frontier and The Golden Age

SOURCE
I'm going to do something a bit different and take a close look at two major works from the DC Universe: Darwyn Cooke's The New Frontier, and James Robinson and Paul Smith's The Golden Age. If you're playing along at home, the texts I'm using are The Absolute New Frontier from 2006 and The Golden Age trade paperback from 1995.
First a bit of personal context: I didn't enjoy The New Frontier when it first came out, serialized in six quite expensive installments. I loved Cooke's art, I loved the use of some of the more obscure DC war characters, and I loved the characterization of the Martian Manhunter, but the narrative didn't work for me when read in small monthly doses back in 2004. I had read all of the full-length work Cooke had done up until 2004, and none of it had disappointed me at all. But The New Frontier seemed to read more like a tour through the 1950s and 1960s than an actual story. It wasn't until the final issue that I really understood what Cooke was leading up to, but then it was over, and I didn't have the time or the inclination to dig out the back issues and read the whole thing in one sitting. Even when I got the two-volume trade paperback collection a couple of years ago (in an eBay lot of trade paperbacks I bought off of none other than comic book scholar George Khoury), I still didn't bother to read it. To paraphrase Hemingway's Frederic Henry, we don't do the things we want to do.
So I never actually read the entire text of The New Frontier until this past winter, when I was able to sit down with the luxurious Absolute edition and dive into Cooke's illustrated world. I enjoyed it immensely, enough that I wanted to reread it again this summer, which is what I have just done, and now I want to talk about it. But I don't want to talk about it in isolation, and I'm interested in the connection between texts, so I'll also talk about its logical precursor: The Golden Age.
Like The New Frontier, Robinson and Smith's The Golden Age deals with the era between the 1940s and the 1960s. The era in which the comic book Golden Age grew into the comic book Silver Age. The era in which America was undergoing its own transformation, moving from threats abroad to suspicion at home. And just as I had difficulty enjoying The New Frontier as a serialized comic, I couldn't appreciate The Golden Age in that manner either. I only bought the first two issues, actually, back in the early 1990s, and then I lost interest, vaguely thinking that I might buy it as a collected edition some day (even though collections were not guaranteed the way they are today). I did buy it when the trade paperback was released, and because I had never finished it originally, I read the collection immediately. And I liked it. But I thought it was deeply flawed.
I reread The Golden Age yesterday, after thinking about it in regards to The New Frontier. It's not a surprising connection, after all. Cooke himself claims The Golden Age as an inspiration for his own work. But my memory of The Golden Age was a bit hazy, and I recalled it being a much more cynical view of the territory than what Cooke achieved in The New Frontier. My recall was pretty accurate--Robinson and Smith present a quite cynical view of the late Golden Age America.
Now that I've read both works back-to-back, I'm interested in exploring what each says about super-heroes, what each says about America, and how each achieves its (very different) effects. These are the kinds of things I'll be looking at over the next few days.
James Robinson's use of History in The Golden Age
One of the things that strikes me about both The New Frontier and The Golden Age is the way the creators weave American history into their stories. On the surface, such a technique might not be surprising, especially considering that both tales take place in the past. And while it may be true that a so-called "historical novel" or "period film" would be amiss to neglect the details of history which fit its setting, the same isn't always true for comics.
In comics, stories set in the past tend to take place in some vague memory of the past, without any apparent intent in locking the stories into a particular date or era. Take the typical origin stories, or "Year One" stories which DC Comics' creators have retold again and again. In such a story, whether it be Miller and Mazzuchelli's take on Batman, or Waid, Augustyn, and Kitson's take on the Justice League, the setting lacks a distinct time stamp. The characters are younger, true, but the setting lacks specific period detail. The reason for this isn't at all surprising, because locking the characters' past into a specific date would require some major explanations about their ages in the present. Had Miller time-stamped the date on Batman: Year One, and included captions saying "May 3rd, 1980," or whatever, then that might have worked for a few years, but even if we assume that Batman was only 23 when he took inspiration from that window-smashing flying rodent, according to that temporal continuity, he'd be 50 years old in the current stories. And he's clearly not.
So we expect stories set in the past to avoid any kind of specific references to contemporary history, at least in comics. A recent jarring exception to that can be found in Diggle and Jock's newly released Green Arrow: Year One, in which a young Oliver Queen references the "Kevin Costner" Robin Hood. That means Queen must have become Green Arrow sometime in the mid-1990s, which might explain his age today (if he was 22 in 1992, he'd be 37 today, which might be right), but it also implies that his son Connor must only be a teenager today, and he's clearly older than that. Perhaps the reference will work better 10 years from now when the Kevin Costner reference will become part of the vague historical past, but right now it seems too current to make sense.
Anyway, the other MAJOR exception to the rule of not using historical references in comics is the case of stories set during World War II. Even comic books written at the time of WWII regularly included time-stamp references in a way that later comics tended to avoid. Yes, since then, Superman has met Kennedy, and you might see analogues of Bill Clinton or George W. in a story or two, but in the 1940s heroes came face to face with major historical figures (contemporaries to them) on an almost daily basis. Here's FDR! Here's Superman grabbing Hitler on a cover! Here's Tojo! Here's Hawkman enlisting in the army to fight overseas! Etc. Such close ties between "comic book reality" and real-life events never matched the heights of the WWII comics.
And that's why later writers, Roy Thomas MOST prominently among them (he practically invented the whole idea of historical nostalgia super-hero comics), felt compelled to weave actual historical events into the retelling of stories from the WWII era. Thomas's Invaders for Marvel and his All-Star Squadron for DC playfully fit the timeline of actual US history into the fictional timeline of the past super-heroes. In his letter columns, Thomas would often explain (or justify, for the more contentious fans) how the chronology worked.
But, other than WWII era-stories, most comic book stories that take place in the past (unless they are time travel stories, which have their own rules) DO NOT USE SPECIFIC HISTORICAL REFERENCES. It's weird to imagine novels or films avoiding such references—they would surely be criticized for it—but in comics, it's commonplace.
So, in the case of both The New Frontier and The Golden Age, you have two rather significant violations of that standard "rule." And both of which seem deeply indebted to the type of approach Roy Thomas favored so much.
Let's take The Golden Age first, since it was published a decade before Cooke's work. The Golden Age seems like a logical off-shoot of Thomas's All-Star Squadron. It features many of the same characters, and Johnny Quick, a relatively obscure DC character from the past, would certainly not have been a suitable narrator for the story without the characterization Thomas provided in years of All-Star Squadron stories. James Robinson is clearly building on the foundation Thomas created. So, it's not surprising that he would, like Thomas, blend US history into his story. Yet Robinson's approach differs in two distinct ways: (1) He doesn't seem interested in the exact historical details and how they fit into his timeline—he seems more interested in the general sense of historical forces of the time, and (2) Unlike Thomas, who was writing out of a Golden and Silver Age optimism and a belief in the American Dream, Robinson was writing from a post-Watchmen perspective, as a foreign-born writer, who could play with the cynical expectations of the time.
Thus, Robinson gives us coke-sniffing "super-heroes," corruption, brutality, and sex in a tale which features the "pure" heroes of the DC Golden Age of comics. Robinson's approach is not to use specific elements of McCarthyism or the Red Scare (even though those ideas are referenced at least once), but to use the general sense of paranoia and panic, the cynical manipulation of the public for personal gain, and the looming threat of the bomb.
Ultimately, however, Robinson uses all of this as a backdrop for a traditional super-hero romp. The coke-sniffing "super-hero" turns out to be Hitler in disguise!!! (Well, actually the brain of Hitler in the body of a former kid sidekick—talk about a symbol of corruption!) And the hero-turned-power-hungry-politician in the form of the patriotic Mr. America turns out to be old JSA villain the Ultra-Humanite, who knows a thing or two about brain transplants. So, in the end, it's just a classic Golden Age story about punching Hitler and defeating an evil genius.
But it's Robinson's historical subtext which makes the story resonate. It's his use of those undercurrents of paranoia and despair which make these formerly perfect heroes of the past seem flawed and human. His story starts dark and becomes darker but, by the end, Robinson's veil of cynicism falls away, and he reveals himself to be a humanist, if not an optimist. His reverence for these Golden Age characters would not let them be truly corrupted—it had to be evil masterminds and Hitler all along.
And that, perhaps, is one of the failures of The Golden Age. The shock of the initial chapters is just a ruse, and as low as these characters seem to sink, everything can be explained by pseudo-science and comic book logic.
It's just another Justice Society of America story, ultimately, but it's a good one. And Robinson's use of the undercurrents from that era of history make it work, even if it never transcends its roots.
The New Frontier and Camelot
While The Golden Age used the historical subtext to evoke currents of paranoia and doom in a super-hero story, The New Frontier approaches history with a different agenda. As Ultimate Matt pointed out in response to yesterday's post, The Golden Age is labeled an "Elseworlds" title, which not only grants it an exemption from DC continuity, but it allows more freedom for the creators to take the characters and setting in a fresh direction.
The New Frontier, however, is not labeled as an "Elseworlds." And yet, it strays far more from the currently accepted version of continuity than The Golden Age does. The key word there is "accepted." Darwyn Cooke, in his annotations, states that he approached The New Frontier with a set of rules:
  1. The timeline is real and covers 1945 to 1960. Silver Age characters appear at the time DC started publishing them.
  2. Retcons haven't happened yet.
  3. No New Frontier retcons could contradict original continuity—they had to complement existing continuity or show a fresh point of view.
  4. When the story ended, everything had to be as it was when the JLA debuted in Brave and the Bold #28.
  5. Snapper Carr does not exist.
In other words, you should be able to pull out your original comics from that era (or the Archive editions) and read them concurrently with The New Frontier and nothing Cooke does should contradict what happens in those old comics.
The problem with the continuity is that the comics from that era didn't have any continuity. It was never explained how a character could be on the moon in one issue of his own comic, and under the ocean in the same month in his Justice League adventure. All Golden and Silver Age DC continuity is a retcon. So what Cooke did was create his own continuity—he made his own sense out of the various adventures as they were originally published, although the bulk of the book deals with the time between major events. Just like The Golden Age, The New Frontier is about filling in the gaps.
While James Robinson filled the pre-Silver Age gap with an almost allegorical tale of Cold War paranoia and corruption, Darwyn Cooke fills the gap with a sense of wonder and idealism, and he uses his attitude toward history to solidify that tone.
Cooke's approach takes three strands: (1) The Right Stuff-inspired history of that era, embodied by the test pilots and early astronauts, (2) The early promise of the Kennedy administration, and (3) The strange DC comics history as seen in the stories published during that time. Cooke uses the first two strands to illuminate the latter. He puts the Silver Age ascension into perspective as part of a generation of hope and achievement. He shows that the formation of the Justice League was not a random incident, but part of a larger historical movement which led (in our reality) to things like the Peace Corps and Apollo 11.
Cooke ties together such disparate elements as The War that Time Forgot, The Challengers of the Unknown, Dr. Seuss, and all of the characters who would join the initial incarnation of the JLA into a single narrative. And although it takes quite a while before the villain emerges and the heroes band together, the narrative is structured around the real historical forces that would have shaped the creation of these characters. John Broome doesn't wax poetically about the symbolism of Hal Jordan's career as a test pilot in the original Green Lantern run from the Silver Age, but Cooke takes the fact that he was a test pilot and places him in the actual context of such a man. He even includes a scene where the young Jordan meets Chuck Yeager.
That's quite a different approach to history than we saw in The Golden Age, which covers a very similar time frame.
Although Cooke didn't intend (according to his "rules") to change any of the original stories, his interpretation of "fresh point of view" allows him to add things which would have been more historically true even if they weren't addressed in the comics of the time. For example, he not only changes Wonder Woman into an almost plump, hawkish, zestful character (to signify her Greek origins and Amazon heritage), but he creates an entirely new character to illuminate the civil rights struggle of the time. Since he had no black DC characters to draw upon, he created a Silver Age analogue to Steel, the black Superman ally. The Silver Age Steel, unlike his modern equivalent, isn't a technological marvel. Instead, this earlier incarnation of John Henry suffers at the hands of the KKK before taking vengeance, and ultimately dying when he's betrayed by an uncaring white America (symbolized by a blonde little girl, who points out his location to his pursuers). John Henry never meets the Justice League or teams up with any heroes. His death doesn't affect them at all, really, since they didn't know him. But Cooke includes a scene where Edward R. Murrow mourns the fallen hero and laments the state of the country, bringing an actual historical personage into the DC story.
The civil rights subplot, although powerful, is overwhelmed by the exceeding optimism of the other plot threads. Cooke's America, as full of conflict as it might have been, is one of scientific progress and movement toward a brighter future. His villain, ultimately revealed to be Dinosaur Island itself (a sentient being who has unleashed monster after monster), is even more absurd than the Hitler-brain-transplant nemesis in The Golden Age, but because Cooke accentuates the fun and spectacle of the super-heroes (and, to be clear, his emphasis is on the men and women in the costumes, and the risks they take for their heroism), the absurdity of the villain doesn't detract from the story.
Both The Golden Age and The New Frontier end with similar images (the first appearance of the Justice League banded together) and similar sentiments (hope for the future), but where James Robinson built that hope out of the wreckage of the 1940s, Darwyn Cooke builds it out of the dreams of the men and women who sacrificed for the promise of tomorrow.
Both books end with optimism for comic books and optimism for our country, but they took starkly different approaches to get there.
The Unstoppable Force of Progress: Characterization in The New Frontier
Since both The New Frontier and The Golden Age re imagine comic book chronology through one part actual US history, one part comic book history, and one part imagination, it's not surprising to find both Cooke and Robinson taking liberties with the characterization of these pre-Silver Age heroes. Both creators ask the question asked by any creator attempting to retell stories from the past: Okay, this is how they were portrayed, but what were the characters who did these things REALLY like?
I'll start by looking at The New Frontier. Cooke doesn't focus his story on one dominant point of view the way Robinson does (with Johnny Quick), but he tells his story through a few central characters:
Rick Flagg: Leader of the WWII-era Suicide Squad (and presumably the father, or grandfather, of the Ostrander-penned incarnation). Cooke presents him as a tough guy cliché. He's a Hemingway hero—he does what needs to be done and doesn't whine about it or waver in his determination. In Act III of the narrative, his position in the story is replaced by the similarly-characterized King Faraday, who also does what needs to be done, although he seems to have more internal conflict than Flagg. Faraday is a spy, after all, not a soldier. But both characters represent a government which has the best interests of the country in mind. If they hurt a few individuals along the way, that's a necessary sacrifice for the good of the many.
Hal Jordan: The man who would be Green Lantern is NOT portrayed as a cocky rocket jock, as he usually is in contemporary interpretations. Cooke turns his lack of fear into a self-destructive streak stemming from his face-to-face act of self-defense in Korea. In Cooke's universe, Jordan doesn't immediately become a hero just because an alien handed him a ring. It takes time for Jordan to learn that he deserves to be a hero, and that's a large part of what The New Frontier is about. He doesn't reveal himself in Green Lantern costume until AFTER he risks his life to save the world working as a pilot. The two-page "hero shot" of the characters walking towards camera (a la The Right Stuff) shows some costumed heroes, but Jordan is wearing a flight suit. Cooke seems to be showing that he needed to prove himself TO himself before he could accept his new identity, but his reluctance to use the power of the ring leads to Nathaniel Adam's death. (Adam is later reborn as Captain Atom in the comics, but that doesn't happen in this story, and as far as Jordan should be concerned, Adam is dead.) Cooke doesn't provide Jordan with any time for remorse, though, since he needs to use his ring to kick alien butt. The ring, by the way, is also shown as a symbol of destructive energy. When Jordan first uses it, he cannot control it, and it causes great damage. Cooke, then, seems to indicate that the ring might symbolize nuclear energy, and the subtext would be that Jordan's hesitance to use it led to another hero's death. Ultimately, Jordan is Cooke's symbol of the Kennedy era: conflicted, yet determined to bring forth a positive future—harnessing great powers for the good of the nation (and the world).
John Jones, the Manhunter from Mars: Jones says, "...this is a world where good and evil struggle in all levels of existence. I want to be a force for good." That's a simplistic view of humanity, but it's one seemingly shared by Cooke throughout this work. Good and evil may not be easily discernible on the surface, and Cooke gives us the threatening-looking John Henry (with a hangman's hood) as a hero and a little blonde girl as a villain, but the line between good and evil is absolute (and, in fact, John Jones assumes the role of a film-noirish detective so he can find the evil beneath the surface appearance of the world). Jones defines this ethical stance for the reader, and it represents the code of Golden and Silver Age comic books, which lacked anything but absolutes. Even though Cooke might try to provide some not-so-subtle shades of gray (Jordan as a murderer, Wonder Woman as feminist avenger, an undercurrent of xenophobia), his view of history seems to echo the simplicity of the comic book stories of the era. Individuals may not have always done the right things at all times, but it was an era of progress, and good triumphed over evil. The subtext could also indicate that governmental order triumphed over chaotic nature, with the unified heroes, under the leadership of the US government, destroying a threat that wasn't so much malicious as it was animalistic.
Even though Cooke's characterization of some of these characters, Hal Jordan in particular, might not match traditional representations of these individuals, I think it works in the context of the story. The characters serve the story and add a few layers to the text, but it's primarily a historical action spectacle, a celebration of progress over stagnation, and Cooke's characterization unifies the text. I don't think his characters have many hidden depths, but I think their lack of depth matches a story which is primarily about the grand force of history.
As one final observation: Cooke is actually better at small character moments with the minor characters than he is at developing convincing lead characters. The death of Johnny Cloud, Jimmy Olsen's eagerness, the sassiness of Carol Ferris, and several other character bits show Cooke's facility on the small scale, even if his epic narrative doesn't provide the opportunity for subtle nuances with the major characters.
Characterization in The Golden Age: Dragging Heroes to Earth
While Cooke ignores anyone else's retroactive continuity to graft archetypal personalities onto the early Silver Age heroes in The New Frontier, Robinson takes characters straight out of Roy Thomas's All-Star Squadron (like Johnny Quick on the left here) and Young All-Stars and sends them on a dark journey into the 1950s. Robinson does not re imagine these characters drastically, although he seems to do so with Mr. America (but that's part of his narrative ruse). Instead, he takes their established characterization and expands upon it by adding seeds of self-doubt, paranoia, and despair as the characters face a world in which the villains are not as easily identified as they once were. Robinson misdirects the reader at first by pretending to adopt a simplified Watchmen approach, pretending that he's showing what these characters would have been like without costumed villains to fight or gangsters to punch, when, in truth, he's simply changed the nature of the evil to something more covert and less easy to spot. (Which might seem Watchmen-esque as well, except Alan Moore showed us that the heroes were the villains in that story, and here, Robinson ultimately reveals that secret villains with brain-transplant powers were behind the whole thing from the beginning.)
Here's a quick rundown of the central characters in The Golden Age:
Johnny Chambers, a.k.a Johnny Quick: Johnny not only provides the book-ends to the story but, as a documentary filmmaker, he provides the exposition which sets up the story context. One of the things Robinson does NOT do well here, by the way, is clearly distinguish between narrative voice (provided through white, rectangular caption boxes), and newsreel voice over (also provided by white, rectangular caption boxes), although perhaps the colorist was supposed to use different color cues for each and didn't. The CHARACTERS who narrate, like Johnny Chambers, each have their own style of caption—Johnny's are rounded and blue, as you can see in the image. Actually, it's not that it's so difficult to identify the narrative voice, it's just that there is an omniscient narrator who pops up every once in a while for no good reason, and tells us things about the story sometimes, while other times he sounds like he's trying to give us character thoughts but not really: the highly subjective "fingers...fumbling...focusing...trying to..." immediately follows the objective "a photographer lurks among the rubble." The photographer is the one who's fingers are supposedly fumbling as he tries to snap the photo, so why does the caption sound like a bad Batman internal monologue? This really has nothing to do with Johnny Chambers, but I just wanted to point out this major flaw in the narration throughout. With so many characters (Johnny being one) actually providing narration through captions, why does Robinson add an omniscient narrator also? It's jarring and ineffective. It's like he took the strategies of Watchmen with the multiple points of view, and then spliced the conventional narrator on top of it. It just doesn't work.
But a few more things about Johnny: He smokes, and he wears glasses. He still has his powers, but even though they would help him in his day job, he doesn't use them. And he's incredibly suspicious, which is the characteristic that makes him the character the reader most identifies with. He's also lost the woman he loves because he works too hard, although he gets her back in the end. In short, he's a slightly older (although he actually seems to get younger as the story progresses, perhaps symbolizing his return to heroic stature), slightly more sullen, slightly more flawed version of the character we saw in the comics produced in the 1980s (even though those stories were set in the 1940s). He refers to his costumed self as "That Jerk!" at the beginning of the story, but ends on a hopeful note as he describes a "new age...fresh and clear and bright...as sterling silver!" He's never really a cynic, but his pessimism and self-loathing turns to optimism in the end (even quickly dismissing the threat of McCarthyism to look ahead to the glowing future of super-heroics).
Paul Kirk, a.k.a Manhunter: If we play out the James-Robinson-is-trying-to-do-Watchmen-but-not-as-well game a bit more, we could say that if Johnny Chambers is the Dan Dreiberg analogue (the low-self-esteem voice of reason and calm) then Paul Kirk is clearly the Rorschach character. He's the crazy one who will surely upset the apple cart, yet isn't that what has to happen in order to get to the truth? That's his role, anyway. Unlike Rorschach (in his insane way), Kirk doesn't have a methodical approach to uncovering the truth. In fact, he's tormented by the truth, which lies buried beneath mind implants, exploding into awareness only through a series of horrible dreams. He seems deeply disturbed because of the War, but he's actually deeply disturbed because of the secrets he knows. He's another character, like Johnny, who seems to become more youthful and vibrant in the final Act, when he is able to unleash his demons through old-fashioned fisticuffs. Unlike Johnny, though, he visibly suffers for a long time before he reaches the point of action. Here's a sample of his internal monologue from one of his many tortured dreams: "Save the eagle. Save it. Save—n...no...nooooohhhh!!" Then he wakes up and thinks, "Still afraid." That's about the extent of his characterization. He's tormented, fearful, and knows he should be better than that. And, "save the eagle?" Geez, I wonder what in the world that could possibly mean in a book about corruption within the American government. Clearly, even though this book is directed at an older audience than the original Golden Age tales, Robinson keeps his symbolism quite simplistic.
Tex Thompson, a.k.a. Mr. America, and Daniel Dunbar, a.k.a. Dan the Dyna-Mite: These are the two characters most radically changed from their Golden Age counterparts. Mr. America was a whip-wielding patriotic hero and Dan was a kid sidekick who later, under Roy Thomas's writerly guidance, became one of the lead characters in Young All-Stars. In Robinson's story, Mr. America becomes a corrupt politician who seeks power by any means necessary, and Dan the Dyna-Mite becomes America's beloved Dynaman, the only active costumed crime fighter of the time. And he snorts coke. And he's evil.
Neither of these two characters have internal monologues via captions for the reader, because that would give away the twist. Tex Thompson is not really who he seems, for he has the brain of the evil Ultra-Humanite (who has in previous stories adopted the forms of a gigantic white gorilla and a hot ex-starlet, among others). And Daniel Dunbar, who has fallen so far from grace in our eyes (a former teen sidekick with a drug problem whoring around) actually has the BRAIN OF ADOLF HITLER!
So there's not much to say about the characterization here, since these are two evil characters in the most simplistic way. What is interesting, though, is that (a) Robinson chooses one character, Thompson, who seems vaguely sleazy to modern readers anyway, what with that whip and the mustache, and when he's shown to be corrupt, we can buy into it, falling into Robinson's trap of thinking that it's just a regular dude becoming corrupted by power; and (b) Robinson's use of the pure and innocent Dunbar is also a good choice, because it is not only shocking to see him corrupted so extremely (before the truth of the brain-swap is revealed), but it's a nod to cultural expectations about former child stars, who, by the 1990s, were expected to grow up and become criminals or drug addicts or worse, at least by our tabloid-fascinated society.
Like a director who makes his film better through excellent casting, Robinson uses the right two ex-heroes in the apparent role of the villains. His bait-and-switch works, although I was personally disappointed that the threat turned out to be external (evil villains) and not the corruption of these characters from within.
Robinson uses other characters to show the corruption of innocence and loss of the heroic dream. Robotman, so noble in Roy Thomas's All-Star Squadron, has lost any humanity by the time of this story—he's pure machine, while Alan Scott, Green Lantern is conflicted about his duty as a business leader and law-abiding citizen and his passion for ring-slinging and butt-kicking. Hourman is shown to be addicted to his Miraclo pills, while the man once known as the Tarantula is an egoist with writer's block. Ted Knight, Starman, who Robinson would go on to write with great depth and sensitivity in the ongoing series about Jack Knight, is a mad genius who is trying to put the pieces of this shattered world together through science.
I should add here that Robinson, unlike Cooke, isn't drawing from the original sources as the basis for his story. He's adapting his characterizations from the work done during contemporary comics, as Roy Thomas provided retroactive characterization (and explanations) for the WWII-era heroes. Robinson is building on the layers which Roy Thomas built upon the layers which Gardner Fox (among others) built.
Overall, Robinson does provide a sense of disillusionment in his characterizations in this story, even if his narrative technique is sometimes sloppy or inconsistent. Cooke tried to add a bit of humanity to iconic characters in his work, but he was mostly interested in the icons of the era. Robinson drags his characters down into the muck and then builds them back up again, hoping to show how their inner humanity wins out (with all of its flaws) in the face of systematic adversity. Cooke's characters inhabit the skies, the stars. Robinson's characters live on the ground.
So, the final verdict, after looking at The Golden Age and The New Frontier for a week: Not much different than my initial assessment after reading them both last weekend. The Golden Age is flawed because of its inconsistent narrative point of view and it's cheap, brain-swapping revelations. Robinson and Smith capture the disillusionment and paranoia of the time quite well, but it all amounts to nothing except a superhero slug fest in the end. It's 80% of a great work, and 20% of stuff that doesn't quite fit (including the optimistic ending, which seems unearned). As part of a larger, genre-wide trend to make super-heroes more "realistic," violent, and depressing, I'm not a huge fan of its influence.
The New Frontier is flawed, but it's a flawed masterpiece, and I can imagine revisiting the story many times in the future (and I can't say the same about The Golden Age). Cooke tries to include too much in the narrative, and the main threat of Monster Island isn't presented as well as it needs to be, but the book contains dozens of amazing sequences, and it features sharp, engaging characters who flash in and out of the story. The speed of the narrative demands that the book be read quickly, and it works best when read this way, not because it allows the reader to gloss over the weak parts of the story, but because The New Frontier is an overture, and can be best appreciated when all of its notes are heard in rapid sequence. I didn't love it when it first came out, in the completely inappropriate floppy installments, but I loved it after reading the Absolute version a week ago, and I love it just as much after studying it closely all week.
As one final thought: Both The Golden Age and The New Frontier tap so deeply into comic book lore, and I am so deeply embedded in it myself, that I wonder if either of these works has any merit for a "civilian" reader. And I wonder if, perhaps, the darker, more "realistic" tone would be appealing to a non-comics fan, more so, perhaps, than the wide-eyed optimism (tinged with bits of darkness) seen in Cooke's work. Or would the non-comics fan find both stories completely useless and without merit? Are both works examples of the snake swallowing its own tail? I've already been swallowed by the snake of comic book geekery, so I can't answer that one.
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2024.05.08 15:01 ibid-11962 In-Universe Lore [Post Murtagh Christopher Paolini Q&A Wrap Up #3]

As discussed in the first post, this is my ongoing compilation of the remaining questions Christopher has answered online between August 1st 2023 and April 30th 2024 which I've not already covered in other compilations.
As always, questions are sorted by topic, and each Q&A is annotated with a bracketed source number. Links to every source used and to the other parts of this compilation will be provided in a comment below.
The previous post focused on Movies and Adaptations. This installment will focus on In-Universe Lore, questions and answers that relate to matter inside the books, not about the books. The next post will focus on Murtagh (the book and the character).

In-Universe Lore

Teleportation Magic
I always assumed when Arya tried to send Saphira’s egg to Brom she missed him geographically but was that a REALLY early clue that Eragon’s his son? So he was “close” to Brom because they’re related? Yup. You got it. [T]
Why Don't People Just Teleport Around? I know Oromis said that the teleporting spell is a taxing one, but Arya sent Saphira's egg halfway across the continent on her own. It seems like it would be easier to travel long distances in a few "hops" with breaks in between. Especially once Eragon gets the Eldunarí. Good question. Maybe you'll get some answers. :D [R]
Murtagh and Brom
Since Murtagh and Brom met briefly, I was wondering, had we had more time with Brom, would he have considered Murtagh for simply who he is or whose son he is? I think he would have needed to have gotten to know Murtagh. So I think he would have been immediately suspicious of him, especially given the circumstances under which they met. And of course meeting him would have been a very emotional experience for Brom, given his history with Morzan. So it would have been difficult. And of course, once Murtagh realized who Brom was and that he was responsible for killing Morzan, then that would have made it that much more difficult. Eragon will have been so clueless in that moment. Oh yeah, but that's kind of the definition of Eragon in the first couple of books, he has no idea what's going on. He's like, "who, me, what, what?" [19]
Shades
If I recall correctly, there are only 3 or four shades that were recorded to be killed in history. What happens to all other Shades that were created? Actually, what I said in (Eragon, I think) is that there were only a few people who had killed a Shade and lived. But yes, they're super dangerous and difficult to deal with. [R]
Tornac
What happened to Tornac, Murtagh's horse? Is he still alive? How is he doing? No comment. [19]
Nasuada
I actually had a whole backstory planned with Nasuada's mother for The Inheritance Cycle and just the way the scenes worked out in the series, there was never an opportunity for that that to naturally come out in her conversations with anyone that we saw. [11]
Vegetarianism
I wonder if the elves in the Forsworn continued their vegetarianism? Sure they were evil, but I know lots of vegans/vegetarians who are still jerks to people but not animals. They may have been evil, but they weren't barbarians! (From their point of view.) [T]
Healing Magic
Will we ever learn how Murtagh healed Thorn so quickly in Eldest? Eldunarí [T]
Spirits
If spirits are self-sustaining, why are they drawn to sources of power, and why do they "drink from the emanations that give them life" despite the fact they are self-sustaining? A clarification: they're self-sustaining in the sense that they're stable patterns that can persist over time. However, like all living things, they still need sustenance, which they get in the form of energy (usually electromagnetic) that they absorb/consume from the environment. [R]
Elvish Children and Ageing
In Brisingr, Rhunön says while forging the sword Brisingr that children have something special. They are born, with "gifts of grace and gifts of power that no grown elf can hope to match" and their "blossom withers" over time. How do you feel about that quote, now that you are a father and that you have children? Oh, I stand by it. I think you could say the same is true for human children to a degree. They're born with a share of innocence and beauty even that we all lose as we age. We gain things in return. We gain wisdom. We gain knowledge. We gain strength. Hopefully we gain patience and kindness also. But there is something special about childhood. A timelessness which I suppose goes back to innocence. And of course with the elves, since they're tied into magic in ways that we aren't, there are other factors in play as well. They have powers or abilities that somehow outstretched that of any adult elf? Well, my thought was the inhibitions are lower. The barriers between them and the flow of magic is different. And so they are more naturally inclined toward wild magic. That is magic unbounded by the ancient language. And not that it always happens, but just in general, I think with the Elven children, you never quite know what might happen. And then as they get older, as they hit their equivalent of adolescence, it all becomes much more constrained and adult. When are you considered an adult for the elves, like 50 years old? I don't want to commit to an actual number at the moment. I'd have to look at it. I know I've always thought about a very rough guide would be like 20 to 30 is kind of their teenage years, roughly. And then you're not considered a young adult until well after that. And I try to think when Arya took up her role as ambassador and left, Du Weldenvarden. And it might've been when she was like 20 or 30, something like that. She would've been, really kind of too young to do that, but it'd be like a, 18-, 19-year-old going off to join the foreign legion or something, but people do that. [19]
Angela
In Inheritance, is what Angela is writing down a Doctor Who reference? Maybe. Is it raxacoricofallapatorius? Now that would be copyright infringement. Right, it is the legally distinct version of that. Yes, I am a Doctor Who fan. I have to ask, have you read To Sleep in a Sea of Stars? I actually haven't yet. That is next on the list. Well, the reason I asked is there is a certain short curly-haired woman with a cat who appears in To Sleep in a Sea of Stars that might answer a few of your questions or raise a couple more. [11]
Murtagh was an amazing ride. I just missed Angela. She does appear in the book. Just under a different name . . . [Uluthrek] [T]
Has Angela the Herbalist ever gotten drunk? Most likely. [T]
Eragon vs Barst
Would Eragon have been able to defeat Barst? Yes. [R]
Reading Magic
Jeod says "The spell you sent me, however, did not work when I read it from the scroll." I don't recall him ever being mentioned as a spellcaster. He'd have to be though, for him to be able to cast this spell right? Nope. Non-magicians can cast spells if the spells are, in essence, pre-loaded with energy. So if a scroll/gem/object is imbued with the necessary energy to enact the spell, then all you need to do is trigger the release of the energy by performing the necessary action (in this case, reading the words of the spell off the scroll). [R]
Eldunarí Training
Arya and Murtagh aren't getting ANY actual “rider” training. Eragon is the only rider alive who was taught rider-only knowledge. And neither Fírnen or Thorn has a dragon to teach them dragon-only knowledge. Don’t forget some of the Eldunarí stayed behind in Ellesméra with Arya and Fírnen. Was in deluxe edition of Inheritance and then added to later printings of main edition. [R]
Az Sweldn rak Anhûin Riders
What will happen if a dragon was to hatch in the Dûrgrimst Az Sweldn rak Anhûin? I'm not sure that the dwarves would allow any of those clan members to come before the dragon eggs. If that did happen and one dragon hatched for them, I think it'd be very difficult politically, and it's entirely possible that the dragon for whom it hatched would be exiled from their clan. I thought that maybe it will make them change, but no, it's unlikely after all since they showed so much antagonization. I mean, come on, how often do people change their beliefs? Not often. [19]
Forbidden Spells
You aren't exactly the kind of guy that I would openly give like a bad review to. Good, you should do it anonymously. That's what the internet was made for. I wouldn't give you a bad review, like under my real name, because I can't think of any other author whose magic system is specifically able to give someone testicular torsion. Could we get a firm pronunciation of that spell? It would be bowler, that's actually how you would say it. Böllr, that's ball of course, thrysta. Böllr thrysta. And it's considered the worst spell in the World of Eragon. You're really discouraged from using it. And those who use it are usually exiled and/or killed on the spot. Wow. So it's sort of akin to like an unforgivable curse. It is an unforgivable curse. That's right. Well thank you so much. I'll have to remember that spell for the next time someone suggests a really bad idea. Like leaving a bad review on my books? No, I was thinking like if someone said, hey, do you guys want to go watch Eragon? [31]

Dragons

Dragons Physics
I think something you always run into if you're trying to depict dragons as real world animals is how do you actually get them to breathe fire if there's a biological process? My solution is just magic which was easy. With a lot of CGI dragons the wings are always too small. You need massive wingspan to get a body that size off the ground. Real world physics, if you're gonna have them fly, they need to have very big wings. I have the privilege of living in a part of the country where quite a few dinosaurs have been dug up. In fact, not too far from my house, they dug up a, I think it was a brontosaurus. And the big museum near me in Bozeman, Montana, the Museum of the Rockies has one of the best dinosaur exhibits in the world. And the paleontologist Jack Horner actually worked in conjunction with that museum for many years. And I got to have a sort of behind the scenes tour with him one time and he showed me these bones from the wings of a pterosaur. Huge, huge animal. And the wings were so fragile and he was talking about the ratio of the wings to the body size and the weight that could actually lift and everything. And you either need some massive genetic engineering or some magic to make dragons actually possible. [30]
Just finished Murtagh and holy flaming dragon balls was that an amazing, wild ride from start to finish! You're very welcome! Glad you enjoyed it! (For the record, dragon, ah, gonads are internal. Just to be clear.) [T]
Where do the dragons poop? Wherever they want. [R]
Dragon-adjacent Species
What discoveries about dragons do you continue to uncover and how do you continue to draw inspiration for describing the dragons in very different ways? If I were writing a story that wasn't in the World of Eragon, something completely new, then I think I'd draw a little bit more from some stuff I've read in mythology and just other fantasy books over the years. Specifically in this series though, what I'm discovering, if anything, is just further exploration of what I've already established. So taking it to the logical extremes of, okay, if the dragons exhibit these traits, what about this? What about that? How would that actually influence things? And also in my world, I have a couple of dragon-adjacent species. Because it seemed to me that if the dragons existed, as with most creatures, there'd be something similar as well, similar, that had evolved along similar lines, but wasn't actually a dragon. So I have a couple of those. And those are fun to play with as well. [34]
Dragon Diets
How would you make a giant dragon ecologically feasible? But I don't know if there's a way to even do that. I always thought that the only way it would work would be if dragons were kind of like whales, which are predators. So you can have so many very large predators and it really depends on having enough biomass underneath them to support that. And I kind of look at various reptiles and snakes where especially as they get larger, they gorge and then they go into hibernation. They rest, they digest for sometimes months and months at times. And that could be semi-realistic and it fits with some of the mythology. But if you get into really large dragons, which is always fun to write about, even the physics of supporting their own weight aside, let's say it's magic or they've got adamantium bones or whatever and muscles, but then what are they actually eating? They'd have to go pick up blue whales and down a blue whale every once in a while. It's really the only conceivable thing. Or you'd be wiping out entire herds of everything. I think the complicating factor is that so many dragons in our books and other books are really intelligent. So you have the double whammy of a very large predator who might also have human level, if not more, intelligence. And then you really got to start wondering about the impact on the ecology. It's like, well, OK, maybe the dragon just takes a large valley and sees a couple herds there. And so it carries a couple boulders over and blocks off each end of the valley. And now its own private ranch. And you're going to live and grow there and get eaten occasionally, and the dragon's happy. See, now I'm picturing Yellow Scale Ranch, like a city of Yellowstone. And the dragon has a cowboy hat and maybe a walking stick. What do you think's under the caldera? Why do you think it erupts every so many tens of thousands of years? [30]
One thing that's never talked about enough with dragons and how they hunt and eat is just how bad it would smell if they went after a flock of sheep. Do you know how bad birds would smell? The stench would drive off every creature, every predator, every human in probably like a 20 mile radius. [30]
Dragons Eating Others
One of my favorite scenes was right after Muckmaw, when Murtagh wouldn't let him eat him. The funny thing is, when they're flying over some mountains, Thorn is talking about eating Urgals, and Murtagh makes him promise that he's not going to eat an Urgal, or a Human, or an Elf, and he conveniently leaves out the Dwarves. Which readers have immediately picked up on. And someone said, well, you know, the Dwarves do kind of have it out for Murtagh because he killed their king. So maybe Murtagh left that out on purpose. That he's just giving a little bit of a loophole for Thorn. That if Thorn needs to eat a dwarf, Murtagh's not going to be too concerned. To be fair, I do think that Saphira would really have no qualms about eating someone she didn't like either. No, but I think that she'd have justification, right? Well, yeah, I mean, Thorn's justification is he doesn't like you or he's hungry. Those are good justifications. [32]
Alcoholic Dragons
We all know that Saphira is a great mead aficionado. Is it something that's only her fancy or do some other dragons also like that? Some other dragons definitely enjoy drinking, so it's not just Saphira. There was probably some wild parties in Vroengard then. Oh yeah, and it's actually a common thing in the wild and lots of animals will try to get fermented berries and essentially get themselves drunk. So I think dragons probably enjoy a good drink now and then. It seems to be the smarter the animal, the more they like alcohol. [19]
Dragons and Riders Dying
In Eragon, correct me if I'm wrong, if the Rider dies, the dragon dies, right? So that's actually something they invented for the film version. They will often die, just because the bond is so strong. But there's nothing like that compels the death. It's more like they're suicidal, they feel horrible, and they they end it. [33]
Dragon Colors
Why is Saphira blue? Because I'm color blind. I am red-green color blind. I see both red and green, but I see less of them than someone with normal color vision. And so if you've read the books, the way that I described dragon vision is how I see the world. Blue is the most vibrant color I tend to see. And thus, Saphira is blue. However, I've been told that the blue that I think Saphira is, is actually purple for someone with normal color vision. So I see purple as the most amazing blue. So she is a purple dragon, but I say she's blue. [35]
Back when I just finished Inheritance, I had some daydreams/fanfiction about the first new dragon that would hatch after Eragon left Alagaësia. Just wondering if you have guesses on the new dragon's color? Puce. [R]
Dragon Gods
Men, Dwarves, and Elves each have their own gods and religion. What about Dragons? Do they have their own gods and religion? Dragons ARE gods. At least, that’s what *they* think. [T]
Dragons are Cats
Could dragons make good pets? I clearly prefer dogs and cats! Dogs love us for life. Cats are the perfect companions for writers. In fact, my dragons behave like cats! Like them, they have high self-esteem. They are very proud. [4]
Saphira's Hotness
I know we all hate the movie because it’s awful, but I’m rewatching now and damn is newborn Saphira adorable as all hell. She needed to be fiercer looking, like a baby hawk. But yes, very cute. [R]
Saphira's supposed to look beautiful, right? She's FABULOUS. [R]
I was just wondering what you thought about Saphira's Rule 34 page. I don't want to think about it. [31]
Shruikan
Which character do you think is the most tragic, with the most disappointments and loss? Shruikan [R]

Murtagh

Pronunciation
How do you pronounce Murtagh, your new book? Because Italians have their pronunciations, English has its own pronunciations. We pronounciation the "gh" here in Italy. First of all, in The World of Eragon there are many different dialects and languages. So the way you say his name is how is name would be said in certain parts of the world. I say Murtagh (mur-tag) but I'm an American so my vowels are very flat, and in The Word of Eragon it probably would be said much more like Murtagh (murr-tug) or something like that. Like in Italian Ci. The first time I was in Italy, for Eldest, or for my second book. My parents came to visit while I was in Italy, and I was calling their room and I called to the front desk of the hotel and I asked for their room and I gave them the last name and I said "Paolini" (pow-li-ni) and they go "No. No. No." I said "Paolini (pow-li-ni)". "No. No. No. No one by that name." And finally I went "Paolini (pay-oh-liii-niiiiiiiii)". And they go "Ohhhhhhhh". [Note that when the translator tries saying this answer back in Italian all the Paolinis sound the same.] We also have a lot of different accents in the Italian language. That may have also helped out. No, I know. My family is originally from Bologna, and I watched a lot of Italian films and shows. The difference between what you hear in Inspector Commissario Montalbano versus some of the other films is very different. [7]
I reserve the right to butcher my character's names however I darn well please. And I have gotten into extended discussions with my fans about whether it is Murtuag, Murtag, or Murtah because Murtah is actually a real Irish name. And because I'm an uncouth American and I have flat vowels, I say Murtag, but it probably should be Murtuag and of course historically it's Murtah. [33]
Murtagh's Map
Why isn’t the map in English? Because it’s Murtagh’s actual map. The translation key is in the back of the book. [T]
Did you draw this and then fold and crease the page, and this is a photograph of that, or are the creases drawn? Neither. I drew it and then placed a picture of creased paper under the drawing, on a separate layer. The map by itself, without the paper image, looks rather bare, as I designed it to work with the underlying texture. [T]
The reason it's only half of Alagaësia, is because if you translate this bit, and there is a translation key in the back of the book, it says this is an imperial map. So this is a map from the Empire that Murtagh was given before the end of Inheritance. [17]
I've gotten a few people who've been annoyed that in the map at the beginning of Murtagh, all the locations are labeled in runes, which I do provide a Rosetta Stone for at the back of the book. Of course, you have to go look in the back of the book and know that it's there in order to figure that out. So some people have been like, "How am I supposed to know where Murtagh is? Come on." But the idea was that it is a in-universe artifact. It's actually the map that Murtagh himself is carrying around, which is why it's all wrinkled and stained and actually is what he's carrying around. [34]
The map at the beginning and the other illustrations are very dark. Is this deliberate or just an error? Printing error. It shouldn’t be that dark. [T]
Runes
There was also an instance where it says that the dwarves and humans use different runes, but in Eragon, it is mentioned that they use the same runes. Same runes arranged differently. [T]
While reading Murtagh, I came across a line where he is unable to read the dwarvern runes, however in Eldest, Gannel tells Eragon that humans adopted the dwarvern runes as their own. There's a discussion about the differences between the human and dwarven runes included at the back of Murtagh. [R]
Mr Stabby vs Tinkledeath
If there will be a duel between Mr. Stabby, which technically cannot be broken, and Tinkledeath that can cut through almost everything, how will the duel ensue? I would guess that Mr. Stabby could hold off Tinkledeath, at least for a time. But trying to block a sword with a fork is very, very difficult, so I wouldn't want to try. [19]
Svartlings
You have magic, dragons, ugly bird men and their ugly Wal-Mart bird dragons, bears the size of houses, elves that dress up as furries, and rocks that grow from farm soil! What a fantastical universe Don't forget the giant boars, the horned goat/sheep people, the ten-mile-high mountains, the giant whirlpool, and the spirit-possessed magicians. Oh yeah, and what are Svartlings? [R]
Poetry
In this book there are indeed many plot twists, epic new enemies, but you know what I wasn't expecting? Murtagh becoming a poet. Was it because you've become keen on poetry as well? It's because if you've ever spent a fair bit of time without the Internet and without television and without radio and without books, you get really bored quite honestly. Especially if you have the sort of mind that like you need to do something with your mind and I think Murtagh is that sort of a person. Like he has too many unpleasant things to think about in his life and so he needs to distract himself. And after the end of Inheritance he knows he's changed and I think he's trying to think of himself in a new light as a new person. So for me it was like fifty percent him trying to entertain himself, fifty percent him trying to avoid thinking about things he didn't want to think about. And then of course outside of the actual universe of the story it's me the author enjoying doing poetry. But I wouldn't put it in if I didn't think it made sense for the character. [17]
Glaedr’s scale
The werecat Carabel tells Murtagh that he must use a dragon scale to lure Muckmaw. She insists that “only the scale of a dragon will suffice for Muckmaw.” But why Glaedr’s scale? Couldn’t they have removed one of Thorn’s to use as bait? I was surprised that neither Murtagh or Thorn thought of it — even if just to dismiss it as a bad idea. You're right: I should have addressed this in the book, if even only to have Murtagh have the knee-reaction of "I'm not pulling a scale off Thorn!" to which Carabel would have said, "I'm not asking you to." etc. [R]
Why not any other scale, why only Glaedr's scale? Why didn't Murtagh ask the same question? Murtagh would NEVER volunteer to pull a scale off Thorn. Especially not if there was a possible alternative. [T]
Who was the elf that was protecting Glaedr's scale? Murtagh literally has to stab himself to free himself from the mental grip of someone, and he's not the least bit curious as to who it is? I think it's one of the two elves standing outside the stone house in Gilead. The ones that Murtagh purposefully avoided. This. [R]
Doorways
"He blinked and took a closer look at the back wall. Was there something on the ... Yes. A faint line of white chalk. He traced it with his eyes and found that the line drew an arch from floor to head height. An arch or a doorway. The idea of a doorway. A yearning for freedom." Sounds like the kind of door Angela drew in FWW... Sure does. [T]
Scurvy
How did Murtagh not get scurvy when he was living off the land? My boy didn't have a single fruit. Organ meats and pine-needle tea. [T]
Scrying
I think [Murtagh and Thorn] are very very ignorant of magic. Like when they were talking about going south and were like "welp there's no faster way to contact anyone other than courier". I was practically screaming "YES THERE IS IT'S CALLED SCRYING YOU IDIOTS" Nasuada would be warded against random scrying, and Murtagh knows this. Pretty sure he thinks about this exact point when considering how to get info to Nasuada near the end of the Gil'ead sequence. [R]
ADHD
I was describing this book [Murtagh] to my partner while I was reading it. And he goes "these two characters sound like they have ADHD". And I was like, "I see it." I don't know. They focus pretty well on the things they do. [32]
Azlagûr
Is the "unnamed shadow" in Eragon's Guide to Alagaësia the DraumaAzlagûr? It is not referring to Azlagûr. [R]
Could Azlagûr be a Chinese Dragon? The old Chinese explanation for solar eclipses WAS a dragon eating the sun. Scary [R]
Galbatorix Motivations
You tie Galbatorix to Bachel in this book in a way. Was there was that like nerve-wracking, because there's that element of like 'oh am I going to take something away from the previous story by tying it in here'? Yeah and it's possible some people are going to view it as too much of a retcon, but to that I would say two things. One, a lot of this has been planned for a very long time by me. Two I wouldn't believe 100% everything Bachel says. I have my own theories for what Galbatorix thought and felt and was actually up to. I don't think actually that the Dreamers had as much control. In fact the whole reason I'm sure he was looking for the name of names, the name of the ancient language, was to wipe the Dreamers out in many ways. I wouldn't trust everything Bachel says. [11]
Galbatorix downfall was his unawareness of non-worded magic, but in Murtagh he and the forsworn meet Bachel who only uses unworded magic. Remember: Bachel lies. And even if she didn't, and Galbatorix was aware of wordless magic, he never would have thought to protect himself against a spell meant to help him, not hurt him. [T]
The whole "Galby lost part of his army in the spine" thing was a result (in part) of his attempt to deal with the Dreamers, and we have Bachel boasting that even Galbatorix couldn't stop them. And yet, we've been told that Eragon and the Eldunarí could have dealt with the Dreamers without too much difficulty. Galbatorix was significantly more powerful than they were, even without the Name of Names. So, if we take-as-given that Galbatorix wanted the Dreamers gone, why are they still there? He knew where they were, he knew he had the means to obliterate them, and (by his own estimation) the Varden was no real threat to him. 1. Bachel lies. 2. The Urgals wiped out Galbatorix's army. No contradiction there. Were they controlled/influenced by the Dreamers? Good question. 3. The Dreamers themselves aren't the real threat. 4. Galbatorix knew more than Murtagh/readers know. [R]
The thing that bothered me about the Ra'zac saying he's getting close to finding the Name is that I can't figure out any way they would have any indication of whether he's "close." There are many different names for the language, some more descriptive than others, but only one true name. It would be like saying, “I know Latin!” vs. “I know this exact dialect from this exact time period, and it is called X.” There are layers of specificity. [R]
Shaking the valley
Do you have a favorite scene or character or moment that you want to share? I really liked when Bachel shook the valley. Did she shake the valley though or is there a giant dragon under the Earth that moved in its slumber? Because I have theories. Well that's a good question. [11]
Thorn Flashbacks
The scenes where Thorn was being put in an arena when he was young, is it a vision or is it a real recollection of Murtagh? That was a real recollection. [19]
End Him Rightly
Was there a reference in murtagh to the pommel throwing technique? A certain character [Tornac] asked "Did you end him rightly?" And that made me remember the German fencing manual? Or was this just coincidence? There are no coincidences. @Skallagrim Ok, but like are we supposed to interpret this as a valid technique in-universe which Murtagh did? Or perhaps as a joke that the above mentioned character decided was appropriate to reference at that particular moment? It's both. It's a valid historical technique and also a joke within the HEMA community. Though not meant to be a joke between characters. [T]
Torture
I just finished Murtagh and one thing that sticks to my mind is how pointless / tame the torture scenes were. The torture was worse than you think. I just didn’t want to write it out in detail. [R]
My personal theory is that Bachel forced Murtagh to inflict the pain on his own body through the breath or invading his mind. I could see Bachel forcing Thorn to maul Murtagh, Or Murtagh to torment Thorn under the breath. It was even worse than either of those two options, sorry to say. [R]
Ithring
I just noticed; the Fractalverse logo & the center of [the Ithring] symbol, are similar. Shhh. [T]
Murtagh's Spell
Does the explosion from “compress air and gather light” come from Murtagh [focusing] a bunch of light into a spot, which would heat up the air and cause it to rapidly expand? Bingo. And if there was watemoisture at the target location (which there was), you'll get a steam explosion. [R]
One of the spells Murtagh cast in the book, I think the translation was "Compress the air and gather light." And then a big explosion happened. Was that lightning or was that a form of plasma that had become unstable? Superheated watemoisture expanding. Basically, a steam explosion. [T]
Murtagh Healing
You really put Murtagh through a lot. And it made me both smile and ache for him. I did put him through it. And one of the reasons is because although it was not his choice, he did some pretty unpleasant things and coming to terms with that was never going to be easy. And I think he will have an easier time of it moving forward now. He'll never have the life that Eragon has, but I think he has a chance at a more normal life now. As normal as he'll ever have a life. I wouldn't be surprised if he wakes up in a cold sweat, having some bad dreams for a couple of years, but I think he's on the path to healing. [19]
Nasuada controlling magic users
Given the new paradigm of Nasuada being a queen, how will she manage to have at the same time potent enough magicians and keeping control of magic in her realm as decades will go on in the future, especially since she's not a magician herself? That is the problem she's grappling with and it's a difficult one. I think the solution she's settled on at the moment is insufficient, with drugging people who don't want to join Du Vrangr Gata or don't want to swear this or that. So my thought is that now that Murtagh is spending time with her and Murtagh has had this experience of being controlled by Bachel's breath, he has a unique perspective on all of this, and perhaps that will help guide Nasuada's thoughts and approaches moving forward. But it's a problem. I've seen people criticize Nasuada's choices with how to deal with the magicians. And I'll happily agree it's not ideal, but it's also not ideal to have random people wandering around who can kill you with a word or who can slip into your mind and control you and you have no defense against that. It's a major major problem and no one would put up with it in the real world. If you knew that was a possibility and you suspected someone of being a magician, that's the sort of thing where witch hunts and magician hunts start actually making a lot of sense. Maybe not on an individual moral level, but from a societal standpoint, it starts making a lot of sense why you might kill those people.* [19]
Murtagh and Nasuada
What are Murtagh & Nasuada up to at this moment in time? Standing outside the small, barred room hidden behind her council chamber. [T]

Fractalverse

Sometimes I overthink things and end up confusing readers. Example: in Fractal Noise, I have my civilian characters use twelve-hour time. But they refer to the times using 24-hour terminology. So they'd say "Oh-nine-hundred" for 9am OR 9pm and rely on context for the listener to understand. Problem is, I never really explained what I was doing to readers. Lol. Ah well. Live and learn. [T]
Re-read To Sleep after reading Fractal Noise and somewhere in To Sleep it says the Great Beacon pulses ever 5.2 seconds but in Fractal Noise it says it's around 10 seconds. Is this a misprint? Yes. Was corrected in reprints. [T]
I have so many unanswered questions about Talos & the hole! Can we pleease get some lore on it. Lore upcoming in the next #Fractalverse books. So. Much. Lore. There's an entire dimension to the story that isn't yet apparent. [T]
If you think about it, the #Fractalverse has seven dimensions: three-subluminal, one luminal, and three superluminal. . . . I'm sure it's just coincidence. Why 3 subluminal and 3 superluminal? I thought the Tri-Space model was 3 realms? Yes, three realms, but superluminal and sub-luminal space are each 3D, while the luminal realm is just a membrane separating them. (Technically the membrane has an infinitesimal thickness to it, but that's splitting TEQs. For all practical purposes, it's 1D.) [T]

Fan Theories

I understood that some seeds had been planted in Murtagh, which made me wonder. Those seeds were even already in Brisingr. [23]
How far does the history of Alagaësia go, with all the associated myths and legends? You are now looking at the figurative tip of the iceberg. There is much more. There are fans who can now finally connect some of the clues I left in Eragon and my science fiction books. They suddenly get an inspiration and say: “Christopher doesn't play chess, he plays 4D chess.” But I have given away a lot of hints in my books, which I now have to do something with. In the coming books, both in Eragon and in my science fiction books, we will get more of the history, including things that I laid the foundation for years ago. So are both series connected? No comment. [23]
In the fan community there have been some very smart people who have been concocting some elaborate theories of what is actually going on in the World of Eragon and the Fractalverse. And they’re not right on everything but they’ve gotten pretty close in some very interesting ways. And all I'll say is that yes, I am doing a quite a lot of deep things and it isn't really apparent yet, and that's just my own fault, because I haven't written the next couple of books that will confirm what it is I'm actually doing on a deep level. So I'm looking forward to that. [32]
Have you seen any theories out there that have been correct? Yeah, a couple. There's a couple of really super smart fans in my fan base who've finally caught on to some of the very deep things I've been doing in the background of both my fantasy books and also my sci fi ones. And they've been like picking apart the world and going, wait a minute. Did Christopher mean this? Did he mean this? And nine times out of ten, the answer is yes. It's really hard to outsmart the crowd. There's so many smart people out there. And I love seeing that engagement. [33]
I have a bunch more theories on Giants but I'll save it for another post. You better write that post about the Giants. [R]
There are a lot of specific references to the moon in relation to the Ra'zac. Sheesh. All this talk of moons makes me wonder why/how Angela ended up being called Uluthrek. [R]
Fractal Noise has nearly no lore pertaining these theories. Ahem. All this talk about spirits and not a single mention of the 'angels' from FN? [R]
There gotta be something interesting at the top of Beors. Nobody has been to the top yet, not even the Riders. Pretty much little to zero breathing air at that point. Seems like the perfect place to have magical or immortal beings kinda just hanging out away from anything. Heh [R]
Right now no matter what way you swing it, we have issues in terms of time. Angela's presence makes things infinitely more complicated. Correct. I'm also guessing we're dealing with the very real issue of "Paolini is making up new shit as he goes", and is finding ways to retroactively make things fit together. Incorrect. (Or at least, mostly incorrect. :D) There's a major piece to the puzzle that I haven't shared yet. The next two Fractalverse books will clarify. [R]

Click here to continue to part 4: Murtagh & Murtagh (the book and the character)

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2024.05.08 13:52 UnbanSkullclamp420 You failed to realize this repost

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2024.05.04 16:00 ct_hulhu10282 Cephs and genesis

Cephalapod Genesis
The pharoah ejaculated into the river and in the sand the sperm found refuge and grew into papyrus. This an example of genesis.
Vampyrapods are the first intelligent species to live on this planet predating the dinosaurs. They came here somehow. They did not evolve on this planet. Perhaps just an ejaculated sperm from another being landing in the water. The direct offspring of this cephalapod is the modern octopus. Octopus are responsible for nearly every animal genesis on earth including humans and subsequently man made inventions and accomplishments. Octopus taught trees to fruit, destroyed the dinosaurs through becoming tapeworms, and even walked to the moon. Some of the animals you may recognize from the cellular genesis may have fused with the other local staples such as canine, equine, and feline, and reptile as well as temporarily the pachyderms in post-actualization causal genesis. This can be done by mating with, killing, eating, dying, being eaten, or simply a laying of hands or physical actions. Octopus only live for about 4.5 years of our relationship with time, but they have beaten death through a mix of telepathy and cannabalism. They've also mastered time travel. There are only 3 actual beings here. Others died in getting here and are fossilized. 2 males and 1 female survived. I call them Jack, Seth, and Claire. This is why the genesis had to completed this way as any direct offspring would not work. because theyve have infinite time to complete it, theyve walked over every inch of the planet and affected every species. In fact our own existence is simply the echo of the combined knowledge of the cephs. We are an amalgamation like the 'too much good stuff' guy from am/pm commercials. Make a bird with your hands. ¿Where are the beaks? The latest project is to use genetic science in order to bring back the mammoth and obtain a sixth digit from its feet. Should happen around 2027. When the vampyrapods first encountered life here it was eating their tentacles. So the first genesis occured in the offspring of those that ate of the tentacles. This is why modern cephs only have 8 limbs. The first language period is Enochian. A language of the eyes and limbs. Through different manipulation of limbs and eye fluctuations communication was made. After a while though telepathy became the established communication.
Here are some examples but not all of cephalapod genesis:
• Spiders (rare from trilobyte mix, had to go back in time to accomplish) (they had to avenge the original vampyrapods from being eaten from early organisms, thisnis how scorpions were able to evolve) • Mango (foilage and ceph mix. Ceph hung from a tree upside down) • Star fruit (the tree missed the octopus and tempted it to return) • Pinecone ( the bite marks of ceph beak eating the fruit of the trees) • Toucan (the beak formation from ceph in flux probably consuming a failed aviary) • Peacock (feather formations still in flux from limbs partial fusion) • Salamander (reptile/chameleon mix) (skin breathing evolution) •Sloth (feline and foilage mix) • Mistletoe bird (octopus ate a mushroom) • Lyrebird (mirage, digitage, and aviary from peacock and pheasant. Mastered the art of sound mimickry to develop better auditory communications) • Dung beetle (rolling backwards the earth through time) • VW bug (trunk up front) (mirage, digitage, pachyderm mix) (invented higher than the model T but arrived later in time) • Goliath bird-eating tarantula ( set a web to catch a bird which did not exist fully until the web was cast. When the spider consumed the bird the psuedo cannabalistic action resulted in a poison tree frog) • Snakes (a ceph lost its mating limb for some reason in a mirage mix experiment) • venemous snakes (a snake ate the eggs of its own offspring)(the cursed dinosaur souls live inside these) • Gumby (using hands to mold clay made a show about being an octopus) • Chameleon (reptile, ceph, foilage, mirage mix)(a ceph was purposely eaten by a komodo dragon to telepathically send a reverse osmosis of its makeup inside its body to another ceph that was attempting to kill the dinosaurs in the past. How they programmed the tapeworm to destroy them)
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2024.05.03 15:10 Jdlongmire Temporal Asymmetry: Synthesizing Young and Old Creationism

This essay introduces a framework called "temporal asymmetry" to reconcile the apparent discrepancy between the biblical account of a young creation and the scientific evidence for an ancient universe. This framework proposes that from an Earth-based observer's perspective and using Earth standard time, the universe appears to have a genuinely old history spanning billions of years. However, this does not conflict with the idea that from the Creator's eternal, transcendent point of view, the entire cosmos was brought into existence in a literal six-day period.
Key points:
  1. Biblical texts suggest that God experiences time differently than humans, transcending our Earth-based perception of time (e.g., Psalm 90:4, 2 Peter 3:8).
  2. Scientific theories like relativity show that time is relative to the observer's frame of reference, which in our case, is an Earth-based perspective using Earth standard time.
  3. The temporal asymmetry model suggests that while we, as Earth-bound observers, perceive a universe with a truly ancient history, this is fully compatible with the idea of a recent creation from God's eternal vantage point.
  4. This framework takes scientific evidence for an old universe seriously while maintaining the truthfulness of the biblical creation and Flood accounts.
  5. Objections to this model, such as the appearance of age or ad hoc reasoning, are considered and found to be unpersuasive.
The essay concludes by emphasizing the importance of humility, reverence, and openness to mystery when exploring the complex relationship between science and faith. It acknowledges God's transcendence and sovereignty over time and creation, highlighting that from our Earth-based perspective using Earth standard time, we can affirm the genuine antiquity of the cosmos while simultaneously recognizing the validity of the biblical account of a recent creation from God's eternal point of view.
Introduction
The age of the earth and universe has long been a point of tension between biblical literalists who affirm a young creation based on the Genesis account and mainstream scientists who see compelling evidence for an ancient cosmos spanning billions of years. This treatise proposes a conceptual framework for reconciling these divergent perspectives by appealing to the concept of temporal asymmetry—the idea that time can be experienced differently from different frames of reference. By exploring how a transcendent Creator might experience time in a radically different way than creatures embedded within space-time, and by examining scientific evidence and biblical accounts that lend support to this idea, we can begin to see how both a young and old creation might be simultaneously true from different vantage points.
Biblical Foundations: Creation, Flood, and Divine Temporality
The starting point for this reconciliation is the biblical testimony itself. Genesis 1-2 describes God creating the heavens and earth, along with all their inhabitants, in six literal days, culminating in the Sabbath rest on the seventh day. This orderly, structured creation week strongly implies that these were normal solar days as experienced by earthly observers. The genealogies and chronologies found throughout the Old Testament further reinforce the impression of a relatively recent creation, spanning only a few thousand years.
The Bible presents God as the sovereign Creator, bringing the universe into existence by His word and wisdom. In our modern age, it's fitting to think of Him as the Master Programmer or Cosmic Engineer, designing the laws, constants, and structures that govern the cosmos with perfect precision.
According to Genesis 1, God's "deployment" of the Creation program took place over six literal days. On Day 1, He brought forth the foundational components - space, matter, light, and time. Day 2 saw the formation of Earth's atmosphere, while Day 3 involved the emergence of dry land and vegetation.
The fourth day marked a pivotal stage in Creation. God spoke the Sun, Moon, and stars into existence ex nihilo, just as He did in days 1-3 - a direct manifestation of His omnipotence. However, rather than simply having them "wink" into being instantaneously, God appears to have utilized an accelerated process to "construct" these celestial bodies and "fast-forward" their development.
In a sense, God ran a "rapid simulation" of cosmic evolution, compressing billions of years' worth of stellar formation, nuclear fusion, and planetary accretion into a single 24-hour period. This dramatically sped-up process would have produced a universe with a coherent "virtual history" - including light trails suggesting vast distances, radioactive isotope ratios implying ancient ages, and cosmic background radiation pointing to a primordial "Big Bang.
Importantly, this "appearance of age" would not be a deceptive trick, but a purposeful design feature. It would grant the universe a realistic "backstory," providing a credible cosmic context for Earth's existence. It would also showcase God's ability to craft a cosmos of immense size and precision, with countless stars and galaxies fine-tuned to support life.
Moreover, by front-loading the universe with a "virtual history," God would be endowing it with vast potential for future development, setting the stage for billions of years' worth of stellar and biological evolution to unfold within stable, pre-designed parameters.
On Days 5 and 6, God filled the Earth with living creatures, each programmed to reproduce after its kind, with rich genetic potential for adaptive variation. The creation of mankind in God's image marked the climax of His creative work, which He declared "very good" - an elegant, error-free system, perfectly aligned with His intentions.
Viewing Day 4 as involving a "rapid formation process" offers a robust integration of the biblical Creation account with scientific evidence for an ancient universe. It affirms that God created the heavens and the Earth supernaturally and recently, while still accounting for the apparent age of the cosmos from our finite perspective.
Through this lens, scientific research becomes a means of "reverse engineering" the universe, uncovering the sophisticated algorithms and subroutines God employed in constructing the heavens and the Earth. Each discovery of a finely tuned constant or elegantly balanced force points to the ingenuity of the Creator, the Master Developer behind the cosmic code.
Ultimately, the concept of God utilizing an accelerated formation process on Day 4, while still creating ex nihilo, provides a compelling synthesis of the biblical doctrine of Creation with the scientific evidence for a universe spanning billions of years. It magnifies God's wisdom, power, and artistry, inviting us to marvel at the work of His hands. As we probe the depths of the cosmos, we are not merely analyzing inanimate matter and energy, but encountering the handiwork of the living God, in whom all things hold together.
Additionally, the account of the global Flood in Genesis 6-9 describes a cataclysmic event that reshaped the earth's surface and destroyed all terrestrial life outside the ark. The Flood is presented as a real historical event that left observable traces in the geological record, such as the deposition of vast sedimentary layers and the burial of innumerable organisms as fossils.
Modern scientific observations of the geological record provide compelling evidence for an earth that is approximately 4.5 billion years old. Radiometric dating techniques, the analysis of sedimentary layers, and the study of fossil succession all point to a planet with a vast and ancient history. At the same time, some scientific discoveries, such as the presence of soft tissue (and potential DNA) in fossilized dinosaur bones and the existence of polystrate fossils, seem to challenge the conventional old-earth paradigm and lend support to a young-earth perspective. This apparent discrepancy can be reconciled by appealing to the concept of temporal asymmetry, which suggests that time can flow at different rates from different frames of reference. By proposing that the historical observers of Earth's past, particularly during the biblical Flood event, experienced time at a different pace than the geological processes shaping the planet, we can begin to understand how the earth can be both "young" from a biblical perspective and "old" from a scientific perspective.
To illustrate this concept, let us engage in a thought experiment. Imagine that during the cataclysmic events of the global Flood described in Genesis, the inorganic components of the earth underwent a period of vastly accelerated change. From the perspective of an indestructible, immortal observer standing on the ocean floor, time would appear to move at its normal pace, and all the standard measurement systems used by modern science would still apply. However, from the vantage point of someone on the water's surface, the geological processes below would be unfolding at a breathtaking speed, like watching a time-lapse video in fast forward.
In this scenario, the geological aging of the earth would proceed according to the predictions of naturalistic models, but it would be compressed into a much shorter timeframe as experienced by the surface-dwelling observers. Millions of years' worth of sedimentary deposition, tectonic activity, and erosion could have occurred within the confines of the Flood year, as the inorganic earth was supernaturally accelerated to accomplish God's judgments.
One key aspect of this model is that organic material, such as living creatures and their remains, would not have been subjected to the same accelerated time flow as the inorganic components of the earth. This explains why we might find relatively intact biomolecules, such as DNA fragments, in fossils that are purportedly millions of years old based on the geological strata in which they are found. If the fossils were formed during the Flood event, when the organic remains were buried rapidly and the surrounding inorganic material was aged at an accelerated rate, it is conceivable that traces of original biological material could have survived to the present day.
Similarly, the existence of polystrate fossils, which extend through multiple sedimentary layers that are conventionally interpreted as having been deposited over long ages, becomes more explicable if those layers were laid down in rapid succession during the Flood. The organic remains would have been preserved in their original orientation as the inorganic sediments were compressed and aged around them.
Acknowledging the Supernatural
Naturalistic scientists will undoubtedly reject this scenario out of hand, as it invokes supernatural intervention in the natural world. From their perspective, any appeal to divine action is inherently unscientific and untestable. They will seek to explain away anomalies like dinosaur soft tissue or polystrate fossils through purely naturalistic means, even if those explanations strain credulity or require ad hoc assumptions.
However, for those who are open to the possibility of a Creator God who can act in ways that transcend the ordinary laws of nature, the idea of supernaturally accelerated geological processes becomes a viable option. If God is the author of time itself, then He is not bound by the uniform flow of time that we experience as creatures within the universe. He could easily manipulate the relative rates of temporal progression for organic and inorganic matter to accomplish His purposes, such as executing judgment on a sinful world through the Flood while preserving the remnant of life on the ark.
Interestingly, the concept of accelerated geological processes is not entirely foreign to naturalistic scientific models. Many simulations of Earth's history, such as those used to study plate tectonics or climate change, rely on compressed timescales to make the computations more manageable. These models do not attempt to replicate the full 4.5 billion years of Earth's history in real-time, but instead, artificially accelerate the relevant processes to simulate long ages within a shorter span of model time.
From a certain perspective, these simulations can be seen as analogous to the biblical view of Earth's history, where the vast ages inferred from the geological record are compressed into a much shorter timeframe as experienced by human observers. The key difference is that naturalistic models attribute the acceleration to the limitations of human computing power, while the biblical view attributes it to the sovereign power of the Creator.
The framework of temporal asymmetry provides a conceptual tool for reconciling the apparent discrepancy between the vast age of the earth inferred from the geological record and the much younger age suggested by a literal reading of biblical chronology. By proposing that the inorganic components of the earth underwent a period of supernaturally accelerated aging during the events of the global Flood, we can begin to understand how millions of years' worth of geological processes could have unfolded within the confines of a single year as experienced by the earth's inhabitants.
Ultimately, the temporal asymmetry view requires an openness to supernatural intervention in the natural world and a willingness to subordinate human reason to divine revelation. It challenges us to recognize the limitations of our creaturely perspective and to embrace the mystery and majesty of a God who transcends the very fabric of space and time. As we seek to unravel the complex history of our planet and the universe beyond, may we do so with humility, reverence, and a deep sense of awe at the eternal power and wisdom of the One who spoke all things into existence.
Biblical Evidence for Temporal Asymmetry
Intriguingly, the Bible also contains passages that suggest a more complex relationship between God and time. In Psalm 90:4, Moses declares, "For a thousand years in Your sight are like yesterday when it passes by, or as a watch in the night." This verse implies that God's perception of time is radically different from our own, with a thousand years passing like a mere day from His eternal perspective. Similarly, the Apostle Peter writes, "With the Lord one day is like a thousand years, and a thousand years like one day" (2 Peter 3:8). These passages hint at a profound temporal asymmetry between the Creator and His creation.
Another compelling biblical example of God's ability to manipulate time is found in the account of Joshua's long day (Joshua 10:12-14). During a battle against the Amorites, Joshua prayed for the sun and moon to stand still, and God miraculously prolonged the day to allow the Israelites to achieve victory. This event suggests that God can supernaturally alter the flow of time in a localized way, causing the sun to remain in the sky from an earthly perspective while time continues to pass normally on a cosmic scale.
Scientific Evidence for Temporal Asymmetry
The concept of temporal asymmetry finds support not only in biblical passages but also in certain scientific theories and observations. Einstein's theories of special and general relativity demonstrate that time is not an absolute constant but can dilate or contract depending on relative velocity and the presence of mass-energy. Clocks tick at different rates for observers in different reference frames, a phenomenon that has been confirmed through precise experiments with atomic clocks.
In the extreme environment near a black hole, gravitational time dilation becomes so severe that an outside observer would see time coming to a virtual standstill for someone falling into the event horizon. This extreme example illustrates the principle that time can flow at vastly different rates depending on the gravitational context.
Recent discoveries in quantum physics have further challenged our intuitive notions of time as a linear, unidirectional flow. Experiments with entangled particles have demonstrated apparent violations of temporal causality, with measurements on one particle instantaneously influencing the state of its entangled partner, regardless of the distance between them. Some interpretations of quantum mechanics, such as the retrocausal and transactional models, suggest that influences can propagate backward in time, blurring the distinction between past, present, and future.
While these scientific theories and observations do not directly prove the kind of radical temporal asymmetry proposed in the biblical creation account, they do challenge our conventional assumptions about the nature of time and open up conceptual space for considering more expansive possibilities. If time can be relative, variable, and even bi-directional within the constraints of known physical laws, then it seems plausible that a transcendent Creator, unconstrained by the limitations of space-time, could experience and manipulate time in ways that far surpass our current scientific understanding.
Theological Implications and Potential Objections
This proposed reconciliation of a young and old creation through temporal asymmetry has several important theological implications. First and foremost, it preserves the truthfulness and authority of the biblical creation, Flood, and long day accounts, taking seriously their historical and theological claims without reducing them to mere mythology or symbolism. It affirms that the universe is the purposeful handiwork of a personal, transcendent Creator who can supernaturally intervene in the fabric of space-time.
At the same time, this model challenges us to expand our understanding of God's relationship to time and to embrace a greater sense of epistemic humility. It reminds us that our creaturely experience of time is not absolute but relative to our finite, embedded perspective within the cosmos. It calls us to worship a God whose ways are higher than our ways and whose thoughts are higher than our thoughts (Isaiah 55:9), even as we seek to understand His self-revelation in nature and Scripture.
Of course, this model is not without its limitations and potential objections. Some may argue that it involves a measure of phenomenological language or apparent age in the creation, which could be seen as incompatible with God's perfect truthfulness. Others may object that it is too speculative or ad hoc, going beyond the plain meaning of the biblical text in an attempt to accommodate modern scientific paradigms. Still others may feel that it grants too much validity to conventional old-earth dating methods and does not sufficiently critique their underlying assumptions.
However, the objections raised against the proposed model of reconciling a young and old creation through temporal asymmetry are ultimately unfounded and fail to appreciate the explanatory power and theological coherence of this framework.
Firstly, the claim that this model involves phenomenological language or apparent age in creation, which could be seen as incompatible with God's perfect truthfulness, is misguided. The framework of temporal asymmetry does not suggest that God created the universe with a mere appearance of age, but rather that He created a genuinely ancient cosmos in a condensed timeframe from His eternal perspective. The antiquity of the universe is real, not illusory, and is a testament to God's omnipotence and transcendence over time itself. God is not deceiving us by creating a universe that bears the marks of a lengthy history; He is showcasing His ability to craft a cosmos of immense complexity and depth in a manner that defies our temporal limitations.
Moreover, Scripture itself affirms that God's relationship to time is radically different from our own. Passages like Psalm 90:4 and 2 Peter 3:8 reveal that God's experience of time is not constrained by the linear, unidirectional flow that we perceive. The Bible presents a God who is eternal, unchanging, and sovereign over the very fabric of space-time. It is entirely consistent with the biblical portrayal of God's nature to suggest that He could create a universe with a genuine history spanning billions of years from our perspective, while simultaneously accomplishing this work in a literal six-day period from His own perspective.
Secondly, the objection that this model is too speculative or ad hoc, going beyond the plain meaning of the biblical text to accommodate modern scientific paradigms, is unfair. The framework of temporal asymmetry is not a desperate attempt to force the Bible to conform to contemporary scientific theories, but rather a principled effort to take both biblical revelation and empirical evidence seriously. The model is rooted in a careful exegesis of relevant biblical passages, such as the creation account in Genesis, the Flood narrative, and texts that speak to God's eternal nature and His sovereignty over time. It also draws upon well-established scientific observations, such as the relativistic nature of time and the evidence for an ancient universe, to formulate a coherent and compelling synthesis.
Furthermore, the charge of being ad hoc or speculative could be leveled against any attempt to reconcile biblical and scientific perspectives on origins. The very endeavor of harmonizing ancient religious texts with modern scientific discoveries necessarily involves a degree of extrapolation and interpretation. The framework of temporal asymmetry is no more speculative than other proposed solutions, such as the day-age theory or the framework hypothesis, and in fact has the advantage of preserving a more straightforward reading of the biblical text while still engaging meaningfully with scientific evidence.
Finally, the criticism that this model grants too much validity to conventional old-earth dating methods and fails to sufficiently critique their underlying assumptions is misplaced. The temporal asymmetry framework does not uncritically accept all the claims of modern scientific dating techniques, but rather acknowledges the substantial empirical evidence for an ancient universe while offering a fresh perspective on how this antiquity can be reconciled with the biblical account of a recent creation. The model encourages a critical evaluation of the assumptions underlying radiometric dating methods and other techniques, recognizing that they are based on extrapolations of present-day processes into the distant past and may not account for the possibility of supernatural intervention or alternative interpretations of the data.
At the same time, the temporal asymmetry framework provides a robust explanation for why scientific dating methods consistently point to an ancient universe. If God did indeed create a cosmos with a genuine antiquity from our temporal perspective, then it is entirely expected that empirical investigations would uncover evidence of this ancient history. The model thus engages constructively with the findings of mainstream science while still maintaining a commitment to the truthfulness and authority of Scripture.
Conclusion
In conclusion, the framework of temporal asymmetry, supported by both biblical passages and scientific observations, provides a thought-provoking way to conceptually reconcile the affirmations of a recent, six-day creation and global Flood with the evidence for an ancient earth and universe. By recognizing the radical difference between the Creator's experience of time and our own creaturely perspective, we can begin to see how both a young and old creation might be simultaneously true from different vantage points.
This model challenges us to engage seriously with the anomalies and evidential tensions within conventional dating paradigms, even as it expands our understanding of God's transcendence and mystery. It seeks to be faithful to the truth of God's self-revelation in both Scripture and nature while acknowledging the inherent limitations and challenges of harmonizing these distinct modes of divine discourse.
The objections raised against the framework of temporal asymmetry are ultimately unpersuasive. This model offers a compelling and biblically faithful way to reconcile the apparent discrepancies between the scriptural account of creation and the scientific evidence for an ancient universe. By recognizing the radical asymmetry between God's eternal perspective and our own limited, temporal vantage point, we can affirm the genuine antiquity of the cosmos while still upholding the literal truth of the Genesis creation account. The framework of temporal asymmetry thus represents a promising approach to resolving one of the most persistent and contentious debates in the relationship between science and faith.
Ultimately, the goal of this reconciliation is to stimulate further reflection, dialogue, and reverent wonder in our exploration of the manifold mysteries of creation. As we pursue truth in both science and theology, may we do so with humility, recognizing the incomparable wisdom and power of the eternal, transcendent Creator who has graciously granted us the ability to study His handiwork. Let us approach these profound questions with a spirit of worship, marveling at the God who transcends time and space, and yet who is intimately present in every moment of our lives.
Addendum: A Framework of Progressive Revelation for Reconciling a Young and Old Creation
The concept of progressive revelation, which holds that God has gradually unveiled His truth and purposes to humanity over time, provides a helpful framework for understanding the apparent discrepancies between the biblical account of creation and the scientific evidence for an ancient universe. By recognizing that divine revelation is an ongoing process, with later revelations building upon and clarifying earlier ones, we can begin to see how the temporal asymmetry model for reconciling a young and old creation fits within the larger context of God's unfolding self-disclosure.
  1. The Accommodation of Ancient Cosmology
The early chapters of Genesis were written in a cultural context where the prevailing understanding of the cosmos was vastly different from our modern scientific perspective. The biblical authors, under the inspiration of the Holy Spirit, communicated divine truth in a way that was accessible and meaningful to their original audience, using the language and concepts of their time. This accommodation to ancient Near Eastern cosmology does not undermine the theological and spiritual truths conveyed by the creation account, but it does suggest that we should be cautious about interpreting it as a scientifically precise description of the universe's origins.
  1. The Focus on Theological Truths
The primary purpose of the Genesis creation narrative is to reveal fundamental theological truths about God's nature, character, and relationship to His creation. It affirms that the universe is the purposeful handiwork of a sovereign, all-powerful Creator, who brought order and beauty out of chaos and who created human beings in His own image to serve as stewards of the earth. These truths are not dependent on a particular scientific understanding of the universe's age or the specific mechanisms of creation. They transcend the limitations of human knowledge and remain valid regardless of our evolving scientific insights.
  1. The Principle of Accommodation
Throughout Scripture, we see examples of God accommodating His revelation to the limitations of human understanding and cultural contexts. Jesus Himself acknowledged this principle when He told His disciples, "I still have many things to say to you, but you cannot bear them now" (John 16:12). The apostle Paul also recognized that our present knowledge is partial and incomplete, and that we see only dimly as in a mirror (1 Corinthians 13:9-12). This suggests that God's revelation to us is not exhaustive or absolute, but is tailored to our capacity to understand and respond to it at different stages of redemptive history.
  1. The Analogy of Galileo and Heliocentrism
The tension between the biblical account of creation and modern scientific discoveries is not unprecedented in church history. In the 17th century, Galileo Galilei faced opposition from the Catholic Church for his support of the heliocentric model of the solar system, which seemed to contradict biblical passages that speak of the sun rising and setting or the earth being fixed and immovable (e.g., Psalm 93:1; Ecclesiastes 1:5). However, as scientific evidence for heliocentrism accumulated, the church gradually came to recognize that these biblical texts were not intended to teach scientific cosmology, but rather to affirm God's sovereignty and faithfulness using the language and concepts of their time. Similarly, as we grapple with the evidence for an ancient universe, we may need to reevaluate our interpretation of the creation account in light of later scientific revelations, while still upholding the essential theological truths it communicates.
  1. The Harmony of God's Two Books
The principle of progressive revelation suggests that God has disclosed Himself and His truth not only through the written words of Scripture but also through the natural world, which the psalmist declares to be "telling of the glory of God" (Psalm 19:1). As scientific discoveries shed new light on the structure and history of the universe, they can deepen our understanding and appreciation of the Creator's wisdom, power, and grandeur. The apparent discrepancies between scientific findings and traditional interpretations of Scripture may actually be an invitation to seek a higher synthesis that does justice to both divine revelation and human reason.
  1. The Temporal Asymmetry Model as a Faithful Synthesis
The model of temporal asymmetry, which proposes that God could have created a genuinely ancient universe from our perspective while completing His work in six literal days from His own eternal vantage point, represents a faithful attempt to synthesize the biblical testimony with the scientific evidence for an old cosmos. By recognizing that God's experience of time is not limited to our creaturely perspective, this model affirms the truthfulness of Scripture while also taking seriously the empirical findings of modern science. It challenges us to expand our understanding of divine temporality and to embrace the mystery and majesty of a God who transcends the very fabric of space and time.
  1. The Call to Humility and Wonder
Ultimately, the framework of progressive revelation reminds us to approach the question of the universe's origins with a spirit of humility, reverence, and openness to further divine illumination. As we seek to harmonize biblical truth with scientific discovery, we must acknowledge the limitations of our own understanding and the possibility that future revelations may shed new light on this complex issue. Rather than clinging dogmatically to a particular interpretation or model, we are called to stand in awe of the eternal, transcendent Creator who has revealed Himself in the pages of Scripture and in the marvels of His creation. As we continue to explore the mysteries of the universe, may we do so with a posture of worship, trust, and anticipation, knowing that the God who has spoken in ages past is still speaking to us today, inviting us to behold His glory and to join in His cosmic purposes.
Developed in partnership with ClaudeAI:
I used AI to critique my ideas, offer additional substantiation, and evaluate my thesis. The hypothesis, editing, and supporting arguments are totally my handiwork. I am a technologist by trade and leverage whatever tools are available to accomplish my goals. It would be foolish not to leverage appropriate capabilities.
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2024.05.02 22:44 Jdlongmire Temporal Asymmetry: Synthesizing Old and Young Creationism

This essay introduces a framework called "temporal asymmetry" to reconcile the apparent discrepancy between the biblical account of a young creation and the scientific evidence for an ancient universe. This framework proposes that from an Earth-based observer's perspective and using Earth standard time, the universe appears to have a genuinely old history spanning billions of years. However, this does not conflict with the idea that from the Creator's eternal, transcendent point of view, the entire cosmos was brought into existence in a literal six-day period.
Key points:
  1. Biblical texts suggest that God experiences time differently than humans, transcending our Earth-based perception of time (e.g., Psalm 90:4, 2 Peter 3:8).
  2. Scientific theories like relativity show that time is relative to the observer's frame of reference, which in our case, is an Earth-based perspective using Earth standard time.
  3. The temporal asymmetry model suggests that while we, as Earth-bound observers, perceive a universe with a truly ancient history, this is fully compatible with the idea of a recent creation from God's eternal vantage point.
  4. This framework takes scientific evidence for an old universe seriously while maintaining the truthfulness of the biblical creation and Flood accounts.
  5. Objections to this model, such as the appearance of age or ad hoc reasoning, are considered and found to be unpersuasive.
The essay concludes by emphasizing the importance of humility, reverence, and openness to mystery when exploring the complex relationship between science and faith. It acknowledges God's transcendence and sovereignty over time and creation, highlighting that from our Earth-based perspective using Earth standard time, we can affirm the genuine antiquity of the cosmos while simultaneously recognizing the validity of the biblical account of a recent creation from God's eternal point of view.
Introduction
The age of the earth and universe has long been a point of tension between biblical literalists who affirm a young creation based on the Genesis account and mainstream scientists who see compelling evidence for an ancient cosmos spanning billions of years. This treatise proposes a conceptual framework for reconciling these divergent perspectives by appealing to the concept of temporal asymmetry—the idea that time can be experienced differently from different frames of reference. By exploring how a transcendent Creator might experience time in a radically different way than creatures embedded within space-time, and by examining scientific evidence and biblical accounts that lend support to this idea, we can begin to see how both a young and old creation might be simultaneously true from different vantage points.
Biblical Foundations: Creation, Flood, and Divine Temporality
The starting point for this reconciliation is the biblical testimony itself. Genesis 1-2 describes God creating the heavens and earth, along with all their inhabitants, in six literal days, culminating in the Sabbath rest on the seventh day. This orderly, structured creation week strongly implies that these were normal solar days as experienced by earthly observers. The genealogies and chronologies found throughout the Old Testament further reinforce the impression of a relatively recent creation, spanning only a few thousand years.
The Bible presents God as the sovereign Creator, bringing the universe into existence by His word and wisdom. In our modern age, it's fitting to think of Him as the Master Programmer or Cosmic Engineer, designing the laws, constants, and structures that govern the cosmos with perfect precision.
According to Genesis 1, God's "deployment" of the Creation program took place over six literal days. On Day 1, He brought forth the foundational components - space, matter, light, and time. Day 2 saw the formation of Earth's atmosphere, while Day 3 involved the emergence of dry land and vegetation.
The fourth day marked a pivotal stage in Creation. God spoke the Sun, Moon, and stars into existence ex nihilo, just as He did in days 1-3 - a direct manifestation of His omnipotence. However, rather than simply having them "wink" into being instantaneously, God appears to have utilized an accelerated process to "construct" these celestial bodies and "fast-forward" their development.
In a sense, God ran a "rapid simulation" of cosmic evolution, compressing billions of years' worth of stellar formation, nuclear fusion, and planetary accretion into a single 24-hour period. This dramatically sped-up process would have produced a universe with a coherent "virtual history" - including light trails suggesting vast distances, radioactive isotope ratios implying ancient ages, and cosmic background radiation pointing to a primordial "Big Bang.
Importantly, this "appearance of age" would not be a deceptive trick, but a purposeful design feature. It would grant the universe a realistic "backstory," providing a credible cosmic context for Earth's existence. It would also showcase God's ability to craft a cosmos of immense size and precision, with countless stars and galaxies fine-tuned to support life.
Moreover, by front-loading the universe with a "virtual history," God would be endowing it with vast potential for future development, setting the stage for billions of years' worth of stellar and biological evolution to unfold within stable, pre-designed parameters.
On Days 5 and 6, God filled the Earth with living creatures, each programmed to reproduce after its kind, with rich genetic potential for adaptive variation. The creation of mankind in God's image marked the climax of His creative work, which He declared "very good" - an elegant, error-free system, perfectly aligned with His intentions.
Viewing Day 4 as involving a "rapid formation process" offers a robust integration of the biblical Creation account with scientific evidence for an ancient universe. It affirms that God created the heavens and the Earth supernaturally and recently, while still accounting for the apparent age of the cosmos from our finite perspective.
Through this lens, scientific research becomes a means of "reverse engineering" the universe, uncovering the sophisticated algorithms and subroutines God employed in constructing the heavens and the Earth. Each discovery of a finely tuned constant or elegantly balanced force points to the ingenuity of the Creator, the Master Developer behind the cosmic code.
Ultimately, the concept of God utilizing an accelerated formation process on Day 4, while still creating ex nihilo, provides a compelling synthesis of the biblical doctrine of Creation with the scientific evidence for a universe spanning billions of years. It magnifies God's wisdom, power, and artistry, inviting us to marvel at the work of His hands. As we probe the depths of the cosmos, we are not merely analyzing inanimate matter and energy, but encountering the handiwork of the living God, in whom all things hold together.
Additionally, the account of the global Flood in Genesis 6-9 describes a cataclysmic event that reshaped the earth's surface and destroyed all terrestrial life outside the ark. The Flood is presented as a real historical event that left observable traces in the geological record, such as the deposition of vast sedimentary layers and the burial of innumerable organisms as fossils.
Modern scientific observations of the geological record provide compelling evidence for an earth that is approximately 4.5 billion years old. Radiometric dating techniques, the analysis of sedimentary layers, and the study of fossil succession all point to a planet with a vast and ancient history. At the same time, some scientific discoveries, such as the presence of DNA in fossilized dinosaur bones and the existence of polystrate fossils, seem to challenge the conventional old-earth paradigm and lend support to a young-earth perspective. This apparent discrepancy can be reconciled by appealing to the concept of temporal asymmetry, which suggests that time can flow at different rates from different frames of reference. By proposing that the historical observers of Earth's past, particularly during the biblical Flood event, experienced time at a different pace than the geological processes shaping the planet, we can begin to understand how the earth can be both "young" from a biblical perspective and "old" from a scientific perspective.
To illustrate this concept, let us engage in a thought experiment. Imagine that during the cataclysmic events of the global Flood described in Genesis, the inorganic components of the earth underwent a period of vastly accelerated change. From the perspective of an indestructible, immortal observer standing on the ocean floor, time would appear to move at its normal pace, and all the standard measurement systems used by modern science would still apply. However, from the vantage point of someone on the water's surface, the geological processes below would be unfolding at a breathtaking speed, like watching a time-lapse video in fast forward.
In this scenario, the geological aging of the earth would proceed according to the predictions of naturalistic models, but it would be compressed into a much shorter timeframe as experienced by the surface-dwelling observers. Millions of years' worth of sedimentary deposition, tectonic activity, and erosion could have occurred within the confines of the Flood year, as the inorganic earth was supernaturally accelerated to accomplish God's judgments.
One key aspect of this model is that organic material, such as living creatures and their remains, would not have been subjected to the same accelerated time flow as the inorganic components of the earth. This explains why we might find relatively intact biomolecules, such as DNA fragments, in fossils that are purportedly millions of years old based on the geological strata in which they are found. If the fossils were formed during the Flood event, when the organic remains were buried rapidly and the surrounding inorganic material was aged at an accelerated rate, it is conceivable that traces of original biological material could have survived to the present day.
Similarly, the existence of polystrate fossils, which extend through multiple sedimentary layers that are conventionally interpreted as having been deposited over long ages, becomes more explicable if those layers were laid down in rapid succession during the Flood. The organic remains would have been preserved in their original orientation as the inorganic sediments were compressed and aged around them.
Acknowledging the Supernatural
Naturalistic scientists will undoubtedly reject this scenario out of hand, as it invokes supernatural intervention in the natural world. From their perspective, any appeal to divine action is inherently unscientific and untestable. They will seek to explain away anomalies like dinosaur DNA or polystrate fossils through purely naturalistic means, even if those explanations strain credulity or require ad hoc assumptions.
However, for those who are open to the possibility of a Creator God who can act in ways that transcend the ordinary laws of nature, the idea of supernaturally accelerated geological processes becomes a viable option. If God is the author of time itself, then He is not bound by the uniform flow of time that we experience as creatures within the universe. He could easily manipulate the relative rates of temporal progression for organic and inorganic matter to accomplish His purposes, such as executing judgment on a sinful world through the Flood while preserving the remnant of life on the ark.
Interestingly, the concept of accelerated geological processes is not entirely foreign to naturalistic scientific models. Many simulations of Earth's history, such as those used to study plate tectonics or climate change, rely on compressed timescales to make the computations more manageable. These models do not attempt to replicate the full 4.5 billion years of Earth's history in real-time, but instead, artificially accelerate the relevant processes to simulate long ages within a shorter span of model time.
From a certain perspective, these simulations can be seen as analogous to the biblical view of Earth's history, where the vast ages inferred from the geological record are compressed into a much shorter timeframe as experienced by human observers. The key difference is that naturalistic models attribute the acceleration to the limitations of human computing power, while the biblical view attributes it to the sovereign power of the Creator.
The framework of temporal asymmetry provides a conceptual tool for reconciling the apparent discrepancy between the vast age of the earth inferred from the geological record and the much younger age suggested by a literal reading of biblical chronology. By proposing that the inorganic components of the earth underwent a period of supernaturally accelerated aging during the events of the global Flood, we can begin to understand how millions of years' worth of geological processes could have unfolded within the confines of a single year as experienced by the earth's inhabitants.
Ultimately, the temporal asymmetry view requires an openness to supernatural intervention in the natural world and a willingness to subordinate human reason to divine revelation. It challenges us to recognize the limitations of our creaturely perspective and to embrace the mystery and majesty of a God who transcends the very fabric of space and time. As we seek to unravel the complex history of our planet and the universe beyond, may we do so with humility, reverence, and a deep sense of awe at the eternal power and wisdom of the One who spoke all things into existence.
Biblical Evidence for Temporal Asymmetry
Intriguingly, the Bible also contains passages that suggest a more complex relationship between God and time. In Psalm 90:4, Moses declares, "For a thousand years in Your sight are like yesterday when it passes by, or as a watch in the night." This verse implies that God's perception of time is radically different from our own, with a thousand years passing like a mere day from His eternal perspective. Similarly, the Apostle Peter writes, "With the Lord one day is like a thousand years, and a thousand years like one day" (2 Peter 3:8). These passages hint at a profound temporal asymmetry between the Creator and His creation.
Another compelling biblical example of God's ability to manipulate time is found in the account of Joshua's long day (Joshua 10:12-14). During a battle against the Amorites, Joshua prayed for the sun and moon to stand still, and God miraculously prolonged the day to allow the Israelites to achieve victory. This event suggests that God can supernaturally alter the flow of time in a localized way, causing the sun to remain in the sky from an earthly perspective while time continues to pass normally on a cosmic scale.
Scientific Evidence for Temporal Asymmetry
The concept of temporal asymmetry finds support not only in biblical passages but also in certain scientific theories and observations. Einstein's theories of special and general relativity demonstrate that time is not an absolute constant but can dilate or contract depending on relative velocity and the presence of mass-energy. Clocks tick at different rates for observers in different reference frames, a phenomenon that has been confirmed through precise experiments with atomic clocks.
In the extreme environment near a black hole, gravitational time dilation becomes so severe that an outside observer would see time coming to a virtual standstill for someone falling into the event horizon. This extreme example illustrates the principle that time can flow at vastly different rates depending on the gravitational context.
Recent discoveries in quantum physics have further challenged our intuitive notions of time as a linear, unidirectional flow. Experiments with entangled particles have demonstrated apparent violations of temporal causality, with measurements on one particle instantaneously influencing the state of its entangled partner, regardless of the distance between them. Some interpretations of quantum mechanics, such as the retrocausal and transactional models, suggest that influences can propagate backward in time, blurring the distinction between past, present, and future.
While these scientific theories and observations do not directly prove the kind of radical temporal asymmetry proposed in the biblical creation account, they do challenge our conventional assumptions about the nature of time and open up conceptual space for considering more expansive possibilities. If time can be relative, variable, and even bi-directional within the constraints of known physical laws, then it seems plausible that a transcendent Creator, unconstrained by the limitations of space-time, could experience and manipulate time in ways that far surpass our current scientific understanding.
Theological Implications and Potential Objections
This proposed reconciliation of a young and old creation through temporal asymmetry has several important theological implications. First and foremost, it preserves the truthfulness and authority of the biblical creation, Flood, and long day accounts, taking seriously their historical and theological claims without reducing them to mere mythology or symbolism. It affirms that the universe is the purposeful handiwork of a personal, transcendent Creator who can supernaturally intervene in the fabric of space-time.
At the same time, this model challenges us to expand our understanding of God's relationship to time and to embrace a greater sense of epistemic humility. It reminds us that our creaturely experience of time is not absolute but relative to our finite, embedded perspective within the cosmos. It calls us to worship a God whose ways are higher than our ways and whose thoughts are higher than our thoughts (Isaiah 55:9), even as we seek to understand His self-revelation in nature and Scripture.
Of course, this model is not without its limitations and potential objections. Some may argue that it involves a measure of phenomenological language or apparent age in the creation, which could be seen as incompatible with God's perfect truthfulness. Others may object that it is too speculative or ad hoc, going beyond the plain meaning of the biblical text in an attempt to accommodate modern scientific paradigms. Still others may feel that it grants too much validity to conventional old-earth dating methods and does not sufficiently critique their underlying assumptions.
However, the objections raised against the proposed model of reconciling a young and old creation through temporal asymmetry are ultimately unfounded and fail to appreciate the explanatory power and theological coherence of this framework.
Firstly, the claim that this model involves phenomenological language or apparent age in creation, which could be seen as incompatible with God's perfect truthfulness, is misguided. The framework of temporal asymmetry does not suggest that God created the universe with a mere appearance of age, but rather that He created a genuinely ancient cosmos in a condensed timeframe from His eternal perspective. The antiquity of the universe is real, not illusory, and is a testament to God's omnipotence and transcendence over time itself. God is not deceiving us by creating a universe that bears the marks of a lengthy history; He is showcasing His ability to craft a cosmos of immense complexity and depth in a manner that defies our temporal limitations.
Moreover, Scripture itself affirms that God's relationship to time is radically different from our own. Passages like Psalm 90:4 and 2 Peter 3:8 reveal that God's experience of time is not constrained by the linear, unidirectional flow that we perceive. The Bible presents a God who is eternal, unchanging, and sovereign over the very fabric of space-time. It is entirely consistent with the biblical portrayal of God's nature to suggest that He could create a universe with a genuine history spanning billions of years from our perspective, while simultaneously accomplishing this work in a literal six-day period from His own perspective.
Secondly, the objection that this model is too speculative or ad hoc, going beyond the plain meaning of the biblical text to accommodate modern scientific paradigms, is unfair. The framework of temporal asymmetry is not a desperate attempt to force the Bible to conform to contemporary scientific theories, but rather a principled effort to take both biblical revelation and empirical evidence seriously. The model is rooted in a careful exegesis of relevant biblical passages, such as the creation account in Genesis, the Flood narrative, and texts that speak to God's eternal nature and His sovereignty over time. It also draws upon well-established scientific observations, such as the relativistic nature of time and the evidence for an ancient universe, to formulate a coherent and compelling synthesis.
Furthermore, the charge of being ad hoc or speculative could be leveled against any attempt to reconcile biblical and scientific perspectives on origins. The very endeavor of harmonizing ancient religious texts with modern scientific discoveries necessarily involves a degree of extrapolation and interpretation. The framework of temporal asymmetry is no more speculative than other proposed solutions, such as the day-age theory or the framework hypothesis, and in fact has the advantage of preserving a more straightforward reading of the biblical text while still engaging meaningfully with scientific evidence.
Finally, the criticism that this model grants too much validity to conventional old-earth dating methods and fails to sufficiently critique their underlying assumptions is misplaced. The temporal asymmetry framework does not uncritically accept all the claims of modern scientific dating techniques, but rather acknowledges the substantial empirical evidence for an ancient universe while offering a fresh perspective on how this antiquity can be reconciled with the biblical account of a recent creation. The model encourages a critical evaluation of the assumptions underlying radiometric dating methods and other techniques, recognizing that they are based on extrapolations of present-day processes into the distant past and may not account for the possibility of supernatural intervention or alternative interpretations of the data.
At the same time, the temporal asymmetry framework provides a robust explanation for why scientific dating methods consistently point to an ancient universe. If God did indeed create a cosmos with a genuine antiquity from our temporal perspective, then it is entirely expected that empirical investigations would uncover evidence of this ancient history. The model thus engages constructively with the findings of mainstream science while still maintaining a commitment to the truthfulness and authority of Scripture.
Conclusion
In conclusion, the framework of temporal asymmetry, supported by both biblical passages and scientific observations, provides a thought-provoking way to conceptually reconcile the affirmations of a recent, six-day creation and global Flood with the evidence for an ancient earth and universe. By recognizing the radical difference between the Creator's experience of time and our own creaturely perspective, we can begin to see how both a young and old creation might be simultaneously true from different vantage points.
This model challenges us to engage seriously with the anomalies and evidential tensions within conventional dating paradigms, even as it expands our understanding of God's transcendence and mystery. It seeks to be faithful to the truth of God's self-revelation in both Scripture and nature while acknowledging the inherent limitations and challenges of harmonizing these distinct modes of divine discourse.
The objections raised against the framework of temporal asymmetry are ultimately unpersuasive. This model offers a compelling and biblically faithful way to reconcile the apparent discrepancies between the scriptural account of creation and the scientific evidence for an ancient universe. By recognizing the radical asymmetry between God's eternal perspective and our own limited, temporal vantage point, we can affirm the genuine antiquity of the cosmos while still upholding the literal truth of the Genesis creation account. The framework of temporal asymmetry thus represents a promising approach to resolving one of the most persistent and contentious debates in the relationship between science and faith.
Ultimately, the goal of this reconciliation is to stimulate further reflection, dialogue, and reverent wonder in our exploration of the manifold mysteries of creation. As we pursue truth in both science and theology, may we do so with humility, recognizing the incomparable wisdom and power of the eternal, transcendent Creator who has graciously granted us the ability to study His handiwork. Let us approach these profound questions with a spirit of worship, marveling at the God who transcends time and space, and yet who is intimately present in every moment of our lives.
Addendum: A Framework of Progressive Revelation for Reconciling a Young and Old Creation
The concept of progressive revelation, which holds that God has gradually unveiled His truth and purposes to humanity over time, provides a helpful framework for understanding the apparent discrepancies between the biblical account of creation and the scientific evidence for an ancient universe. By recognizing that divine revelation is an ongoing process, with later revelations building upon and clarifying earlier ones, we can begin to see how the temporal asymmetry model for reconciling a young and old creation fits within the larger context of God's unfolding self-disclosure.
  1. The Accommodation of Ancient Cosmology
The early chapters of Genesis were written in a cultural context where the prevailing understanding of the cosmos was vastly different from our modern scientific perspective. The biblical authors, under the inspiration of the Holy Spirit, communicated divine truth in a way that was accessible and meaningful to their original audience, using the language and concepts of their time. This accommodation to ancient Near Eastern cosmology does not undermine the theological and spiritual truths conveyed by the creation account, but it does suggest that we should be cautious about interpreting it as a scientifically precise description of the universe's origins.
  1. The Focus on Theological Truths
The primary purpose of the Genesis creation narrative is to reveal fundamental theological truths about God's nature, character, and relationship to His creation. It affirms that the universe is the purposeful handiwork of a sovereign, all-powerful Creator, who brought order and beauty out of chaos and who created human beings in His own image to serve as stewards of the earth. These truths are not dependent on a particular scientific understanding of the universe's age or the specific mechanisms of creation. They transcend the limitations of human knowledge and remain valid regardless of our evolving scientific insights.
  1. The Principle of Accommodation
Throughout Scripture, we see examples of God accommodating His revelation to the limitations of human understanding and cultural contexts. Jesus Himself acknowledged this principle when He told His disciples, "I still have many things to say to you, but you cannot bear them now" (John 16:12). The apostle Paul also recognized that our present knowledge is partial and incomplete, and that we see only dimly as in a mirror (1 Corinthians 13:9-12). This suggests that God's revelation to us is not exhaustive or absolute, but is tailored to our capacity to understand and respond to it at different stages of redemptive history.
  1. The Analogy of Galileo and Heliocentrism
The tension between the biblical account of creation and modern scientific discoveries is not unprecedented in church history. In the 17th century, Galileo Galilei faced opposition from the Catholic Church for his support of the heliocentric model of the solar system, which seemed to contradict biblical passages that speak of the sun rising and setting or the earth being fixed and immovable (e.g., Psalm 93:1; Ecclesiastes 1:5). However, as scientific evidence for heliocentrism accumulated, the church gradually came to recognize that these biblical texts were not intended to teach scientific cosmology, but rather to affirm God's sovereignty and faithfulness using the language and concepts of their time. Similarly, as we grapple with the evidence for an ancient universe, we may need to reevaluate our interpretation of the creation account in light of later scientific revelations, while still upholding the essential theological truths it communicates.
  1. The Harmony of God's Two Books
The principle of progressive revelation suggests that God has disclosed Himself and His truth not only through the written words of Scripture but also through the natural world, which the psalmist declares to be "telling of the glory of God" (Psalm 19:1). As scientific discoveries shed new light on the structure and history of the universe, they can deepen our understanding and appreciation of the Creator's wisdom, power, and grandeur. The apparent discrepancies between scientific findings and traditional interpretations of Scripture may actually be an invitation to seek a higher synthesis that does justice to both divine revelation and human reason.
  1. The Temporal Asymmetry Model as a Faithful Synthesis
The model of temporal asymmetry, which proposes that God could have created a genuinely ancient universe from our perspective while completing His work in six literal days from His own eternal vantage point, represents a faithful attempt to synthesize the biblical testimony with the scientific evidence for an old cosmos. By recognizing that God's experience of time is not limited to our creaturely perspective, this model affirms the truthfulness of Scripture while also taking seriously the empirical findings of modern science. It challenges us to expand our understanding of divine temporality and to embrace the mystery and majesty of a God who transcends the very fabric of space and time.
  1. The Call to Humility and Wonder
Ultimately, the framework of progressive revelation reminds us to approach the question of the universe's origins with a spirit of humility, reverence, and openness to further divine illumination. As we seek to harmonize biblical truth with scientific discovery, we must acknowledge the limitations of our own understanding and the possibility that future revelations may shed new light on this complex issue. Rather than clinging dogmatically to a particular interpretation or model, we are called to stand in awe of the eternal, transcendent Creator who has revealed Himself in the pages of Scripture and in the marvels of His creation. As we continue to explore the mysteries of the universe, may we do so with a posture of worship, trust, and anticipation, knowing that the God who has spoken in ages past is still speaking to us today, inviting us to behold His glory and to join in His cosmic purposes.
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2024.05.02 18:25 Gachiatto [5/1/24 Dynamite spoiler] I see the vision now

This past Dynamite just opened the path to our Cope-Cage reunion, just in time for a big tag match at All In. How?
So, here's how I think it could go down:
It probably won't go this way, but if it did, I would enjoy it very much.
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2024.04.29 23:38 tridactyls You're in Good Hands with Tridactyls

Alien Ed here, creator of the Constant Companion Theory which posits that Tridactyl being have been interacting with humanity for thousands of years, influencing the myths, religions, and cosmologies of the world.
I want to let you know you are in good hands with me, as far as research goes, and as far as my style of presentation goes.
I possess a Bachelor of Arts in Anthropology & Social Sciences, with a Certificate in Ethnic Studies. While attending Florida Atlantic University I was president of Lambda Alpha, the anthropology honor's club. I am proud to say I graduated with honors, and on the dean's list.
For someone who hated high-school, and graduated by the skin of their teeth, this was a big deal for me. My parents asked "What are you going to do with an anthropology degree?" I replied "I don't know, work in a museum?"
I found work at the now since closed Graves Museum of Natural History and Archaeology in Dania Beach, Florida, where I also joined the Broward County Archaeology Society where I sat on the board.
At the Graves Museum I performed some archaeology lab work (counting snake vertebrae & shark teeth), but my main responsibility was running the education department as lead educator where I would provide tours as a docent and perform workshops for busloads of kids from Broward county, sometimes the workshops were for scouts getting their badges.
As I write this, I find myself having to pause as I miss those days very, very much.
Leading fossil hunting trips down the Peace River, Arcadia, Florida was a blast of real adventure back then, with gators in the banks and cottonmouths hanging from tree branches that hung over the river. Water-moccasins climb trees?
The museum afforded me other opportunities surveying construction sites, where I kept my eyes open, looking for any random sherd or bone that may get dug up. One of my fondest memories was visiting the famed Miami Circle site with Dade county archaeologist, my now deceased friend, Gary Biter.
The museum later closed and the artifacts were essentially "stolen" due to back alley colluding between bankruptcy attorneys & federal judges.
The museum later reinvented itself as the Palm Beach Museum of Natural History, it was at this time that I traveled with famed paleontologist Bobby De Palma to events where I would assist with constructing armatures for the dinosaur fossils he pulled out of the ground himself
My professional journey found me teaching at private schools in Boca Raton, Florida. One year I was awarded the Deaver Award for Teaching Excellence, I think it was mostly awarded for my after-school commitment. While other teachers left, I stayed teaching kids to play chess and D&D.
To fill my time I also spent many years tutoring the Seminole kids on the reservation. I share a last name with proto-anthropologist Bartolome de Las Casas colonial era Cuba who was known as the "friend of the Indians", so I could not help but think of a sort of divine providence at play, as I worked closely with this unique population of children.
You are in good hands.
I have been spending every day since September 2023 researching artifacts with cordiform shaped heads, tridactyl limbs, and serpent imagery, in attempt to connect the dots globally, demonstrating that these beings have been a significant influence on humanity's culture for thousands of years, with material evidence being supported by the oral traditions and ancestral narratives of the peoples of the earth.
So what have I concluded based on admittedly scant evidence? For one, the beings seem to have marine origins, and may go through a metamorphosis based on the archaeological record and ancestral narrative.
Additionally, according to many ancestral traditions of the world, serpentine/reptilian beings are thought to be post-tutory gods, teachers who taught humanity culture, agriculture, mathematics, and language.
They are called many names, including dragons, but my favorite is Naga.
Assuming the ancestral narratives to be true, and not false, based on newly presented evidence-newly presented data, then these beings have affected us at a deep, core level, as a species. I'd say at a cellular level, but that's an entirely different article.
If Nagi tridactyls (I have no right to name them as I did not discover them.) in fact taught ancient man such things, then evidence of their presence could possibly be depicted in the most basic of symbols, as well as in the symbolic written languages of the world.
The list of influences is exhaustive, and due to the global presence of the beings, seemingly hyperbolic. As an example, I believe they are simultaneously, the serpent, the tree, and Eve. In mythological terms they are both dwarf and dragon.
I believe common everyday symbols are a result of contact with these beings. Note: what follows is no mere pareidolia, for each of these shapes have had their beginnings researched, and their origins lay in tales of fertility beings, serpentine beings, and tutory gods. This is not pareidolia, but steganography, a transference of information concealed within an art form
This of course will be a controversial subject for many to digest, and many a reader will have a knee-jerk reaction to disbelieve these theories without any research of their own.
I ask anyone who is reading this to re-investigate the myths, fairy tales, and religions of old on your own.
Go to you local museums, inspect the artifacts, look for tridactyl limbs and cordiform heads, look for serpentine spirals, and theriomorphic letters.
What you will find will be the echoes of a universal religion, a singular shared, human experience, an experienced shared by all of our ancestors where sometime in the not so distance past humanity encountered something not quite human.
Let's work together and rediscover our lost past, a lost past with our constant companions, the Tridactyls.
Alien Ed out! Live Long and Prosper
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2024.04.27 21:10 AshMer123 My Fan-Made DBD Chapter: Echoes of the Ancients

Echoes of the Ancients
New Killer: The Tribesman (Uruk)
“A primitive warrior stalks this primordial landscape, as if he is searching for something, albeit something that only he knows. He is imposing and rugged. From my hiding spot amongst the dense foliage that litters this prehistoric-appearing realm, I can observe that his body is covered by tribal markings and scars, said scars likely being evidence of past battles and victories. He wields a large club as he hunts for me, his prey, as I feel the deep wrath that signifies his presence. I can only wonder what happened to this primitive warrior before he was taken to this realm by The Fog…”
Weapon: The Tribesman wields a large, primitive club. Said club is adorned with crude carvings and markings, which are a symbol of his tribal origins. It is also stained deep-red with the blood of his foes, which indicate his pursuit of those who he believes are guilty of the death of his tribe.
Terror Radius: 36 Meters
Backstory:
In a period of human history that long-predated any form of civilization, when primitive tribes fought one another for dominance and strength was the ultimate tool for one’s survival, Uruk lived as a strong and fearsome warrior from an ancient people. The very name Uruk struck fear into those who heard it whispered on the wind, as it symbolized a man who was ready to fight and kill anyone or anything who would do his people harm. Be they man or whatever primordial beast came their way, Uruk was sure to destroy it before it ever came close enough.
It was not like Uruk enjoyed such violent acts, it was simply a way of life, of the ancient world in which he and people lived in. It was the only life that he had ever known. His people weren't the only ones that had to face these threats in fact, so why should they feel any sort of sadness when they occurred? Uruk didn’t feel such a thing.
Uruk was also especially skilled in the aspect of hunting animals. From a young age, his father, the chieftain of his and his people’s village, taught him how to hunt the large and dangerous fauna that surrounded the region where their little tribe resided. He was taught how to throw a spear to bring down a wooly mammoth, how to survive when threatened by animals such as saber-tooth tigers, among other creatures.
Hunting was considered a sacred way of life in their tribe, with the most skilled hunters being revered and respected by the rest of the clan. Uruk was already held in high regard since he was the chieftain’s son, but since he soon became an even better hunter than his father, he was eventually given an even greater status in the tribe. Everyone knew that he was likely to succeed his father when the chieftain eventually passed away.
That day eventually came, and Uruk was named as the new leader of their tribe. He later copulated with another member of their group, a young woman, and soon began a family of his own. He and the woman soon had two children together, a son and a daughter. Uruk immediately decided that once his son grew older, he would teach the boy to hunt, just like his father did for him, all so that his son could one day succeed him too.
However, such a day would never come to pass…
A decade after he first became chieftain, Uruk was leading both a group of men from the tribe and his son whilst out hunting. This was his son’s first hunt, and Uruk was excited to teach his son their tribe’s sacred practice.
Soon, a herd of wooly mammoths graced their lines of sight. Uruk led the other men and his son through a series of tall grasses, silently and stealthily sneaking beside the mammoths, preparing to stab one or many of them with their spears. Wanting his son to make his first kill, Uruk handed the boy a large spear, and instructed him to throw the weapon at the weak spot of the nearest wooly mammoth.
His son did as his father instructed, and thrust the spear at the mammoth, and it connected with the animal, which screamed out in pain. The other men, Uruk among them, then charged out of the tall grasses toward the same mammoth as well as the many others surrounding it. They stabbed their spears into the flesh of many of the wooly mammoths, bringing them to the ground below and killing them.
After celebrating the bountiful hunt, Uruk prepared to show his son the next part of the hunt, the skinning and gutting of the animals for the meals later. However, the sound of one of the other men screaming in pain and gurgling blood suddenly came from behind the tribal chieftain. Uruk turned to see one of the other men falling to the ground, a deep laceration across his entire throat gushing blood.
Above the man stood the leader of Uruk’s tribe’s rival clan, a man named Dhull, a stone dagger in his hand. It was obvious to Uruk and his fellow tribesmen that Dhull had murdered their friend, and the rival chieftain stared at them with a wild, toothy grin as the other men in his tribe revealed themselves from behind the carcasses of the recently killed wooly mammoths.
It was easy to see that Dhull and his clan were here for more than their simple rivalry. They wanted to steal the food that Uruk and his tribe and just claimed for themselves, and that the former were ready and willing to kill them all to get what they wanted. Dhull then let out a loud battle cry as the men in his clan rushed forward to Uruk and his fellow tribespeople.
Uruk raised his spear over his head and sprinted forward past the other men and toward Dhull, determined to gut the man for what he had done. How dare he kill one of the men of Uruk’s tribe. How dare Dhull attempt to harm Uruk’s young son, when the boy was innocent and had no part in the fight.
The pair fought one another for a few minutes, and all the while, Uruk watched in horror as the other men in his hunting party began to get killed one-by-one, being gutted by the men of Dhull’s clan. Seeing those who were close to him die in such a way caused the chieftain to loose himself in his rage, and he began to attack Dhull with an even greater ferocity.
However, Uruk’s spear was soon snapped in two by Dhull, and he was stabbed in the stomach, and fell to the ground in a heap of pain. As he did so, the most horrific sight he ever saw entered his line of sight. A duo of Dhull’s men had cornered his son, who tried to defend himself, to no avail. Uruk watched with tears pouring down his face as the men killed his son, who would now never get the chance to grow up.
The deeply wounded chieftain fainted from his injuries as the last thing he saw before he blacked out was Dhull and his men taking what was left of the wooly mammoths for themselves.
Waking up much later in the dead of night, Uruk struggled to get to his feet. His wounds were deep and severe, but he had to return to his tribe to tell them of what had happened to them during their hunt.
After finally getting to his feet, Uruk stared at the death that now surrounded him. The form of his son entered his line of sight, as the same deep rage from his fight with Dhull returned. This time though, a loud whisper accompanied it, and even though he could not understand what it was saying to him, he still knew what it wanted him to do.
Kill Dhull…Kill him and the rest of his clan for killing his tribesmen and son…
First though, he had to return to his tribe. The chieftain turned in the direction of his tribe’s village, determined to reach both it and the woman that he loved. Soon, he began to see his village in the distance, and as he finally reached it, another horrific sight appeared before him.
His entire village had been both destroyed and massacred, and all of the remaining tribespeople were lying dead on the ground. Uruk saw his woman among them, her bloodied corpse resting on the ground, her eyes glossy and lifeless. Uruk crouched down at her body, even further grief coursing throughout his heart, which was broken at the loss of everyone he loved and cared about.
Another deep-seeded fury entered into his mind. He would make Dhull pay. His entire clan would pay for everything that they took from him. He would spill their blood upon the Earth. Gut them as they begged for the mercy that they never gave him or his tribe.
The same whisper returned this time, although it was now even more prevalent. “Kill them…make them all feel the same pain and suffering that you are feeling…” Uruk listened to it, it’s ethereal voice calling to him, making him want to listen to what it was commanding him to do.
Uruk stood to his feet as he laid his woman’s body back on the ground. He would get the vengeance he craved. Nothing would stop him from doing so. Nothing except his own death.
A few days later, Uruk approached the village of Dhull and his clan, holding a large and decorated club adorned with crude carvings and markings, which was also made out of animal bone. The chieftain stared at a young woman who was gathering water at the stream next to the village. Uruk stomped over to the woman and beat her to death with his club, before dragging her body over to the entrance of the village.
This gained the attention of the rest of the members of the clan, and the men rushed toward Uruk, their own weapons in their hands. Uruk’s fury conquered every single one of them, and he brutally killed them all in front of the women and children of the clan, who all panicked at the sight of their defenders being slaughtered in front of them.
Uruk then turned his rage onto the women and children of the clan, in an attempt to lure Dhull to him, so that he could kill the man who took his tribe’s lives. After killing numerous more clan members, Dhull was finally drawn out of his home, where he saw Uruk killing the few remaining members of his clan.
This enraged the rival clan leader, and Dhull charged Uruk, determined to finish what he should have done a few days earlier. Uruk simply bashed Dhull on the head multiple times with his club, and then stared down at the bloodbath that he had caused.
A fog surrounded him, and surrounded the bodies of Dhull and his clan as well. It was welcoming, inviting, like the presence that enveloped the thick fog wanted him to join it, to become one with it.
Uruk considered this for a moment, before accepting its invitation and disappearing into the thick mist, his bloodlust still everpresent.
Power:
The Tribesman makes use of a large club made out of animal bone during trials. It is adorned with several crude markings and carvings, which is evidence of the primitive era that he originates from. He uses the club to violent strike survivors during the trials. The club is also stained deep-red with the blood of his many victims.
Design:
The Tribesman is a young man in his thirties with a large animal bone on his head and an animal pelt on his head on back. Numerous tribal markings line his face and body, obviously a call back to his life in the Stone Age many thousands of years ago. His long raven black hair falls down to his back, and blood covers certain portions of his body.
He would walk in an upright position, with his club resting at his side in his right hand while facing downward toward the ground below. He would climb over ledges in windows and bash pallets with his club when pursuing survivors throughout his map. Regarding his attack animation, he would swing his club downward, clubbing the survivors with his weapon.
Mori:
Regarding The Tribesman’s mori, he would walk over to the survivors, and would stand over them. He would then raised his club in the air, and would then bring a powerful, singular strike down upon their heads, killing them instantly.
Perks:
Primal Grudge:
Your ancient rage fuels your pursuit of vengeance. When a survivor performs a bold action, such as vaulting a window or dropping a pallet, their aura is revealed to you for 4/5/6 seconds.
“Find you…kill you!” - The Tribesman
Ancient Fury:
No one will escape your wrath. Whenever you strike a survivor, three random generators throughout the map will be blocked by The Entity, therefore preventing survivors from repairing them for 2 minutes.
“No escape…No escape for you!” - The Tribesman
Primitive Wrath:
You find it difficult to let those who wrong you escape. Whenever you miss a strike on a survivor, that same survivor becomes your obsession, and stays that way for 2/3 minutes.
“You will not escape…No escape me!” - The Tribesman
Add-Ons:
Common:
Saber-Tooth Tiger Tooth
(Slightly increases the duration of the survivor aura during a trial)
The tooth of a saber-tooth tiger that was killed by the member of a nearby tribe.
Mammoth Tusk
(Moderately increases the duration of the survivor aura)
The tusk of a wooly mammoth that was brought down by a number of spears.
Animal Paw
(Greatly increases the duration of the survivor aura)
The paw of a Animal that was worn by someone as a hunting prize.
“This is…the largest animal that I’ve ever seen.” - Lorrooo
Uncommon:
Lorrooo’s Spear
(Slightly increases the amount of time your obsession remains your obsession)
An ancient spear that was used by Uruk’s father to hunt game.
“Listen, Uruk…Aim your spear well…For it is the only thing that is helping you now.” - Lorrooo
Primitive War-Paint
(Moderately increases the amount of time your obsession remains your obsession)
Primitive paint that was wore on the faces of ancient people want they went to war.
Ritualistic Mask
(Greatly increases the amount of time your obsession remains your obsession)
A mask that was once used in primitive religious rituals.
“This ancient mask appears to have been worn in moments of religious worship. I wonder what the name of their god or gods were.” - John Peters
Rare:
Small Toy Figurine
(Slightly increases the range of your Terror Radius)
An ancient toy figurine of what looks like a person, which was likely once played with by a small child.
Lion Skin
(Moderately increases the range of your Terror Radius)
The pelt of a lion that was skinned by a group of tribal hunters.
Dhull’s Bone Club
(Greatly increases the range of your Terror Radius)
The bone club of the enemy tribal chief who slaughtered Uruk’s tribe.
“I have slaughtered numerous…I have claimed the lives of countless innocents…” - Dhull
Very Rare:
Human Bone
(Makes the scratch marks left by survivors remain visible for 2 more seconds)
The bone of a long forgotten human being from thousands of years ago.
Primitive Basket
(Makes the scratch marks left by survivors remain visible for 3 more seconds)
An ancient basket that was used to carry food to a nearby village.
Oruo’s Dagger
(Makes the scratch marks left by survivors visible for 4 more seconds)
My love…I will never let anything harm our son.” - Oruo
Ultra Rare:
Stone Tool
(Conceals your Terror Radius at 36 meters)
A stone tool that a prehistoric individual once used.
Shaman’s Charm
(Conceals your Terror Radius at 24 meters)
The charm that the shaman in Uruk’s tribe once used to summon his and his people’s gods
Archaic Bow and Arrow
(Conceals your Terror Radius at 12 meters)
An extremely ancient bow and arrow. It was likely used to hunt game by a member of Uruk’s tribe.
“Be careful Cuk…Be careful of it’s giant tusks.” - Uruk
New Survivor: Claude MacDonald
“This new fellow seems to be rather intelligent, judging by his appearance at least. He looks around at his surroundings in an almost curious and childlike wonder, almost as if the suffering he will soon experience is no concern to him. Others have noticed this about him as well, and have questioned if he even knows what will happen to him during the trials. I sort of pity him, for he knows not of the creatures and murderers that stalk this realm, waiting to spill his blood using various means…
Biography:
Claude MacDonald had long been considered by his peers to be a nerd. A nerd that was absolutely fascinated with archeology and the ancient history of the world. He had little to no friends growing up as a young lad in Sydney, Australia, and because of this, would spend countless hours in the basement in his childhood home, creating replicas of dinosaur and ancient human remains.
No one completely understood this fascination of his, not even his parents, but they still encouraged his little interest nonetheless. They bought numerous journals and magazines about archeology and world history for their son, who read them obsessively for countless hours when he wasn’t building his replicas. Claude almost never even stepped outside away from his hobby, only doing so to eat and use the bathroom. He never even left to go to sleep, instead just deciding to sleep in the basement with the fake dinosaur and human bones.
After graduating from secondary school a few years early at the age of 16, Claude was given a fast track to Harvard University in the United States, where he obviously majored in Archeology during his undergraduate studies. During his time at Harvard, his obsession with the subject went into overdrive, and he became even more of a workaholic than he was during his childhood.
He would spend countless hours within his dormitory studying and researching famous archeological sites around the world such as Mohenjo-Daro and Gobekli Tepe, and dreamed of one day visiting those ancient remains himself. His dedication to his studies paid off, and upon graduating with honors, he enrolled in a archeology graduate program at Harvard and after receiving his master’s degree, earned his doctorate degree in Archeology from the same university.
Now officially a Doctor in the subject that he had been long fascinated with ever since early childhood, Claude almost immediately began to travel the world. He visited countless old and ancient landmarks that had captured his interest all those years ago. He even began his own archeological society, and he traveled with his fellow archeologists around the globe as well.
Eventually, a decade later, Claude learned of an incredible discovery that a local of a small village in Eastern Africa made. The local had found what appeared to be a mass grave a few miles outside of his village, and it had been determined that the bones of the people buried there dated all the way back to the Stone Age.
The archeologist was ecstatic at the chance of seeing an archeological site from so far back in human history, and so he and the other members of the archeological society packed their bags and traveled to Africa. Upon arriving at the village, a quaint little thing, Claude and his fellow archeologists were led to the site by the local who had discovered it. The group came face-to-face with an archeological goldmine.
Countless skeletons, those of men, women, and children, lined the field where they were found. Numerous personal trinkets rested beside each of the remains, and some of them were even carrying weapons such as clubs and spears. However, Claude and the other archeologists also noticed something peculiar about each skeleton. Many of them had severe trauma throughout their bodies.
Some had broken ribs, others were completely shattered altogether, while some also had their skulls fractured. It soon became apparent to them that a large amount of violence and death had occurred there many thousands of years prior. As to why though? Well that was the question.
Claude’s attention was suddenly pulled to the skeleton of a young woman, which held what appeared to be a sort of primitive necklace in her hands. He was immediately interested in this, and observed the artifact that the long-dead woman was clasping on to. He could only wonder what the life of this young woman had been like, and what had caused her to die so violently.
Claude turned to mention his discovery to the other archeologists, but he found himself surrounded by a thick fog, and the sounds of his companions’ voices were beginning to grow more faint. He called out to them, but they did not answer his now panicked yells.
He turned to look behind him to see that he was now standing within a primordial landscape, and that there were countless generators scattered through the area…wherever that area was. However, there seemed to be something…off about said landscape.
Claude’s curious nature got the best of him as he walked forward further into the landscape. He was going to learn more about this strange place, no matter the cost…
Design:
Claude is a young Caucasian Australian man in his early 30’s. He wears a long striped shirt tucked into his pants with a brown vest covering most of the shirt with the exception of his arms. He also wear blue jeans on his legs and a pair of tan boots, as he needed shoes that were good for being outside all day. A pair of glasses sits on his face, which is covered by a bushy beard. Sandy brown neatly combed hair sits on the top of his head.
For his alternative outfit, he wears a more formal outfit. He wears another tucked in shirt, but this one is a more formally striped. He wears a formal brown vest and a red tie tucked underneath said vest. He wears more brown formal pants than in his regular costume, and has a nice old-fashioned fedora on his head. He also wears a pair of black dress shoes as well.
Perks:
Natural Curiosity:
You can’t help but investigate everything that you see. Whenever you are in the terror radius of the killer, you remain hidden for a certain period of time.
“What is this? Fascinating…” - Claude MacDonald
Archaeological Obsession:
Your fascination with archaeology may just be your downfall. Whenever you locate an ancient artifact scattered around the map, you can use it to increase the progression of a generator being repaired, with the cost of you yourself being exposed for a few seconds.
“Please friend, let me help you…” - Claude MacDonald
Investigative Research:
Life as an archeologist has taught you a few things. Whenever you are repairing a generator, the aura of the killer is revealed to you for 5 seconds.
“That creature is over there. Good…that means that I’m safe for now.” - Claude MacDonald
Realm: Primordial Thicket
“This ancient and wild prehistoric landscape has since become a magnet for archeologists and enthusiasts of humanity’s prehistory since being uncovered. Long having been forgotten by any ancient peoples, it has become the site of countless archeological digs, all seeking to uncover the mystery of what happened to the people who once called the region home. Hardly anything remains of them or their homes, except the countless bones of them that were left behind after they perished by an unknown fate. A sense of deep foreboding exists throughout the site however, as the feeling that something deeply tragic and violent happened to them has been felt by all who has visited. Known by the locals of the nearby Yoruban village as “Oko Iku,” or “The Field of Death,” the field where the bodies were discovered has since become a site of extreme darkness to the villagers, and due to that, foreign archeologists are the only people who frequent the ancient grounds.
“Primordial Thicket” is a savannah and grassland realm situated in prehistoric Western Africa. The map in this realm rests within such a grassland. There are also various trees that sit throughout the map as well, and the remains of a slaughtered wooly mammoth rest close to a village that now lies abandoned. Similar to other realms, there is also a killer shack, and the killer dungeon rests within this shack as well. Within the ancient village, there are several huts that the survivors can enter, and a few have generators and lockers resting within. Various pallets sit throughout the map as well. There is also a large cave in the map that players can enter.
Map:
Echoes of the Ancients releases with a single map;
Village of Death:
This ancient village was once full of life, and full of the happy existence that the primitive villagers once resided in millenia ago. Having long forgotten the residents that lived there as well as the massacre that bloodied its soil, the archeologists that often visit its primitive grounds and discover the plentiful number of artifacts left behind only think that the former residents abandoned the location after incurring a number of deaths. None are aware of the slaughter that occurred there so long ago in the ancient past, no one is the wiser as to the only survivor of the tragedy, and how he swore revenge against those who harmed his tribe.
Hooks:
The hooks within Primordial Thicket are of a prehistoric style. The most of the hooks are made up of stone, with the exception of the metal hook, which rests on the stop of the stone hook shape. Most of the hooks are covered in animal pelts, and animal skulls sit on the ground at the bottom of them.
Offerings:
Ancient Pelt:
(Slightly increases your chance to be sent to Primordial Thicket when burnt.)
An ancient mammoth pelt used by an primordial tribe member to keep warm.
Primitive Necklace:
(Moderately increases your chance to be sent to Primordial Thicket when burnt.)
A prehistoric necklace that was likely given as a give to someone who was deeply loved by the person who gave the gift.
“I love you…my…husband.” - Oruo
Tribal Spear:
(Greatly increases your chance to be sent to Primordial Thicket when burnt.)
An ancient spear that was used by a member of the tribe to hunt for their food.
submitted by AshMer123 to deadbydaylight [link] [comments]


2024.04.27 16:00 ct_hulhu10282 Cephs and genesis

Cephalapod Genesis
The pharoah ejaculated into the river and in the sand the sperm found refuge and grew into papyrus. This an example of genesis.
Vampyrapods are the first intelligent species to live on this planet predating the dinosaurs. They came here somehow. They did not evolve on this planet. Perhaps just an ejaculated sperm from another being landing in the water. The direct offspring of this cephalapod is the modern octopus. Octopus are responsible for nearly every animal genesis on earth including humans and subsequently man made inventions and accomplishments. Octopus taught trees to fruit, destroyed the dinosaurs through becoming tapeworms, and even walked to the moon. Some of the animals you may recognize from the cellular genesis may have fused with the other local staples such as canine, equine, and feline, and reptile as well as temporarily the pachyderms in post-actualization causal genesis. This can be done by mating with, killing, eating, dying, being eaten, or simply a laying of hands or physical actions. Octopus only live for about 4.5 years of our relationship with time, but they have beaten death through a mix of telepathy and cannabalism. They've also mastered time travel. There are only 3 actual beings here. Others died in getting here and are fossilized. 2 males and 1 female survived. I call them Jack, Seth, and Claire. This is why the genesis had to completed this way as any direct offspring would not work. because theyve have infinite time to complete it, theyve walked over every inch of the planet and affected every species. In fact our own existence is simply the echo of the combined knowledge of the cephs. We are an amalgamation like the 'too much good stuff' guy from am/pm commercials. Make a bird with your hands. ¿Where are the beaks? The latest project is to use genetic science in order to bring back the mammoth and obtain a sixth digit from its feet. Should happen around 2027. When the vampyrapods first encountered life here it was eating their tentacles. So the first genesis occured in the offspring of those that ate of the tentacles. This is why modern cephs only have 8 limbs. The first language period is Enochian. A language of the eyes and limbs. Through different manipulation of limbs and eye fluctuations communication was made. After a while though telepathy became the established communication.
Here are some examples but not all of cephalapod genesis:
• Spiders (rare from trilobyte mix, had to go back in time to accomplish) (they had to avenge the original vampyrapods from being eaten from early organisms, thisnis how scorpions were able to evolve) • Mango (foilage and ceph mix. Ceph hung from a tree upside down) • Star fruit (the tree missed the octopus and tempted it to return) • Pinecone ( the bite marks of ceph beak eating the fruit of the trees) • Toucan (the beak formation from ceph in flux probably consuming a failed aviary) • Peacock (feather formations still in flux from limbs partial fusion) • Salamander (reptile/chameleon mix) (skin breathing evolution) •Sloth (feline and foilage mix) • Mistletoe bird (octopus ate a mushroom) • Lyrebird (mirage, digitage, and aviary from peacock and pheasant. Mastered the art of sound mimickry to develop better auditory communications) • Dung beetle (rolling backwards the earth through time) • VW bug (trunk up front) (mirage, digitage, pachyderm mix) (invented higher than the model T but arrived later in time) • Goliath bird-eating tarantula ( set a web to catch a bird which did not exist fully until the web was cast. When the spider consumed the bird the psuedo cannabalistic action resulted in a poison tree frog) • Snakes (a ceph lost its mating limb for some reason in a mirage mix experiment) • venemous snakes (a snake ate the eggs of its own offspring)(the cursed dinosaur souls live inside these) • Gumby (using hands to mold clay made a show about being an octopus) • Chameleon (reptile, ceph, foilage, mirage mix)(a ceph was purposely eaten by a komodo dragon to telepathically send a reverse osmosis of its makeup inside its body to another ceph that was attempting to kill the dinosaurs in the past. How they programmed the tapeworm to destroy them)
submitted by ct_hulhu10282 to truthofcephs [link] [comments]


2024.04.26 13:59 smallcapsteve DEEP DIVE: Documents Reveal Green Party Manipulated Germany To Push Nuclear Phase-Out

In a startling revelation, documents from the Ministry for Economic Affairs and Climate Action, acquired by German media outlet Cicero, have uncovered clandestine manipulation behind the decision to phase-out the operation of German nuclear power plants in 2022. The files shed light on how influential figures within the Green Party orchestrated the outcome, with even Vice Chancellor and Economic Minister Robert Habeck falling victim to misinformation.
The significance of this revelation was underscored by Green Party’s Jürgen Trittin’s jubilant celebration on April 15, 2023, in front of the Brandenburg Gate. For Trittin, a pivotal figure in the environmental movement, this marked the pinnacle of his career. Amidst the backdrop of cameras, he stood before a symbolic tableau—a yellow dinosaur sprawled on Pariser Platz, adorned with the emblematic “Nuclear Power? No Thanks” sun, wielding a sword and shield.
Trittin, portrayed as the triumphant dragon slayer, basked in the momentous occasion—the day when the last of Germany’s nuclear power plants ceased operation.
This closure signified the apparent triumph in the protracted political battle against the “nuclear state,” spanning over half a century. However, the narrative takes a nuanced turn as the resurgence of nuclear energy gains global momentum, particularly amidst climate change discussions. The sobering reality of Europe’s energy landscape, exacerbated by Putin’s war in Ukraine, prompts a reassessment of energy policies.
Yet, as other nations pivot towards nuclear energy, Germany stands out for its decision to shut down its nuclear plants, despite their reputation for safety and reliability. The perplexity surrounding this choice persists among citizens.
Seeking clarity, Cicero invoked the Environmental Information Act to scrutinize the decision-making process. Efforts culminated in a legal battle against the Ministry of Economic Affairs, led by Habeck.
During the oral hearing in January 2024, Habeck’s officials argued surprisingly honestly: Germany’s special path in nuclear energy must be “defended in the future both socially and towards international and European partners,” they are quoted in the minutes in German.
“The negotiating partners of the federal government could counter the developed arguments of the federal government – if the documents were disclosed,” the arguments read.
However, this did not convince the judge. His verdict: Habeck’s secrecy was unlawful, and the documents must be disclosed.
Documents disclosed
The revelations stemming from the documents received at the end of March, supplemented by previously disclosed information, provide a deeper understanding of the inner workings behind the decision-making process regarding German nuclear power plants. These documents, comprising internal correspondence, meeting transcripts, and letters, offer a comprehensive view of the discussions and decisions made.
One striking revelation is the marginalization of ministry experts in the decision-making process. Their expertise was largely sidelined with minimal consultation, if any, from leadership circles within the Ministry of Economic Affairs and the Ministry of Environment. Instead, decisions were predominantly made amongst Green Party loyalists within these circles, often disregarding or distorting assessments from expert departments.
A pivotal moment highlighted in the documents is a confidential meeting held on February 24, 2022, between Habeck, his then-State Secretary Patrick Graichen, and RWE CEO Markus Krebber. Although no formal protocol exists, an email from Krebber to Habeck and Graichen two days later sheds light on the discussion regarding gas and nuclear energy.
“As requested, I am attaching a document describing the complex aspects to consider in any deliberations regarding the continued operation of nuclear power plants,” wrote the RWE chief in German, emphasizing: “The assessment of this matter can only be made politically.”
Krebber’s attachment, seemingly neutral in tone, outlines considerations for the continued operation of nuclear power plants, emphasizing the political nature of the decision-making process.
Graichen’s subsequent forwarding of Krebber’s document to Stefan Tidow, his counterpart in the Ministry of Environment, underscores the coordination between key figures in the debate. Graichen and Tidow, both Green Party State Secretaries, shared a longstanding professional relationship, dating back to their time at the Ministry of Environment, as Cicero identified. Their alignment on the nuclear phase-out was evident in their correspondence, prioritizing political objectives over technical arguments:
“Dear Stefan, Attached, as discussed, are the comments from the operators regarding the extension of operating lifetimes. Although there is no conclusion underneath, it’s basically clear: They don’t want this. Ultimately, something like this would also be needed from the nuclear regulatory authority. And then the question is, who puts it on which official letterhead. Best regards, Patrick” (Translated from German)
Full story here (there is a lot more):
https://thedeepdive.ca/deep-dive-documents-reveal-green-party-manipulated-germany-to-push-nuclear-phase-out/
submitted by smallcapsteve to UraniumStonks [link] [comments]


2024.04.24 03:49 Philisnothere Neyland Austin Easter Eggs

Neyland Austin Easter Eggs
Need your help for ideas of easter eggs to hide in the Neyland Stadium map.
I like to hide fun stuff inside the map before I ink the piece that have meaning to you all, the alumni and fan base.
Any suggestions of: symbols, numbers, animals, or any fun stuff you can think of would be appreciated.
In past maps I've drawn in: pirate ships, local shops, restaurants, planes, dates, hot air balloons, dinosaurs, waldo, bluey, animals of all sorts, names, trophies, plants, logos, beer bottles, quidditch pitches, circus tents, portraits....if you can think it, I'll add it.
Thanks in advance!! Go Big Orange!
submitted by Philisnothere to UTK [link] [comments]


2024.04.24 01:39 Bronze_RL Me play Grux

I am simple caveman. After hunting mammoth all day, I sit by fire, eat big meat, and bang two rocks together for fun. Then, I open box with picture of Dell I found in cave, and use to play Predecessor game on big stone with glowing symbols. Me love game where I play as Grux, big dinosaur with two clubs. Grux not too smart, just like me. But Grux love battle like me love hitting things with rocks.
Predecessor down for fix, like mammoth with broken tusk. Me not care, eat more meat while wait. Finally, game ready. Me queue up for fight with other cavemen. They ask if need help picking hero. Me grunt, say no. Me pick Grux, of course. Grux strong, like me. Me choose hot burning skin, look good like sunset on savannah. Teammates pick pretty girls, but me not care. Me take long huff of warpaint to get ready for battle.
In game, see no Grux on other team. Easy win then. Me go solo lane, always solo lane. Get item with most rocks. Enemy have Fang Mo, hit weak like baby deer. Me hit minions, miss some because of slow club swinging. Teammate make fun noises at me, but me not care. Fang Mo try hit me, but me no notice, too busy swinging clubs
After 15 moons, me have many rocks and hit points. Me go to help teammates in duolane, but they run, they not fight like true warriors. Me go mid, take buffs from teammate. They have Argus, with rocks and lightning. Me show him true strength of Grux, swing clubs and shout "Unga Bunga!" Me miss with big ultimate, but no matter, Argus still fall.
20 moons later, me feel pain in head. Buy more rocks and hit points, run to teamfight. Argus know he dead when me show up. Me swing rocks and shout "Unga Bunga!" Me get many kills, feel like true hero. Game over, enemies surrender. Another win for Grux, another day of "Unga Bunga!"
Me happy. Me know secret to winning just play Grux, swing rocks, and shout "Unga Bunga!" Me strong caveman, like Grux. Together, we unstoppable force.
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2024.04.22 11:20 RentLife2020 Toronto Where To Go?

Toronto Where To Go?

Toronto Where To Go?

Discover Toronto: A Guide to the City's Must-See Attractions

Toronto, the city in Canada boasts an urban landscape blending skyscrapers with cultural hubs like Chinatown and Little Italy. Known for its diversity, thriving arts scene and wide range of attractions Toronto offers an experience for both visitors and locals. Whether you're sightseeing or enjoying a day out in the city Toronto has something for everyone. From landmarks to beauty here's your go to guide on what to see and do in Toronto.
  1. CN Tower; Embrace the Skyline Rising to a height of 553.3 meters the CN Tower stands tall as a symbol of Torontos cityscape. Visit the observation deck for awe inspiring views. Dare to take on the EdgeWalk – an exhilarating outdoor experience at record heights.
  2. Distillery District; Step Back, in Time Immerse yourself in history as you wander through the streets of the Distillery District. This historic site, adorned with era architecture transformed into boutique shops, art galleries and restaurants offers a glimpse into the past perfect for photography enthusiasts and history lovers alike.
  3. The Royal Ontario Museum (ROM) is widely recognized as one of the institutions, in North America showcasing a diverse range of artifacts spanning ancient civilizations to modern day exhibitions. Renowned for its architecture and captivating dinosaur exhibits the museum is an enriching journey through art, heritage and the natural world.
  4. Kensington Market embodies Torontos diversity serving as a hub of creativity and expression. Stroll along its streets adorned with murals and vintage stores saver global flavours at local eateries or immerse yourself in the energetic vibe of neighbourhood festivals.
  5. Toronto Islands: A City Escape Escape the hustle and bustle of downtown Toronto with a ferry ride to the tranquil Toronto Islands. Featuring views of the city skyline, sandy beaches and expansive green spaces these islands provide a getaway from urban life.
  6. Art Gallery of Ontario (AGO) Delve into a collection of over 90,000 artworks at the Art Gallery of Ontario (AGO) an art museum in North America. From pieces by artists like the Group of Seven, to contemporary masterpieces pushing artistic boundaries the AGO offers a rich tapestry of art that sparks curiosity and creativity.
  7. Scarborough Bluffs: Toronto’s Natural Wonder The Scarborough Bluffs, in Toronto are a marvel with views from the top of their majestic cliffs overlooking Lake Ontario. Below the tranquil beaches provide a setting for a day of relaxation or a picturesque picnic.
  8. Yonge Dundas Square, often likened to Times Square in New York City is the heart of downtown Toronto surrounded by shopping centers and vibrant electronic billboards. This lively square hosts events, concerts and live performances embodying the modern energy of Toronto.
At the Ontario Science Centre visitors can immerse themselves in science exhibits that cater to all ages. From exploring a rainforest to learning about space in their space hall or enjoying an IMAX movie experience this center offers both entertainment and education.
Toronto is a city of opportunities waiting to be explored at every turn. Whether you're interested in art, history, nature or simply soaking up the urban atmosphere. Your visit to Toronto can be enhanced with information, on attractions and rental tips from Rent-Life.ca.
Check out Rent-Life.ca, for guides and insider tips to enhance your time in Toronto today!

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2024.04.21 22:33 AnyCommunication9860 The monster under your bed

(I’m new to writing so please go easy)
As a Reporter is taking a walk through the woods he stumbles upon a Wall of metal it towers over trees he has taken this trail many times before and wonders how he never spotted this MOUNTAIN OF METAL just then the Wall exploded a Monstrous beast flew from it its Hair Brown Its eyes Red with blood behind it enough soldiers to fight the USA the Reporter was crushed not before taking a few pictures his camera flew a few yards away from his now pancake-shaped body its lens focused on the beast and soldiers now flying three the forest heading for the city that lay just down from the trail moments after a news Helicopter was in the air watching a standoff between “Bigfoot” and an army of Blacked out soldiers gunshots fired into “Bigfoot” nothing was stopping him until a vehicle more armoured than others rolled to a halt a soldier jumped out another handing him a Rocket launcher another loading a Rocket with the Words “FUCK YOU AND YOU MOTHER!” And in a moment of silence, the soldier yelled “BACKBLAST!” One responds “CLEAR!” As the words were heated the Rocket got launched hitting Bigfoot square in the chest a massive Blue bubble expanded from his chest His body stopped his arms dropping his legs giving up as the Bubble hit max reach it collapsed as fast as it expanded it retracted fully it exploded blowing up “Bigfoot” and 4 buildings beside him the soldiers with Zero emotions stood up fired dozens of bullets into Bigfoots now multiple body parts and then a helicopter appeared landing not far away from the destruction hazmat soldiers ran out making it to the Decimation and not wasting a single moment they cleared the area up in minutes the buildings still in ruins As the soldiers finished they got back into there vehicles all of them and left in such a hurry they left double the tyre marks
On the other side of the planet in Scotland Loch Ness a gigantic base blocked off all access to the Loch gigantic Walk ways stretching across the Loch soldiers walk along them they hold IPads displaying Live footage of the Loch and a Dot travelling fast past every camera like a jet flying past a human at super sonic speeds its body appearing to be a Plesiosaur yet its flippers have dinosaur like feet yet it moves like a Ballerina on a stage as the soldiers walk along the Cat walks there eyes always trained on the Monitors watching the creatures every movement one soldier opens a Box grabbing a Harpoon launching rifle the soldier along with a few others load these rifles with Small Jet propelled Harpoon trackers and fire them at every bloop of the Dot and after a short time 20 dozen more Dots appeared along side the First Dot one soldier radios in his voice raspy and seemingly unknown “There breeding” after a short static silence a squirmy voice reports back “Good we can take a child for research do it fast and try not to get killed” the soldiers Nod to each other before loading muzzle Harpoons which have Large Wire ropes attached to them the Ropes intertwined with Bulky Iron stretched Cable as the Multitude of Dots pass the soldiers they fire at a singular Dot the dot moves fast Faster than anything could at the time the soldiers try to hold it only for there hands to be sliced in half from the Wire rope and there weapons fly off the Cat walk smashing into the water 40ft below and before any Medics could make it to the soldiers the Mother breached the water he true size seen she had a length of 100ft her body a Lime green colour with Plated armour so thick it made tanks look like paper origami its face a sleek snake shape with teeth the size of people and its arms looking like they where sculpted by a God and as it Breached the water its toar through the Metal Cat walk breaking the Gigsntic Metal tension ropes as they broke they made a Horrific whipping noise as they swung around smacking Soldiers halting them effortlessly others received slashes cutting them open killing them in seconds and many seen the Creature and frozen only for the children to Fly out of the water they where half the size of the Mother making them faster and doubly the fury each soldier that opened fire received rather a bite from the mother which if not fully engulfed by her would be bit in half with there blood speeding all over the mother creature making her look more terrifying but the other soldiers encountered the babies they moved faster and where more agile able to kill hundreds of soldiers with minor movement but this fray was short lived as the Defence Force was initiated Gigantic Turrets mounted along the shore turned to face the Babies each shot fired was the equivalent of a Destroyer Class ship firing all weapons upon a single soldier each Baby eviscerated in seconds one by one the children died making the mother more and more angry as each soldier fought the mother the more the mother became a force of destruction buildings crumbled under weight each weapon unable to pierce her armour here teeth as sharp as the sword of Archangel Micheal and its legs as strong as a leviathans Body its ferocity as strong as the will of God after minutes of fighting and hundreds of soldiers dying the soldiers managed to fire a rocket that sayed “DWELL ON THIS BITCH!” And as it pierced the Beast's armour it sent a Bubble so large it engulfed the whole Loch and Airway it stood on when the bubble collapsed on itself reaching the epicentre it sent an explosion so large it evaporated water in seconds the Beasts body became Nothing more than a Shadow on the Ground it stood its head flew towards the control centre for the Base its head slammed into the building causing Mass destruction killing a few more soldiers crushing them under the Rubble only for the Shockwave to hit destroying buildings causing soldiers to be trapped under rubble the shockwave also caused some Tanks and helicopters to Flip over like Paper being hit with a Sledgehammer after the devastation a soldier brought up his tablet and market the “LOCH NESS MONSTER” as DESTROYED and then gave the signal to regroup and shouted, “CALL THE FUCKING HAZMATS!”
Across the Globe in Arabia a gigantic Militsry base covered in water and is fully of soldiers wearing fire proof uniforms and anti aircraft weapons along the wall lay a Creature thought to be only of Greek mythology a man stands before a GIGANTIC Titanium Cube with a small Grate as the man in his fine tailored black suit opens the Grate it’s revealed a Bird lay perched on top of a Well the well I having Ice floating atop the water the bird a Dark burnt colour its feathers slowly falling the man wears a white mask with a Red blood like hand print on it he turns to the soldier stood beside him “Feed the Fire bird it looks Sad” as he walks away the soldier relays the request the man walks to a heavily armoured convoy fully equipped with tanks trucks filled with soldiers from recons to Juggernauts and some AA turrets towed by APC’s as he enters his Vehicle and drives off the soldiers open the Cube the Bird looking at them sits waiting the soldier wearing every form of fireproof gear march into the Cube and place Fruit extracts on the ground the Fire bird flies to the food and starts to eat as the soldiers back out of the cube and close the door they all joke about the creature escaping
Millions of miles away in the middle of the Pacific Ocean lay a colossal base afloat the waters and even under them hundreds of researchers walk and run all over the Base but a man and a few soldiers are marching to the outside “Do we have the sample from Loch Ness?” The man says to one of the soldiers “Yes we received them Yesterday but from reports and through the Database Nessie is dead” The soldier replies “That’s fine as long as we have the sample” The man retorts before turning to the group “we have to make sure everything is perfect otherwise our boss will kill us on the spot understood” the soldiers in unison “YES SIR!” The man replies “good” before continuing to the outside where the weather is perfect the suns beams of light hitting the ground making Heaven on earth but the beams are cut by a Helicopter landing this Helicopter has hundreds of modifications its propellers designed for speed and stability its landing gear made to land on any terrain possible its weapons built specifically for the craft as it lands the man exits his ballistic Mask making other feel uncomfortable but his suit makes them rethink there presumptions about him the main soldiers says trying to speak over the helicopter rotors “Welcome to Base 13 Cthulhu NULL we are so happy for you to see the amount of research we have done here” they walk inside and enter a elevator its design is sleek with a white inside its display tablet has a futuristic design the soldier presses Observation deck as the elevator arrives at the Floor and the group walk out they are met with the sight of a life time a Gigantic squid face its tentacles larger than skyscrapers its eyes almost piercing the Glass yet Null seems unfazed as he took steps towards it he started to speak his voice dark and ominous “there he is the one the most powerful” he turns to the soldiers “have you began test Ultra?” The soldier replies “No but we wanted to wait for you” Null looks at him with anger “You idiot what if it doesn’t work or he goes haywire we do not want another Loch Ness incident plus if I die everything we have done goes down the FUCKING DRAIN” he marches towards the soldier grabbing his neck and sliding a bidding knife out from his sleeve and holding it up to the soldiers Neck before saying to the main researcher “Start the FUCKING TEST NOW!” The researcher runs to start the test Null stands his knife almost piercing the soldier's throat but he lets go and steps back the soldier takes a breath trying to recoup himself Null says “Sorry I have such a tendency to start shit and never finish it but then again I do love a good ending don’t you” before the soldier replies Null slams the knife into the centre of the soldiers face flood spewing all over the ground and over Nulls hand as Null lets the knife go the soldier's body falls to the ground slamming the knife more into his head Null stand and says to the other soldiers “You fuck up that will be you FUCKING UNDERSTAND!” The soldier Reply with a Nod and then runs to start the test as quickly as possible Null sits down in the observation deck clicking his fingers towards a soldier who fetches Null a Whiskey and Cola and as Null waits he looks into Cthulhu’s eyes wondering what is about to happen
8 thousand miles from the Pacific Ocean lay a Gigantic ship nicknamed “THE GREAT BARRIER” It locked its chains onto a Creature only described as a “creature without fear it looks down upon those that are Haughty” Its movement is said to “make deep boils like a Pot and churn the sea like a pot of ointment” the holy book describes its armour as “impenetrable with tightly sealed scales that are like shields” its breaths “is so intense that it could light coals and flames dart from its mouth” Soldiers march across the boats deck there weapons specially designed to pierce heavy armour some also carry handheld railguns others have tablets on there arms a symbol is on each of there chest The logo is a stylized shield symbolising protection and strength At its centre lies an eye with a vertical pupil representing vigilance and knowledge Encircling the eye are two serpents signifying wisdom and the ability to contain threats The serpents form an infinity loop alluding to the eternal struggle against the unknown Above the shield a Latin motto reads “Vigilamus Pro Te” which translates to “We Watch Over You” as the soldiers continue with there day the Shio jerks to one side nearly tipping it all the soldier on the deck start to slide down most grab onto the railings before they fall into the ocean but the few that couldn’t slam into the water trying to reach the surface they are grabbed by a gigantic Fish like dinosaur foot 12 soldiers are pulled into the abys the others got to the surface screaming while bobbi g up and down in the freezing water “FUCKING HELP US YOU IDIOTS!” The boat returned up right and the surviving soldiers hurried to grab life vests and other equipment to save the soldiers In the water as the soldiers got back to the ships side they discovered the drowning soldiers where gone after a moment of silence a gigantic creature launched from the abys Breaching the water making all soldiers open fire there bullets ricocheting off killing a few as the creature landed on the Ship it started to spew fire and molten MAGMA onto soldiers exposing there skull and the inside of there face before dying many soldiers tried to run only to be sliced in half by the creatures tail hundreds of soldiers fired rail guns into the creatures chest only for the metal Rods to stick and PISS the creature off more soldiers screamed and scrambled for cover only to be doused in Magam and Flames not making it another 2 steps before dying but a short time after the attack 2 fighter Jets flew over head the Creature tried to Grab them only to receive a High explosive Napalm Bomb to its skull setting it ablaze and making it blind sending it tumbling into the ocean where the ship fired a Dozen Harpoons into the creatures Back holding it at a distance capable of research and safety but that wasn’t enough the ships captain screamed the order “CHAIR THAT BITCH!” and with that order the Harpoons chains became electrified sending millions of volts of electricity through the creature making it become dormant again a soldier radioed back to main Base “Leviathan has been secured a little hiccup occurred nothing to be worried about we will need new reinforcements tho” main base responded “Roger that Barrier”
Across the world in the Frozen world of Norway a platoon of soldiers are locked in a fire fight there weapons seemingly firing a endless spew of bullets there enemy a Troll the size of buildings they fire multiplied of bullets only denting its rock armour it slams the ground sending gigantic Rock spikes across the ground skewing soldiers sending them through trees even tho the heavy resistance the soldiers pushed on firing rockets into the Trolls armour breaking it off slowly with each piece falling the Troll retreats until it is fully gone the soldiers seeing this fire rockets hitting the Trolls body sending him falling into and decimating a forest the soldiers run to climb his body as they make it stop the Trolls body they are met with miniature Rock golem versions of the Troll the soldiers keep moving taking each enemy out with extreme speed and use of force as the soldiers reach the Trolls chest a Loud Thumping is heard making the soldiers look for the source the soldiers soon hear Rotary gun fire behind the Thumping and before they can react a COLOSSAL dragon reaches out annihilating the soldier stop the Troll its wings smashing trees into splinters the size of humans some smashing into soldiers below sending them into the ground making there Grave behind the Dragon is 4 F35 Panther jets firing hundreds of bullets into the dragon the dragon tries to escape behind a Mountain but the F35’s blast the top of the mountain off with High explosive Ornaments the dragon Slams its tail into a F35 sending the Jets into the ground the Pilot ejects only to be hit by a tail fin from his Jet the dragon screams past its roar deafening even inside a Jet as the Air battle continues the dragons wing is hit the dragon falls hitting the Cold snow covered ground breaking trees and smashing Rocks into hundred of pieces the F35’s drop napalm bombs a Pilot is heard over the Radio “Burfreed is down marking Down ZONE” the soldiers next to the Troll now behind Cover run for the Troll getting atop the Monster as the soldiers look around they spot the main soldier they grab his body throwing it around until they find the Device a small nuclear Trang weapon made to put Anything larger than a Blue whale asleep one soldier arms the Device before throwing and spiking it into the Trolls chest as the Device lands in the Chest the soldier Kicks the device farther into the Chest before running and launching himself off it as he lands in cover the device activates creating a small Ploom of smoke before sending a shockwave that flattens trees within a 10Mile radius the soldiers instantly get crushed by the force the only surviving was the soldier who jumped and one squad that was a little late over the Radio they are told “Burfreed is down marking Down ZONE” with that they look around seeing a Gigantic trail of smoke one soldier says in response “For fuck sake!” Before starting to walk through the heavy snow the other soldiers follow as they are getting closer they see Burfreed he is Gigantic his scales Grey yet textured like Bones its body bigger than most Cities and its tail stretched so far it reached a river thought to be 20 Miles away from the designated Drop site of there platoon as the soldiers dropped into the radius of Burfreed a sniper took a shot at them hitting one soldier splatting blood all over 3 soldiers sending them into shock before getting Shot all at the same time one soldier received a normal bullet hole to the chest another received a larger yet normal Hooke to the lower torso but the last soldier got his head blown clean off the only remaining soldier tried to Hide only to step on a Land mine and get his whole right side blown off the snipers are revealed to be a rival group wanting to keep the creatures alive the snipers all radio between each other there voices Norwegian “Well done boys another team dead let’s get down there and help our old friend” they get up and get to Burfreed they are about to fire some heavy syringes into Burfreed only for Burfreed to move his head and Crush the team
5 Months later a gigantic Snow Base has been built around Burfreed and the helping factions are lying atop a mountain overlooking the Base but before they can move 2 soldiers stand over them holding their Barrett on their heads one saying “How the fuck did you get up here HU?” The helpers try to roll and push the barrel out of the way only to reveal the soldier standing with his Desert eagle pointing at their face without a second thought the soldier shoots blowing a Chunk out the helper's Face and sending blood all over his friend screams as the other soldier hold his Barret to the friends temple only to pull the trigger and the gun to Jam and the friend throws the soldiers gun to the side jumping up and grabbing him the other soldier pulls his Barret up and fires a shot straight through his friend's body and into the helper's chest sending him into the ground the soldier keeps firing into the helper and with every shot he screams louder and louder until the Mag is empty which makes him switch to his Desert eagle unloading it into the helper's body
Not so far away in Iceland a small colony of Trolls are attacked by a group of soldiers holding flamethrowers sending them running into a gigantic cage where they are transported by air to a Large research Base with hundreds of creatures from all across the world some as small as Ants and some as large as bulldozers as the Trolls are released the floor to the Cage opens sending the Trolls falling into a GIGANTIC enclosure full of other Trolls and some smaller Giants guards stand above the enclosure there rifles trained onto the creatures some holding onto gigantic 50 Caliber machine guns and with a THUD a fighter Jet flies over head On fire smashing into the ground making the soldiers look at the explosion being distracted and with a thundering roar gunshots rang out soldiers fell from the high walls creatures grabbing them ripping them in half soldiers wearing Green scarfs with Blue tags ran with rifles held high killing the serpents Logo soldiers one by one inch by inch the creature friendly soldiers won after hours of fighting they win and freed the creatures a soldier took charge rallying the soldiers “Today we have won today we took a Base made to torture creatures the world doesn’t believe us but we fight on” the soldiers raise there weapons and yell “YEEEEEAH!” Before armoured vehicles arrive and more of their soldiers jump out carrying supplies ammo and medication the main soldier starts to turn the captured base into one of their bases
Not far away another enclosure base is under attack friendly soldiers wearing an emblem features an open hand cradling a globe, symbolising care for all life. Around the globe, various mythical and real creatures are depicted in harmony: majestic dragons, elusive unicorns, and endangered animals. The hand’s fingers gently touch the creatures, emphasising their connection to humanity. Encircling the design is the motto: “Liberate et Protege”, meaning “Free and Protect”. As the soldiers are advancing they are met with heavy resistance enemy soldiers fire 50 Caliber machine guns at them hurting and decimating there numbers but after a short hour they hit the main Gate and after launching a dozen of rockets into it they only make a hole big enough for on soldier so they call CAS (close air support) they are told over the radio “5Mins until hit hold out” the radio man screams at the soldier leading the charge “5 MINUTES!” The soldier screams “OPEN FUCKIN FIRE” all soldiers pick a target and do not stop firing only to reload some fire rockets that slam into enemies bodies shredding them into blood and bones others throw grenades while firing causing mayhem after 3 minutes nearly every soldier is out of ammo and all the soldiers have left are smoke grenades so they use them “THROW THE SMOOOOOOKE!” A soldier screams and with that the battlefield becomes entrenched with smoke the only thing noticeable are the streaks the enemies bullets leave after being fired the enemy use Thermal goggles to see the soldiers the friendlies fire shot after shot but as if God had looked down upon them they heard it the Sound of the A-10 Warthogs engines rumbling in the distance the leader shouted “HIT THE FUCKING DECK” all friendlies did the A-10 lazered a hail of bullets all hitting the Base all enemies turned to Mush as the high explosive depleted uranium rounds hit there skulls whole tanks turned to SWISS CHEESE the full base became ablaze with fire and smoke the surviving soldiers ran to the friendly free protection soldiers only to receive a bullet to the skull after the smoke passed the friendlies entered and found the creature chained up and covered in old MYTHICAL RUINES as one soldier enters he says in astonishment “THATS THE FUCKING WENDIGO” it’s skull looked at the soldiers not with anger but acceptance as its shackles loosened it thanked the soldiers by placing its hand on there head before leaping over the 20-40FT wall and running into the forest to never be disturbed again
Hundreds of miles above In Low earth orbit a space station floats orbiting the globe a soldier given the nickname Nilile starts to speak “What the fuck are we doing up here HUH? We are just floating around making sure these diseases don’t mysteriously open their container Boxes and escape” he says while doing hand gestures Nilile’s armour is a marvel of both aesthetics and function Forged from an otherworldly alloy it clings to his form like a second skin. Its surface is as dark as the abyss, absorbing light rather than reflecting it The material is both lightweight and impenetrable a testament to ancient craftsmanship Etched into the chestplate, the name “Nilile” stands out in bold angular script It is a word whispered across realms a code a legacy or perhaps a plea for remembrance The pauldrons curve upward, resembling the wings of a celestial raven Their edges are serrated hinting at battles fought against foes with equally formidable armour Gauntlets encase Nilile’s hands each finger articulated for precision Glyphs of forgotten languages adorn the knuckles their meanings lost to time. The greaves protect his legs their surface etched with intricate patterns constellations perhaps or the blueprint of a cosmic engine A cloak trails behind him, woven from threads of stardust When he moves it shimmers with iridescence concealing
submitted by AnyCommunication9860 to stories [link] [comments]


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