We go back to Barcelona exiting the pitch once again. If this performance continues, Ascari hopes that Barca's upper management aren't watching. Yuri imagines the ground ahead of himself as white tiles, spotted with darkness just ahead. Yuri aims to not allow the darkness to cover it all. Falco wonders if Demian is staying on the bench, afterall just the three of them the game is only two-thirds perfect, without Demian on Falco can't fulfill his role.* Yuri passes by Hana just like in the previous chapter.
Five years ago in Barcelona. Yuri is greeted by two of his teammates in their taxi to training, but Yuri is strangely nervous. Yuri's teammate "Leonard" tells him to be enthusiastic and his other teammate "Mauro" reasons with Yuri, reminding him they were brought to Barcelona for their talents, he should not be nervous.* Yuri was only invited to Barca six months ago from his club Sabadell, and for the past six months he's been struggling to keep up. He's scared that he's already done for, that his time with football will be over.
At the training grounds now, Yuri's every play is being judged by his coaches. Ascari runs into a pocket of space, gesturing for a pass from Yuri, but Yuri continues his run by himself. He's never talked to Ascari, he's only talked to the teammates he shares his ride with. Yuri has no friends in the academy, constantly fearing the day he is let go of. Yuri is a reserved kid, scouted for his talent, He enjoyed playing football back in Sabadell, which he has not experienced here in Barcelona. Yuri recalls his last conversation with Fukuda, who advised him to "communicate with the ball", just like he did with his father. Fukuda walks off on crutches with Hana by his side, wishing him the best.
Yuri passes the ball into a wide open space for Ascari, hoping Ascari understands his message, to attract the defender away. Ascari understands him, back-heeling the ball into the space he created for Yuri. Yuri gets to it, laying it off for Leonard, who finishes in the opposing net. Next day, Yuri waits for his taxi, happy he survived another day. The taxi pulls up in-front of him, greeting his teammate Leonard. Yuri notices Mauro is missing from the taxi, learning he'd been dropped. Yuri understood then and there, if it wasn't you that was dropped, it could be the person right next to you.
​
Asterisks indicate my shaky interpretation of dialogue. Chapter releases 20th May, Monday 0:00 JST. No break next week. Join the Ao_Ashi discord here<---
https://preview.redd.it/r469g4j1ck0d1.png?width=1002&format=png&auto=webp&s=8c05e168431ab36c98768b7d3a5ebdbc82b7efa1

A ChatGPT Story Mouse Capone's Expeditions & Misadventures presents The Stradivarius Affair
Chapter 2: Okay A Few Characters
With the call to action echoing in his mind, Mouse Capone wasted no time in assembling his trusted crew for the daring heist ahead. Each member brought their own unique skills and expertise to the table, ensuring that the mission would be executed with precision and finesse.
Minx, the cunning lynx with a penchant for stealth, would serve as Mouse's right hand, navigating the treacherous corridors of the Bavarian castle with grace and agility.
Blue Puppy Pawsington, the tech-savvy canine with an eye for detail, would oversee the surveillance and security systems, ensuring that the crew remained one step ahead of any potential obstacles.
Professor Featherstone, the wise old owl with a keen intellect and a knack for problem-solving, would act as the master strategist, devising a meticulous plan to infiltrate the castle and retrieve the coveted artifact.
Faraday the Alligator, with his mechanical prowess and ingenuity, would craft the tools and gadgets necessary to overcome any challenges they might encounter along the way.
And last but not least, Rudy the lizard mechanic, with her quick wit and resourcefulness, would provide crucial support in the field, ensuring that the crew's equipment remained in top condition throughout the mission.
As the crew gathered in their makeshift headquarters, Mouse outlined the details of the heist, his voice low and measured as he imparted each member with their specific roles and responsibilities. The tension in the air was palpable, but so too was the sense of camaraderie and determination that bound them together.
With the plan in place and the crew prepared the Douglas, Mouse and his team set their sights on the Bavarian castle where it was purportedly kept, ready to embark on an adventure that would test their skills, their courage, and their bonds of friendship like never before.

So Todo finally arrived, or rather, was an afterthought and a late addition for the Sukuna cycle.
As per chapter 259, Todo didn't join the fight early because he was being saved for a scenario in which if sorcerers were stuck in Sukuna's domain, he can assist them by switching them with Mei-Mei crows. OK.... So.... If Sukuna hadn't opened his domain and still slaughtered everyone, I guess, Todo would've kept waiting in his room for an off chance that Sukuna CAN open a domain anytime.
So going into chapter 260, Todo will beat Sukuna for a chapter or two until Sukuna gets back his CT and cleaves Todo's hands or something. That's pretty much the summary of what's been happening lately and what will happen to Todo too, I suppose
Also, what happened to Yuji noticing Sukuna having an incomplete domain? Was that information even important? Sukuna still managed to almost kill everyone until, plot convenience, I mean Todo arrived just in time and saved almost everyone.

First time reader of Wolfe and I'm having an amazing time working my way through shadow and claw. I had to read this chapter a couple times to try and grasp it; it's extremely dense. I'm still finishing Claw of the Concilliator so my thoughts may change. I'd love to hear your thoughts.
The Tale of the Student and His Son Analysis
“Once, upon the margin of the unpastured sea, there stood a city of pale towers.”

• The unpastured sea evokes Hamlet “the undiscovered country” death and the unconscious. Pale refers obviously to a light color but also feebleness. However, a tower symbolizes wisdom and stability and the balance of forces (light and dark, fire and water, order and chaos). Wolfe is already painting this city in contradiction.

“In it dwelt the wise. Now that city had both law and curse.”

• Another symbol of duality: loss and gain. The wise give the law but simultaneously curse the city.

“The law was this: That for all who dwelt there, life held but two paths: they might rise among the wise and walk clad with hoods of myriad colors, or they must leave the city and go into the friendless world.”

• Here’s another contradiction: the wise wear myriad colors symbolizing their acceptance of all, but their law is built on exclusion, a brotherhood without.

“Now one there was who had studied long all the magic known in the city, which was most of the magic known in the world”

• The magicians study pan (all). They are comparative mythologists, occultists, Jungians, etc. (This, ironically, is Wolfe). Pan in Greek mythology is a cloven foot and horned god that plays the “pan flute”, and is associated with nature and sex. He is often accompanied by nymphs.

“And he grew near the time at which he must choose a path. In high summer, when flowers with yellow and careless heads thrust even from the dark walls overlooking the sea.”

• High summer is a reference to the “dog days” of summer. In ancient Greece, this was the hottest and most uncomfortable part of summer. It’s called the “dog days” because it coincides with the heliacal rising of Sirius in the constellation Canis Major. Furthermore, the Greeks believed the luminous Sirius (from seiros: scorching) caused the extra hot days. I mention this because it relates to the alzabo which in the Lexicon Urthus is from the archaic Arabic “al-dhi’b” which refers to a wolf, a jackal, or a star in Canis Major.

“How may I - even I who know nothing - have a place among the wise of the city? For I wish to study spells that are not sacred all my days, and not go into the friendless world to dig and carry for bread”

• Another paradoxical and ironic statement: he’s been studying all his life, but knows nothing. A Socratic kind of wisdom but also represents spiraling madness. Critically, he wants to study non-sacred spells; he turns away from the divine.

“ Do you recall how, when you were hardly more than a boy, I taught you the art by which we flesh sons from dream stuff? How skillful you were in these days, surpassing all the others! Go now, and flesh such a son, and I will show it to the hooded ones, and you will be as we.”

• Groomer! And if Wolfe is trying to evoke ancient Greece with this story, it’s well-founded that older Athenian men would often indulge their passion for youth. This would explain the use of the carnal word “flesh” to describe the creative process. Sex magic is a common occult practice and is certainly non-sacred. The passing of seasons represents the cyclical nature of trauma and abuse.
• Wolfe uses very unsettling language: “And the old man who had taught him thought of the beauty of the trees that had for so many years delighted his eyes like the white limbs of women.”

“Winter came stalking into the land from his frozen capital, where the sun rolls along the edge of the world like a trumpery gilded ball and the fires that flow between the stars and Urth kindle the sky. His touch turned the waves to steel, and the city of the magicians welcomed him, hanging banners of ice from its balconies and heaping its roofs with glaces of snow.”

• Perhaps a reference to Saturnalia but does not follow the ancient Greece theme. Saturnalia occurred near the winter solstice because the sun enters Capricorn, the astrological house of Saturn, at that time. Capricorn fits in with the Pan imagery as it too is a goat-like being.
• Saturn represents the cyclical course of time and season (Greek equivalent Chronos). Saturn would regularly devour his own children; this fits into the aforementioned cycle of trauma.
• Saturn is often represented with a sickle: a symbol of mankind’s partial control over the natural world.

“In spring, the most beautiful maidens of the city, the daughters of the magicians, were clothed in green; and while the soft winds of spring teased their golden hair, they walked unshod through the portal of the city, and down the narrow path that led to the quay, and boarded the black-sailed ship that waited them. And because of their golden hair, and their gowns of green faille, and because it seemed to the magicians that they were reaped like grain, they were called Corn Maidens.”

• Here the sickle imagery is introduced directly. The Corn Maidens are human sacrifices, but are compared to grain and corn; sent into the “unpastured sea.”

“Looking from his window saw the maidens filing by, he set aside all his books and began to draw such figures as no man had ever seen, and to write in many languages, as his master had taught him aforetime.”

• Is this not what Wolfe does in his writing? He constantly appropriates ancient words from forgotten languages to do his “magic.”

“ At first it seemed to him that all the skill his master had taught him of old had deserted him, for from the first light to the moonlight he was alone in his chambers save for the moth that fluttered sometimes to show the insignia of Death at his undaunted candle flame.

• More meta stuff: writer's block
• A moth showing the insignia of death is an interesting comparison. This moth could be interpreted as the final stage of metamorphosis before death. It could also refer to the Bombyx Mori, the silk moth. Mori in this sense means mulberry, but mori can also mean death (as in memento mori). The silkworm has a similar symbology to the scythe in that it represents man’s control of nature. This is the domesticated version of the silkworm that relies completely on humans for its survival and is genetically modified to promote silk production. This reflects the city’s practice of human farming and sacrifice.

“Then there crept into his dreams another; and he, knowing who that other was, welcomed him, though the dreams were fleeting and soon forgotten.”

• The Irony here is that although he works tirelessly practicing his magic, he only summons the being when he is not working, asleep and unconscious. He welcomes this being into his mind. “He heard the step, always in another room” He’s unable to pinpoint this being’s being; he can only pinpoint its secondary effects. As he continues his magic, the aftereffects become increasingly pronounced until finally the illusory becomes real. Milton describes hell as “darkness visible.” I think Wolfe is going for a similar effect here.

“Then the student dared turn himself where he sat, and he saw standing before him a youth haughty of port, wide of shoulder, and mighty of thew. Command was in his firm mouth, knowing wit in his bright eyes, and courage in all his face. Upon his brow sat that crown that is invisible to every eye, but can be seen even by the blind; the crown beyond price that draws brave men to a paladin, and makes weak men brave.

• The student’s creation terrifies him, but he doesn’t want to show his fear.
• “Haughty of port” meaning prideful with an air of superiority. Going back to Milton: “round he (Satan) throws his baleful eyes, that witnessed huge affliction and dismay, mixed with obdurate pride and steadfast hate.” Classic Luciferian pride.
• Contrary to popular depictions of Satan, he is one of God’s highest creations: “Whoever he is, the “Devil” is among the very first and best creatures of God. He is, so to speak, perfect enough, wise enough, powerful enough, one can almost say divine enough, to know God and not to surrender to him - to know him and yet opt against him, to desire freedom from him. But since this freedom is impossible in the love and light which always lead to God and to a free surrender to him, it must of necessity be fulfilled in negation, hatred, and rebellion.” (Alexander Schmemann). Satan is God’s highest creation but he is the most base, he is wise yet chooses irrationality, in Wolfe’s description he wears the invisible crown that all see. Satan is an ironic, paradoxical, and tragic figure.
• Milton also describes Satan as a commander

“Often I have seen, like a green serpent called by the notes of a pipe, a column of green slip down the cliff below our city to the quay.”

• Again Wolfe uses Miltonian imagery: “Thus they Breathing united force with fixed thought moved on in silence to soft pipes that charmed Their painful steps O’er the burnt soil.” Both descriptions suggest a snake charmer playing his pipes.
• This connects Satan and Pan: pan pipes as well as ostensible concern for his nymphs

“At this the young man’s eye flashed, and he demanded: ‘Who is this ogre, and what form has he, and where does he dwell?’”

• The ogre is the beast and the minotaur that lives in the west. The West is another symbol of death and the unconscious.

“His name no man knows, for no man can approach near enough…His harbor is an isle to the west, where a channel with many a twist and bend, dividing and redividing, reaches far inland. It is on the isle, so my lore teaches me, that the Corn Maidens are made to dwell; and there he rides at anchor in the midst of them, turning his eye ever to left and right to watch them in their despair.”

• Does no man know its name because no one has discovered it or because it doesn’t exist? Or are both the same?
• Eye of Sauron reference. Masonic all-seeing eye which masons say represents the omnipresence and omniscience of God, but, in reality, represents an all-powerful control system that constrains mankind. When Severian first goes against his guild he says of his fellow torturers: “ I saw them as powerful, the active principle of an inimical and nearly perfect machine.” Severian first realizes that Nessus is a vast control mechanism; the torturers are a gear in the infernal machine.
  
• The beast lies in the labyrinth. The twisting and bending channels describe a labyrinthine structure without directly calling it a labyrinth. When Domnina first observes Father Inire’s mirrors: “She ran to the curtains hoping to find another door behind them, but as soon as she pulled one aside, one of the eight walls painted with labyrinths opened and Father Inire stepped out. Behind him she saw what she called a bottomless hole filled with light.” Wolfe is trying to show that the beast, the control mechanism, is tied to these mirrors.
  
• The young man fleshed from dreams relates to the fish fleshed from reflected light in Father Inire’s mirrors. They are both paradoxical creations; how can one create reality from the virtual (dream stuff and mere reflections)? The fish is clearly a reference to Christ and the ichthys; Domnina even references Pascha. But this Christ is a virtual Christ, an antichrist. In Revelation, the Antichrist is depicted as the ape of Christ, but ultimately the Antichrist is a mere illusionist: “And for this cause God shall send them strong delusion, that they should believe a lie” (Thessalonians 2:11).
  

“For I am Noctua, the daughter of Night, and the daughter too of him whom you have come to slay…For though he did not know why, being of the stuff of dreams he was drawn to her; and she, who eyes held starlight, to him…At this the princess took pity on him, for all who have the stuff of dreams about them seem fair in some degree at least to the daughters of the night, and he fairest of all.

• Noctua means owl from Latin nox meaning night (and she is quite literally from her mother Nox). Nox is an important aspect of Thelema or the occult practices of Aleister Crowley. Nox is the formula of the night of pan, the “crossing of the abyss” and the union with “our lady of abominations” Babalon (from Revelations the whore of Babylon). In Nox, the adept experiences unification with the All through ecstatic destruction of the ego-self, dissolving duality into one or, in other words, nonsense. Ego death is a core element of mind control (MK Ultra and Project Monarch** remember the silkworm symbol).
• It’s clear from this passage and later passages that many others have been sent on this mission in the past. However, Noctua feels a particular affection for this commander.

“At length Night came, and they saw her striding from islet to islet with her bats about her shoulders and her dire wolves dogging her steps. No more than an easy carronade shot from their anchorage she seemed, yet they all observed that she passed not before Hesperus or even Sirius; but they before her. For a moment only she turned her face toward them, and none could be certain what her look conveyed. But all of them wondered if indeed the ogre had taken her without her will as her daughter had said; and if so, if she had not lost the resentment she might be imagined to have felt.”

• Hesperus represents Venus the morning star in Latin Lucifer or light bringer. As Russell puts it, the evening star is the morning star; it represents the drama of a hero striving for the highest seat of heaven but being cast out of heaven (matches the movement of Venus in the sky). Another connection to Sirius.
• Another suggestion that perhaps this quest is not as it seems.

“In ancient times, so it is said, a tattered child, the daughter of a fisherman, found on the sand a stoppered flask, and by breaking the seal and drawing forth the cork became queen from ice to ice. Just so it seemed, an elemental being, strong with the strength of the forging of creation, debouched from the tall smokestacks of their ship, tumbling over himself in dark joy and growing with a rush, as the wind comes.”

• This could be a Pandora’s box reference, critically Pandora. Another dualistic notion, that what saves the day also causes doom. Or perhaps Odysseus’ bag of winds; the aid turns into the curse. Fits into the overall narrative of the story that Severian is both a torturer and a hero. He is “severed” and “severs” into two. Dorcas: “All of you are torturers, one way or another.”

“Then he strode to the rail and looked down; but with such an expression that no one, not even the most brave, dared to look at him. When he lifted his eyes at last, his face was set and grim and with no word to any man he took himself to his cabin and barred the door.”

• Obviously despondent. Either about the evil he released into the world or that his great battle was with a phantasm or that the whole quest was a lie.

“But on the morning of the third day, the young man fleshed from dreams came out of his cabin and began to walk up and down the deck as he was wont to do”

• Allusion to the resurrection of Jesus on the third day. His cabin serves as his “tomb.”

“At this he looked up into the very vault of the firmament. And some thought he prayed, and some that he sought to restrain the anger he felt against them, and some only that he hoped to gain inspiration there. But so long did he stare that they waxed afraid, even as they had when he had peered into the water, and one or two began to creep away. Then he said to them: “Behold! Do you not see the sea birds? From every corner of the sky they stream. Follow them.”

• He’s come back from the dead but is filled with anger.

“None of them ever forgot that night”

• Nothing like an orgy after a long day of work.

“Certain of the Corn Maidens wed those princes who, having spent years so long enchanted that they are loath to leave that life (and have in that time learned much of gramary), build palaces on lily pads and are seldom seen by men.”

• They go out to become demonic forces in the world. Lily pads are a call back to Chapter 2 of shadow: “When I think of my own death, or of the death of someone who has been kind to me, or even of the death of the sun, the image that comes to my mind is that of the nenuphar, with its glossy, pale leaves and azure flower.” The nenuphar exists above and below the water; they exist in two worlds just as their journey took them from the east to the west.

“And when he beheld their dark sails, smutted by the burning tar that had blinded their enemy, he believed them blackened in mourning for the young man, and he threw himself down, and so perished. For no man lives long when his dreams are dead.”

• Absurd ending to the story. You can't help but laugh at the ending. Jonas even suggests that the end of the story has been edited.
• IMO, he kills himself because the “hero’s” journey was never meant to be a success. The hooded ones need the ogre to have the utopia.

https://archiveofourown.org/works/55923487/chapters/142008391
Akari, my OC, has a kind of black and white thinking patten in this story. She thinks there are only good guys and bad guys and doesn't see the other shades of grey in between until later on.
Summary:
“You wanna be a hero, right?” Keigo asked.
She nodded enthusiastically. Sure, her quirk hadn't come in yet, however, when it did she was going to use it to save others, like the hero's, not to harm others, like the villains.
“It isn’t always about winning.” Keigo followed up.

https://archiveofourown.org/works/55923487/chapters/142008391
Akari, my OC, has a kind of black and white thinking patten in this story. She thinks there are only good guys and bad guys and doesn't see the other shades of grey in between until later on.
Summary (due to change):
“You wanna be a hero, right?” Keigo asked.
She nodded enthusiastically. Sure, her quirk hadn't come in yet, however, when it did she was going to use it to save others, like the hero's, not to harm others, like the villains.
“It isn’t always about winning.” Keigo followed up.

In the quaint village of Briarbrook, nestled between rolling hills and whispering pines, lived a curious soul named Eliza. Her days were stitched together by the rhythm of the seasons, each passing year marking a new chapter in the symphony of her life. From the tender age of six, Eliza had a penchant for collecting seashells, each one a treasure imbued with memories of seaside escapades that lingered in her heart.
Through the lens of her youthful gaze, the world was a canvas painted with the hues of wonder and possibility. The winding cobblestone paths of Briarbrook, once familiar and comforting, now seemed to whisper tales of distant lands and untold adventures.
Eliza's transformation began with an unexpected encounter in the heart of the woods. She stumbled upon a mysterious figure, cloaked in stories and secrets, weaving tales spun from threads of wisdom and curiosity. The old sage, nestled beneath the gnarled branches of an ancient oak, imparted cryptic advice that sparked a yearning for discovery within Eliza's soul.
As seasons melted into one another, Eliza embarked on a voyage of self-discovery, a journey shaped by trials and revelations. She encountered peculiar companions along the way—a nomadic storyteller whose words painted vivid landscapes of far-off realms, a silent gardener who nurtured seeds of wisdom in the fertile soil of her mind, and a spirited bard whose melodies echoed the songs of forgotten legends.
Each encounter left an indelible mark on Eliza's spirit, illuminating hidden facets of her identity. The trials she faced—challenges that tested her courage, tempests that stirred her resilience—were the forge where her character was shaped and honed.
With the passage of time, Eliza's once small world expanded like a blooming tapestry unfurling to reveal the vastness of existence. Her footsteps led her beyond the village's borders, across sun-kissed meadows and moonlit forests, as she chased the elusive whispers of distant horizons.
The crescendo of her journey was not marked by a definitive destination but by the realization that the pilgrimage itself was the essence of her metamorphosis. The soul-stirring melodies of life's harmonies resonated within her, guiding her toward a profound understanding—that growth was an eternal dance, an ever-evolving rhythm that echoed the cadence of the human spirit.
In the end, Eliza returned to Briarbrook, her heart brimming with the treasures of her odyssey. The village, once suffused with familiarity, now appeared adorned with newfound hues and shades, each cobblestone and each whispered tale a testament to her evolution.
As she gazed upon the horizon, Eliza knew that her journey had only just begun—a boundless expanse of tales awaiting to be unwoven, mysteries yearning to be unraveled, and the infinite depths of her own soul waiting to be explored.
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In the shimmering metropolis of NeoArc, where the glow of neon lights danced upon sleek skyscrapers, lay a world teetering on the edge of evolution. Here, in the heart of innovation, the threads of society intertwined with the fabric of cutting-edge biotechnology, genetic engineering, and the pulsating rhythm of biometrics.
Enter Marcus, a young engineer whose fascination with the fusion of biology and technology bordered on obsession. His world revolved around the labyrinthine corridors of the Research and Development sector, a sprawling enclave where the echo of mechanical hums harmonized with the whispers of experimental breakthroughs.
The city's pulse throbbed with advancements, where cybernetic enhancements were the new frontier, and genetic modifications promised to redefine humanity's very essence. Marcus was entangled in this web of progress, driven by an insatiable curiosity to decipher the symbiosis between man and machine, the convergence of flesh and circuitry.
In the shadowed alleys and clandestine laboratories of NeoArc, Marcus found himself embroiled in clandestine projects that skirted the edges of ethical boundaries. The allure of pushing the boundaries of biotechnology to transcend limitations beckoned, blurring the lines between ambition and moral compass.
As Marcus delved deeper into the intricacies of biopunk, he encountered factions entrenched in clandestine operations, each vying for control over the enigmatic possibilities offered by genetic manipulation. The allure of power and the pursuit of human enhancement became a battleground where ethics clashed with ambition, morality tangled with scientific prowess.
Yet, amidst the chaos and ethical dilemmas, Marcus found a beacon of hope—a glimmering thread of purpose that intertwined with his quest for knowledge. He realized that the true essence of biopunk wasn't merely about the advancement of technology but the ethical responsibility tethered to wielding such unprecedented power.
The climax of his journey wasn't marked by a groundbreaking scientific discovery or an engineered revolution but by the profound realization that the future of biopunk lay not solely in scientific marvels but in the conscientious application of its possibilities.
In the hum of NeoArc's bustling streets, Marcus emerged not as a trailblazing scientist pushing the boundaries of biotechnology, but as a steward of ethical innovation. His resolve to tread the path of biopunk with ethical integrity became the cornerstone of his legacy—a testament to the convergence of humanity and technology in an era poised on the brink of revolution.
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bio punk
In the heart of the sprawling city of NeoArc, Marcus stood amidst the fluorescent glow of the Research and Development sector, engrossed in the rhythmic hum of the lab. His quest for scientific breakthroughs was a symphony composed of ambition and ethical contemplation, interwoven with the threads of intrigue that pulsed through the cutting-edge world of biopunk.
Character Development:
As Marcus meticulously tinkered with strands of genetic code, he navigated the labyrinth of his own moral compass. Each experiment, each ethically ambiguous choice, etched a subtle mark upon his conscience. His devotion to scientific advancement wrestled with the nagging tendrils of ethical responsibility that coiled within his mind.
Plot and Literary Devices:
One fateful night, a clandestine meeting in the dimly lit alleys of NeoArc beckoned Marcus into the clandestine underbelly of biopunk's potential. The dialogue between Marcus and a shadowed figure unfurled like a carefully crafted riddle, each word laden with intrigue and veiled warnings.
"Marcus, you possess the ingenuity to redefine the very fabric of humanity," murmured the shadowed figure, the words laced with both temptation and caution.
The plot thickened as Marcus found himself entangled in a web of intrigue, navigating a plot steeped in mystery and ethical quandaries. The external dialogue mirrored the city's pulsating energy, shrouded in the secrets of illicit experimentation, while his internal dialogue echoed with the reverberations of moral dilemmas.
Inner Dialogue: "Can scientific progress eclipse moral boundaries? Is the pursuit of advancement worth compromising ethical standards?"
External Dialogue: "I seek answers, not just to revolutionize science, but to wield its power responsibly," Marcus countered, the gravity of his words underscoring his ethical stance.
Development Through Dialogue:
Conversations with clandestine researchers, heated debates with colleagues, and ethical discussions within the corridors of the lab epitomized Marcus's journey. Each dialogue was a canvas upon which his character evolved, transforming from a zealous scientist fixated on progress to a vigilant guardian of ethical innovation.
The climax unfurled in a crescendo of moral reckoning—a pivotal moment where Marcus had to choose between the allure of unchecked progress and the moral imperative to wield biotechnology responsibly.
Conclusion:
As the neon-lit streets of NeoArc bathed in the city's nocturnal luminescence, Marcus emerged not just as a scientist but as a beacon of ethical responsibility within the realm of biopunk. His character arc encapsulated the fusion of scientific curiosity and moral consciousness, painting a portrait of growth that mirrored the city's ever-evolving skyline.
This journey through Marcus's inner and external dialogue, intertwined with plot and ethical dilemmas, encapsulated the essence of character development within the intricate tapestry of the biopunk genre.
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Remember these were generated by ChatGPT and have not been edited. They were prompted using the same writing genre prompts that were provided to you, and I was trying to make an example of how to respond but instead, this is what was churned out from different sessions. I'm still working on it but let me see what happens when humans respond!

So i was reading this:: https://drive.google.com/file/d/1gxC7bO2kjCkDJkVWsAgRcp_i4rijzEua/view
On page 85 it says
Abul Husayn al-Quduri
“Whoever refuses to pay the Jizyah, kills a Muslim, insults the Prophet or has unlawful intercourse
with a Muslim woman, his contract has not been violated. The contract is not violated except when
he goes to dar al-harb, or they (dhimmis) overrun a place and wage war against us.”
and
Al-Marghinani
“If a Dhimmi refuses to pay the Jizyah, kills a Muslim, uses foul language for the Prophet, or has
unlawful intercourse with a Muslim woman, his covenant is not to be terminated... Al-Shafi’i says
that using foul language of the Prophet breaks the covenant, because if he was a Muslim his faith
would be annulled, likewise his assurance of safe-conduct is annulled for the contract of Dhimmah is
a substitute for belief. We argue that using bad language for the Prophet is an expression of
unbelief on his part and the unbelief associated with him does not break his covenant and the
recurring unbelief does not remove the assurance.”
note the author says : The Hanafis disagree with the Shafi’is on what breaks the covenant of security. [The document on
Blasphemy will look at the Hanafi position a bit more in detail, Summary: even though a
blaspheming Dhimmi’s covenant might not be “terminated” – he can still be executed]
But yet these same hanafi scholars says this
page 65
Al-Marghinani
Chapter: The Rules of Warfare:
“When the Muslims commence battle, and they have surrounded a city or a fort, they are to invite
the inhabitants to accept Islam, due to what is related by Ibn Abbas “that the Prophet did not
commence combat with a people without first inviting them to Islam.” He said: ‘If they respond
positively, they are to refrain from fighting them’, due to the attainment of the purpose, he said: “I
have been commanded to fight the people until they say there is no God but Allah”. ‘If they refuse,
they are to invite them to the payment of the Jizyah’, and this is what the Prophet ordered the
commanders of the armies to do for it is one of the consequences upon the conclusion of battle,
according to what the text has stated. This applies to those among them who are eligible to accept
the payment of the Jizyah. Those from whom the Jizyah is not accepted are the apostates or the
idol worshippers from among the Arabs, there is no benefit in inviting them to accept the Jizyah,
because only Islam is acceptable from them. Allah said: “Then shall ye fight, or they shall submit.
[Quran 48:16]””
https://shamela.ws/book/11820/500 Ar: Al-Hidaya (2/379), Eng: p. 501, Chapter 109 – The Rules of Warfare
فإن أبوا ذلك استعانوا باهلل عليهم وحاربوهم " لقوله عليه الصالة والسالم في حديث سليمان بن بريدة " فإن أبوا ذلك فادعهم "
إلى إعطاء الجزية إلى أن قال فإن أبوها فاستعن باهلل عليهم وقاتلهم " وألنه تعالى هو الناصر ألوليائه والمدمر على أعدائه
فيستعان به في كل األمور قال
“If they reject the invitation, they are to seek the help of Allah and engage them in combat, due to
the saying of the Prophet in the tradition of Sulayman ibn Buraydah, “If they reject this then invite
them to accept the Jizyah,” till he said, “if they refuse that, then seek the help of Allah against
them and engage them in combat.” The reason is that it is Allah, the Exalted, who helps His friends
and destroys His enemies, thus, His help is to be sought in all affairs.”
and
Abul Husayn al-Quduri
“When Muslims enter Dar al-Harb (land of war) and they lay siege to a city or to a fort, they invite
[the inhabitants] to Islam. If [the inhabitants] accept them, desist from fighting them, but if they
decline, call them to pay the Jizyah... It is not permitted to fight those whom the invitation of Islam
has not reached, except after (the Muslims) have invited them (to Islam). It is recommended to invite
66
those whom the invitation of Islam has [already] reached [before fighting them], but that is not
obligatory. If they refuse, seek the aid of Allah against them and wage war on them. They should fire
catapults at them and burn (their buildings and strategic positions). They should unleash water
against them and cut down their trees and destroy their crops. There is no objection in shooting them
(with arrows), even though there may be Muslim prisoners or traders amongst them. If they shield
themselves with children of the Muslims, or with prisoners, do not cease shooting at them. With the
shooting they target non-Muslims, not the Muslims.”
You see it's seems contradictory to me. So my question is under the hanafi school and abu hanifa, can a dhimmi refuse to pay the jizya and not be killled/or punished? Or is it like the other schools where if you refuse to pay you get rekt?

So i was reading this:: https://drive.google.com/file/d/1gxC7bO2kjCkDJkVWsAgRcp_i4rijzEua/view
On page 85 it says
Abul Husayn al-Quduri
“Whoever refuses to pay the Jizyah, kills a Muslim, insults the Prophet or has unlawful intercourse
with a Muslim woman, his contract has not been violated. The contract is not violated except when
he goes to dar al-harb, or they (dhimmis) overrun a place and wage war against us.”
and
Al-Marghinani
“If a Dhimmi refuses to pay the Jizyah, kills a Muslim, uses foul language for the Prophet, or has
unlawful intercourse with a Muslim woman, his covenant is not to be terminated... Al-Shafi’i says
that using foul language of the Prophet breaks the covenant, because if he was a Muslim his faith
would be annulled, likewise his assurance of safe-conduct is annulled for the contract of Dhimmah is
a substitute for belief. We argue that using bad language for the Prophet is an expression of
unbelief on his part and the unbelief associated with him does not break his covenant and the
recurring unbelief does not remove the assurance.”
note the author says : The Hanafis disagree with the Shafi’is on what breaks the covenant of security. [The document on
Blasphemy will look at the Hanafi position a bit more in detail, Summary: even though a
blaspheming Dhimmi’s covenant might not be “terminated” – he can still be executed]
But yet these same hanafi scholars says this
page 65
Al-Marghinani
Chapter: The Rules of Warfare:
“When the Muslims commence battle, and they have surrounded a city or a fort, they are to invite
the inhabitants to accept Islam, due to what is related by Ibn Abbas “that the Prophet did not
commence combat with a people without first inviting them to Islam.” He said: ‘If they respond
positively, they are to refrain from fighting them’, due to the attainment of the purpose, he said: “I
have been commanded to fight the people until they say there is no God but Allah”. ‘If they refuse,
they are to invite them to the payment of the Jizyah’, and this is what the Prophet ordered the
commanders of the armies to do for it is one of the consequences upon the conclusion of battle,
according to what the text has stated. This applies to those among them who are eligible to accept
the payment of the Jizyah. Those from whom the Jizyah is not accepted are the apostates or the
idol worshippers from among the Arabs, there is no benefit in inviting them to accept the Jizyah,
because only Islam is acceptable from them. Allah said: “Then shall ye fight, or they shall submit.
[Quran 48:16]””
https://shamela.ws/book/11820/500 Ar: Al-Hidaya (2/379), Eng: p. 501, Chapter 109 – The Rules of Warfare
فإن أبوا ذلك استعانوا باهلل عليهم وحاربوهم " لقوله عليه الصالة والسالم في حديث سليمان بن بريدة " فإن أبوا ذلك فادعهم "
إلى إعطاء الجزية إلى أن قال فإن أبوها فاستعن باهلل عليهم وقاتلهم " وألنه تعالى هو الناصر ألوليائه والمدمر على أعدائه
فيستعان به في كل األمور قال
“If they reject the invitation, they are to seek the help of Allah and engage them in combat, due to
the saying of the Prophet in the tradition of Sulayman ibn Buraydah, “If they reject this then invite
them to accept the Jizyah,” till he said, “if they refuse that, then seek the help of Allah against
them and engage them in combat.” The reason is that it is Allah, the Exalted, who helps His friends
and destroys His enemies, thus, His help is to be sought in all affairs.”
and
Abul Husayn al-Quduri
“When Muslims enter Dar al-Harb (land of war) and they lay siege to a city or to a fort, they invite
[the inhabitants] to Islam. If [the inhabitants] accept them, desist from fighting them, but if they
decline, call them to pay the Jizyah... It is not permitted to fight those whom the invitation of Islam
has not reached, except after (the Muslims) have invited them (to Islam). It is recommended to invite
66
those whom the invitation of Islam has [already] reached [before fighting them], but that is not
obligatory. If they refuse, seek the aid of Allah against them and wage war on them. They should fire
catapults at them and burn (their buildings and strategic positions). They should unleash water
against them and cut down their trees and destroy their crops. There is no objection in shooting them
(with arrows), even though there may be Muslim prisoners or traders amongst them. If they shield
themselves with children of the Muslims, or with prisoners, do not cease shooting at them. With the
shooting they target non-Muslims, not the Muslims.”
You see it's seems contradictory to me. So my question is under the hanafi school and abu hanifa, can a dhimmi refuse to pay the jizya and not be killled/or punished? Or is it like the other schools where if you refuse to pay you get rekt?

Hermione and Harry fall into the Veil by Anonymous
Summary
Harry and Hermione fall into the veil and start popping up in time. This can be just going back to their own time or their parents or somewhere further back.

Love fall through the veil plotlines as they all tend to be very wildly AU and imaginative! This one was submitted for the Harmony Summertime Madness Fest which has both Claiming and Posting open! Works are not due until July so you have plenty of time if you choose to participate!
One of my favorite fall through the veil fics is Rouch's Through the Veil, although this prompt is focused on time travel! (a favorite trope ❤️❤️❤️)
Here's a drabble for fun based on this prompt! Maybe someone will decide to take up the challenge and write it out completely! ~~~~~~~~~~~~~~~~~~~~~~~~~
Hermione stumbled towards the screaming and snapping sound of spells as she clutched her side. Every movement sent a dull throb throughout her entire body from where Dolohov’s spell had hit her. She ignored the pain with a single-minded focus of finding and making sure one person was okay. The person she was determined to keep alive no matter how many times he ran straight into danger.
Perhaps that’s why she was the only one who reacted fast enough when disaster stuck. In a large open room, dozens of fights were going on, but none as flashy and vicious as between Sirius and his cousin Bellatrix Lestrange. Sirius laughed as he fought his cousin, taunting her as they exchanged mortal curses. Sirius’ entire attention was on his dangerous and cousin and he didn’t seem to notice he was getting too close to an ominous stone arch in the center of the room. A veil drifted from the arch on a phantom wind-like ghostly fingers reaching out for those closest.
It all happened in slow motion. Bellatrix screeched in fury at Sirius’ latest taunt and snapped out a spell swifter than Sirius expected. He tried to dodge the jagged red curse, but he stumbled, and his arms pinwheeled as he tried to keep his balance and not fall backward through the arch. The veil flared hungrily as if sensing Sirius’ demise.
Harry ran forward, determination in every line of his body as he arrowed toward his godfather. He was going for Sirius. Hermione didn’t yell; she didn’t try to warn anyone. Instead, she ran as fast as she could to save Harry. To save both of them if she was lucky enough.
But she wasn’t the only one trying to save their best friend.
Harry latched on Sirius, yanking him forward just as Remus crashed into his back the momentum propelling Harry into the stone arch as suddenly he and Sirius switched. Hermione gasped as she saw the veil too close to Harry, the gossamer cloth brushing over his face, and stretched out her arm grasping the back of Harry’s shirt to try to haul him back, but he was too heavy.
With a whisper of sound, Harry and Hermione were pulled through while Remus and Sirius crashed backward onto the floor in front of the stone arch.
On the other side Hermione felt weightless, and it was hard to see as if a dense fog covered everything. The only thing she knew was that she had the fabric of Harry’s shirt grasped tight. Whispers in familiar voices echoed around her, too low to make out what they said.
She tried to yell or talk to Harry, but she wasn’t able to make a sound. A part of her wondered if she was dead or dying. It certainly didn’t feel as she thought death would. Would her hand still ache from her grip on Harry’s shirt if she was dead?
Time didn’t have any meaning. The fog could have lasted only seconds or could have lasted days. Hermione only had one point of reference, one sensation. Her hold on Harry.
An analytical part of her thought it was the only thing she could affect and so maybe she should let go and see what happened. But no. That was simply something she was never going to do.
So the stasis held, the whispers washing over her, floating in the grey fog.
Until…
But no…
Was that something different?
Was that change?
The whispers had sharpened. The fog had darkened, and the weightlessness was leaving her.
Her stomach somersaulted and suddenly she realized she was falling. She yanked with all her might on the shirt fabric she still had clutched in her hand and grunted when she slammed into something hard.
“Hermione!” someone was patting her face gently. “Hermione wake up.”
She woke up and groaned, rolling over and clutching her hand to her stomach. It felt like her fingers were broken. They ached so badly. Someone pushed at her insistently, talking and trying to grab at her hand.
“Shhh, shhh, I know it hurts. I have some dittany still in my pocket from Umbridge.”
At that familiar voice, she opened her eyes to see Harry above her, looking at her worriedly. “Harry? Harry!” She surged up, throwing her arms around him and squeezing him tightly. “You’re okay!”
“I was a bit more worried about you, actually.” He said in a slightly strained voice from her chokehold, lightly patting her arms to get her to let go.
Hermione let go abruptly, looking around for the first time, noticing they were in an unfamiliar bedroom. “Where are we?”
“I don’t know. I just woke up here, and you were next to me holding my shirt.”
“We fell into that veil, I think,” Hermione said quietly.
Harry opened his mouth to reply but abruptly shut it as they heard voices approaching the closed door to the bedroom. Standing, he swiftly pulled Hermione to her feet, stepping in front of her as they both watched the bedroom door tensely. “Do you still have your wand?”
Hermione patted her pockets for a frantic second before locating her wand. Thank god for tethering charms. “Yes.”
“It doesn’t make sense. They would have been stupid enough to leave us with our wands if they meant us harm, but we need to get back to find out what happened to everyone.”
“Yes,” she repeated, agreeing as her hand tightened on her wand with only a slight ache after the dittany.
The bedroom door opened slowly, and they heard the humming of a lullaby first. A red-haired woman entered carrying an infant that was so small it must have been only hours old. “There, there now, love. I’m sure daddy is going to smush that silly old dog for laughing too loud and frightening you.”
Harry gasped, stumbling back into Hermione and squishing her against the wall.
“Wha–” Hermione’s question was choked off as the woman’s head snapped up, her wand appearing and pointing straight at them. It was the woman’s eyes that caught her. They were the same shade of green as Harry’s eyes.
The woman, however, had no such hesitation. Her spells snapped out lightning quick, disarming them and tying them up neatly with an incarcerous. She didn’t take her eyes off them as she raised her voice, yelling, “James! Sirius!”
​

For context, I post cool teams that I made using some underplayed path or tactic, and on the last one, Unorthodox Gameplay 3 : Monarchnesis, a fellow user u/Alexandergus (COME, SAY HI TO EVERYONE) asked me to build a team with not only Anamnesis, but Berserker Helion as well... And as the title says : ASK AND THOU SHALL RECEIVE
Sidenote: If there's too much text for your liking, dear reader, feel free to skip to the summary part down bellow ;)
So, with that out of the way, let's get to strats!

Occultist

I took inspiration on a setup that ShuffleFM (Darkest Dungeon youtuber,twitch streamer and really good reference) showcased on one of his teams. The concept is that you have a Virtuoso Jester using Encore on Occultist, which proceeds to Chaotic Offering on his bonus turn, generating an Unlimited Power Token(UP). After that, when the regular Occ turn rolls in, he gets the second UP because of the turn start effect, which he originally used to nuke someone with Warlock's Burning Stars turn 1; on my case is to perform Aspirant Anamnesis and open the first turn with a really strong cleave, I also run Burning Stars as an option for larger enemies like size 2s or bosses.

Jester

As for the Jester, since I'm basing my entire schtick on Encore, I'm also running Solo and Finale. That's because you can actually use the dazed in your favor and the cooldowns sync. EG: Encore turn 1 > gets dazed and pushed to last turn 2 action order > Solo > Forward 3> gets Speed token and Jester, specially Virtuoso is really fast > goes first on turn 3 > uses Finale > Back 3 and dazed >If encounter's still going, Encore and Repeat. I topped him with Inspiring Tune for Stress heal (literally the best in the game) and Razor's Wit for poke.

Helion

Now let's talk about Helion. She likes the cleave since it helps her kill rank 4 in 1 turn with Iron Swan, specially ordained and modified enemies like elite and sturdy, not only that but as she's Berserk and is at Rank 1, I run Bleed Out as a strong option after I dealed with the backline; Bleed Out doesn't even have a cooldown, it "just" grants you winded tokens, which means you can spam it to stack monstrous bleeds. I just did act 3 and had 18 bleeds on the last phase for 5 turns (I crited). Another synergy is that after you cast Burning Stars at a chonky target, it gets combo; Bleed Out on Berserker on a combo tarket has 63% BLEED PIERCING. It's basically guaranteed (unless you're using this on Warlord, this bastard has 100 base... He's a VERY good reason to not go overboard on bleeds; not only that but if your whole team wants to bleed someone, you'll end up fighting for the same trinkets). For the rest of her kit, I had Toe to Toe for Taunt, Rooted and movement, Adrenaline Rush for heals and Bloodlust for really long fights and as an alternative to remove Winded tokens that isn't dependent on Adrenaline Rush's health threshold AND grants 30% more damage against bleeding targets. With Jester Encore, you can mix a ton of good sequences, specially in later stages of the fight, granting Helion bonus actions, for example stacking Bleed Out faster, or clearing winded with Bloodlust/ Adrenaline Rush/Toe to Toe+ and then hitting again with Bleed Out.

Plague Doctor

And to stitch the team together, I chose Plague Doctor as the Rank 4 hero, but not any Plague Doctor; Physician. I managed to weld together Physician, Anamnesis and Bleed Out and it's ...GOOD? The thing with Physician is that, except for Magnesium Rain that has a cooldown of 3 turns, she doesn't have a damaging skill to use. Instead, her supportive capabilities are enhanced, and they're great with this team because she provides much needed utility with crowd control, corpse clearing, heals and offensive tokens.
Usefulness Utility listed bellow!

• Turn 1 she can use Emboldening Vapors on Occ to boost Anamnesis and Burning Stars, not only that but on this path this skill grants 2 Strenght Tokens instead of 1, with a cooldown of 1 turn or 0 when upgraded.
  
  • She can blind and daze the two backrow enemies wit Blinding Gas+ to delay their actions long enough so Helion and Occ can make quick work of Rank 4 before the target does something WHILE Rank 3 is Blinded!
  • Magnesium Rain is good for chip damage, dodge clearing and corpse removal(therefore, Bleed Out setup)
  • Heals are as great as ever!
  • Even Ounce of Prevention gets an honorable mention for better handling heavy DOT enemy comps and diseases, like creature dens and the Sprawl; and at this path even grants Stress Damage RES
  But one of the reasons I really liked Phys here is because the team can make full use of her Disorienting Blast, which not only has +20% Stun Piercing on upgrade with combo, but grants Vulnerable as well. A problem I had is that some key heavy hitting skills from the rest of the cast are heavelly reliant on position, like Leper's Chop hitting Ranks 1 and 2, PBS hitting 1, Pistol Shot not hitting 1; so it was kinda like a gamble most of the time. But Finale and Burning Stars hit ALL ranks REALLY HARD ; which means that it doesn't really matter where the enemy ends up, it's going to get CLAPPED. Helion also makes good use of it in later stages of the fight, where your Magnesium Rain is on cooldown and the enemy is standing at rank 2, where rank 1 is a corpse and rank 3 and 4 are cleared. You can try to fish it and grant vulnerable at the same time; it's good!
  

Maps

For regions, try to prioritize the Shroud, for the bleed trinkets for Helion and Ocultist and other trinkets for the Jester, like Seamen's Boots and Compass.
Defensive trinkets on Helion aren't bad either, since she's gonna eat 80% of the hits thrown at her, so Tangle isn't a bad choice. Burning Stars ignores Block and Blinding Gas can help by "dodging" some heavy hitting moves.
Sprawl can be okay because of burn trinkets that can up the usefulness of Mag. Rain and speedy trinkets for Jester
Foetor is the lowest priority map to go, literally no one wants blight buffing trinkets and you even risk getting your heroes sick; I'd go if the map mission grants a good reward but that's about it.

Lair Boss matchups

• You can wreck Levi, specially with a bit of scaling since Bleed Out+ gives good damage with 6 points of bleed; the hand has 24 hp and the bleed by itself deals 18. Burning Stars is a Nuke as well as Finale. BTW he has a trophy that DOUBLES BLEED CAUSED. Just saying
  
• Dababy can be dealt with by Helion using Toe to Toe to lock her on Rank 1, which halts the hungering shenanigans from others behind her; try to get Holy Water to get rid of hunger tokens on Helly so you can Toe to Toe again. Other than that just play as normal with the Encore > Chaotic Offering > Emboldening Vapors > Burning Stars setup, use D. Blast as well to try and get Dababy out of Rank 1.
  
• Librarian is okay, try to have a few throwable items on Jester to spend his dodge tokens and try to Encore > Solo > Finale him. Helion can eat the Blinds thanks to Toe to Toe.
  
• The General is the one I worry the most, he has a huge healthpool and only takes 1 action per turn, which makes DOT tick slowly and gives him plenty of time to stall and disrupt you with his stress inducing attacks, Waking Dead and, if you don't deal with the root, Nightmare. I'd avoid fighting him if my team didn't scale enough and I'd bring Cause of Death+ to speed things up.
  

Pets

They are pretty flexible on this team. I like the Rabbit here since everyone has trouble tanking hits, so the bonus HP goes a long way if you get it rolling(HMMM FLAPJACKS). Some good optins are: - The Tick to get the blood for guaranteed crit tokens and huge damage and bleeds - The Owl helps the debuffs from PD to stick and can provide good flow of Combat Items - The Pliskin can be good since the team is squishy and can use more sustain between fights - The Slime if you like running over debris and don't want to deal with negative tokens - This last one is highly experimental and I still have to test it, but it got to my attention that Larval Carrion Eater can be good as a Crit token Generator, specially since Anamnesis cleaves the whole party. On turn 2 you'd have only 1 UP at your turn which means you can either heal or Sac Stab something. If you have Stab+, you can use it on a corpse, kill it, generate another UP, heal 30%, gain a Block Token and a Crit token for next round, and on that round you'll have 3 UPs at your disposal to spend. This translates to 2 Anamnesis / Burning Stars casted on sequence, since you would spend 2 on this turn, and you would generate another one at the beginning of your next turn. Try this at your own courage and peril (and tell me the results later!)

Summary of the team:

Rank 4: Physician Plague Doctor
Emboldening Vapors Disorienting Blast Battlefield Medicine Blinding Gas* Magnesium Rain*
You can swap these with: Indiscriminate Science+ (heals without limited uses, good for Act 5), Ounce of Prevention for DOTS and disease prevention, Cause of Death+ if you want to nuke some large target that has a ton of bleed stacked into it, after Jester's Finale, you can use since he moves you into rank 3
Rank 3: Virtuoso Jester
Encore Solo Finale Inspiring Tune Razor's Wit
Rank 2: Aspirant Ocultist
Chaotic Offering Anamnesis Burning Stars Sacrificial Stab* Wyrd Reconstruction*
You can swap one of these with Binding Shadows if you're worried about shuffles, on Aspirant it moves you Forward 1 and can generate you a stack of UP
Rank 1 : Berserker* Helion
Iron Swan Toe to Toe Bleed Out Adrenaline Rush Bloodlust*
You can swap Bloodlust with: Raucous Revelry for a heal not dependant on limited uses, stress heal, and on upgrade, DBR Wicked Hack for better damage at rank 2 Breakthrough for Shuffles
As for the * on Berserker, is just that maybe it's a good idea changing the path depending on which act boss you're going against; the ones that came to mind are act 2 and 3. Vs act 2, Bleed Out gets absolutely no value so there's no reason to run Berserker, I'd recomend changing to Ravager for easier management of the lungs. You can also change to Carcass to better deal with high damage since apart from this path she doesn't generate blocks; I had her take every inn item I could buy to give her a better chance at survivability against the Focused Fault, but even then I got a few Deathblow checks; would recommend either running Cause of Death on PD with Berserker, or changing to Carcass to tank with Yawp. I'd also recommend not running Bloodlust if you're running Cause of Death on PD, since it clears all DOT for instant damage, making your turn go to waste, in this case just use Toe to Toe+ to get rid of Winded.
phew... this took a WHILE. Feel free to ask any questions about the team and tell me if you'd want some help with a specific path you'd like to play. ASK AND THOU SHALL RECEIVE
Heheh, have a good one! PS: I'm going straight to bed, but I'll try to answer you guys tomorrow. Good night!

New Chapter on every MWF (Monday, Wednesday,Friday)
[First] [[Next>]
[Discord] [Buy me a coffee]
Chapter 20: The Storm's Fury
Gribble huddled in the depths of the cave, his heart pounding wildly as the fierce thunderstorm raged outside. The heavy rain and ear-splitting thunder created a scary symphony, unlike anything Gribble had ever heard before. Each booming thunderclap made the cave walls shake, and small rocks fell from the ceiling. Gribble's eyes darted around the small space, looking for any sign of safety, but the storm's anger seemed to fill every nook and cranny. Fear gripped his heart as he worried that the whole hillside might cave in, trapping him alive in the cave. The damp air was thick with the smell of wet dirt and the sharp tang of fear, and Gribble's skin tingled with goosebumps as the temperature dropped. He wrapped his arms around himself, trying to stay warm and calm his frazzled nerves, but the storm's power only seemed to grow stronger with each passing moment.
The shadowy figure stood tall at the mouth of the cave, its form unmoving despite the heavy rain that pounded the outside. Gribble squinted his eyes, trying to figure out what the creature was through the curtain of darkness and the never-ending rain, but the details stayed hidden. The figure's posture was steady and scary, its broad shoulders and muscular build hinting at a tough enemy. Gribble's heart raced as he watched the figure, his mind imagining all sorts of terrifying possibilities. The creature's stillness was creepy, as if it was waiting for just the right moment to attack. A wave of dread washed over Gribble, and he instinctively pressed himself further into the cave's shadows, desperate to avoid being seen. The figure's presence was a stark reminder of the dangers that lurked beyond the cave's walls, and Gribble's survival instincts kicked into high gear as he thought about his next move.
A blinding flash of lightning tore through the night sky, filling the cave with an eerie, otherworldly light. For a split second, the creature's identity was revealed, and Gribble's eyes widened in horror as he took in the sight before him. Standing at the cave's entrance was a dark blue Thundercat, its muscular body rippling with power beneath its sleek, electric blue fur. The Thundercat's eyes gleamed with a predatory intensity, reflecting the lightning's flash like two pools of melted gold. Gribble's gaze was drawn to the creature's long, razor-sharp sabertooth fangs, which glinted menacingly in the momentary light. The sight of the Thundercat sent a wave of primal fear rushing through Gribble's veins, and he felt his breath catch in his throat. The stories he had heard of these legendary beasts paled in comparison to the reality that stood before him, and Gribble knew that he was facing a creature of unimaginable strength and ferocity.
Gribble's panic reached a fever pitch, his breath coming in short, labored gasps as he stared at the Thundercat. The tales of these feared creatures flooded his mind – whispers of the electric sparks that danced through their fur, of their immense strength that was said to rival even the most fearsome Owlbear. Gribble's heart pounded against his ribcage, and he could feel the cold sweat beading on his forehead despite the chill in the air. He knew that he was facing a daunting adversary, one that could easily overpower him in a head-on confrontation. The odds of survival seemed to dwindle with each passing second, and Gribble's mind raced as he desperately tried to come up with a plan. The Thundercat's presence loomed over him like a suffocating shadow, and Gribble could feel the weight of its gaze boring into him, even from across the cave. He understood that he must act quickly and decisively if he hoped to escape this encounter with his life.
Reacting on instinct, Gribble called upon his innate power to conjure bean-sized fireballs. With a flick of his wrist, he sent a barrage of the tiny, flaming projectiles hurtling towards the cave entrance, where they burst into brilliant flashes of light upon impact. The fiery assault illuminated the cave, casting dancing shadows on the walls and bathing the Thundercat in an orange glow. The heat from the flames was intense, and Gribble could feel the scorching air brushing against his skin. The fireballs sizzled and crackled as they hit the stone, sending sparks flying in all directions. For a moment, the cave was filled with a dazzling display of light and sound, a stark contrast to the dark, scary storm that raged outside. Gribble's heart pounded with a mixture of fear and excitement as he watched the fireballs explode, hoping that the sudden attack would be enough to distract the Thundercat and give him a chance to escape.
Gribble's mind raced as he sent the fireballs towards the Thundercat, desperately hoping that the sudden attack would give him the distraction he needed to make his escape. He focused his thoughts, tapping into his teleportation powers and trying to picture a safe place outside the cave. However, the tiredness and the fear that gripped his heart made it hard to concentrate. Gribble's brow furrowed as he tried to gather the needed energy, but his body felt heavy and sluggish, as if he was moving through water. The image of the safe haven he sought flickered in his mind's eye, tantalizingly close but just out of reach. Gribble gritted his teeth, pushing himself to the limits of his mental and physical strength as he struggled to keep his focus. The cave seemed to spin around him, and he could feel the cold tendrils of despair creeping into his heart as he realized that his teleportation powers might fail him in this critical moment.
Gribble's heart sank as he watched the Thundercat emerge unharmed from the fiery assault. The creature's electric blue fur crackled with energy, the sparks dancing across its body like tiny bolts of lightning. The Thundercat's eyes blazed with an otherworldly intensity, and it let out a deafening roar that shook the very foundations of the cave. The sound was unlike anything Gribble had ever heard before – a primal, guttural cry that seemed to echo through his very bones. The cave walls trembled, and small rocks and debris rained down from the ceiling, adding to the chaos of the moment. Gribble realized with a sinking feeling that the Thundercat was not only unharmed but enraged by his attack. The creature's muscles rippled beneath its fur as it prepared to charge, and Gribble knew that a battle was now unavoidable. He steeled himself, summoning every ounce of courage and determination he possessed, knowing that he must fight with all his might if he hoped to survive this encounter.
The Thundercat sprang into action, its powerful legs propelling it towards Gribble with a speed that defied belief. The creature moved with a fluid grace, its body a blur of electric blue as it closed the distance between them in mere seconds. Gribble barely had time to react before the Thundercat was upon him, its razor-sharp claws slashing through the air with deadly precision. He threw himself to the side, narrowly avoiding the initial attack, but the Thundercat's agility was unmatched. The creature pivoted mid-leap, its tail lashing out like a whip and its claws finding purchase on the cave wall as it redirected its momentum. Gribble's heart raced as he realized the true extent of the Thundercat's physical prowess – its reflexes were lightning-fast, and its strength was beyond anything he had ever encountered. The creature's eyes locked onto Gribble, and he could see the predatory gleam within them, the raw hunger for the hunt. Gribble knew that he must keep moving, keep dodging, if he hoped to stay alive long enough to find a way to counter the Thundercat's relentless assault.
Despite the fatigue that weighed heavily upon him, Gribble mustered the last reserves of his energy and called upon his earth vine powers. He focused his mind, reaching out to the cave floor and seeking the dormant life that lay beneath the stone. With a surge of effort, Gribble summoned a single, thick green tendril from the ground, watching as it burst forth and snaked its way towards the Thundercat. The vine wrapped itself around one of the creature's muscular legs, momentarily halting its advance and giving Gribble a fleeting moment of hope. However, the Thundercat's strength was too great, and it easily ripped through the vine with a snarl of annoyance. The severed tendril fell to the cave floor, writhing like a dying snake before going still. Gribble's heart sank as he realized that his earth vine powers, once a reliable ally in battle, were no match for the Thundercat's raw power. The creature's gaze turned back to Gribble, its eyes narrowing with a mixture of anger and predatory anticipation, and he knew that he must find another way to defend himself before it was too late.
Gribble's mind raced as he desperately searched for a way to gain the upper hand against the relentless Thundercat. In a last-ditch effort, he summoned another volley of bean-sized fireballs, pouring every ounce of his remaining energy into the attack. The tiny flames erupted from his fingertips in rapid succession, streaking through the air like miniature comets and striking the Thundercat's fur with sizzling precision. The creature hissed in pain as the fireballs singed its coat, but its anger only seemed to grow with each passing second. Gribble's exhaustion began to take its toll, his movements becoming sluggish and uncoordinated as he struggled to maintain the barrage. His vision blurred, and his limbs felt heavy, as if he was moving through molasses. The Thundercat pressed its advantage, its claws and fangs flashing in the dim light of the cave as it lunged towards Gribble with renewed ferocity. He knew that he could not keep up this pace for much longer, and a sense of despair began to creep into his heart as he realized that his efforts might not be enough to save him from the Thundercat's wrath.
The Thundercat seized the opportunity presented by Gribble's faltering defense, delivering a devastating blow that sent the young adventurer flying across the cave. Gribble felt the air rush from his lungs as he slammed into the unyielding rock wall, his body crumpling to the ground in a heap of pain and exhaustion. Stars danced before his eyes, and he gasped for breath, each inhalation sending shockwaves of agony through his battered frame. Gribble's mind reeled as he tried to assess the extent of his injuries, but the pain was too great, too all-consuming. He could taste the coppery tang of blood in his mouth, and he knew that he was badly hurt. The Thundercat's shadow fell over him, and Gribble looked up to see the creature looming above, its eyes glinting with a mixture of triumph and bloodlust. He tried to move, to crawl away, but his body refused to cooperate, and he collapsed back to the ground, his strength utterly spent. Gribble's heart pounded with the realization that he might not survive this encounter, and a cold sense of dread settled in the pit of his stomach.
Gribble lay broken and helpless on the cave floor, his vision swimming as he teetered on the brink of unconsciousness. The Thundercat stood over him, its electric blue fur crackling with energy as it prepared to deliver the final, fatal blow. Gribble's mind raced, desperately searching for a way out, for some last-minute miracle that could save him from this dire fate. He tried to summon his powers, to call upon the earth or conjure another fireball, but his body was too weak, too battered to respond. The Thundercat's eyes bore into him, and Gribble could see the raw, primal hunger that burned within them – the desire to end his life and claim victory. His heart hammered in his chest, and he could feel the cold tendrils of fear wrapping around his soul as he stared death in the face.
Would he find a way to overcome the Thundercat, or would his journey come to a tragic end in the depths of the cave? The fate of the young goblin hung in the balance, and only time would tell if he had the strength and cunning to emerge victorious.

It was hard to believe that Link could ever really die. Link, the iconic hero of the Legend of Zelda series, is distinguished not just by his bravery but by his seemingly perpetual resilience, which stems from his possession of the Triforce of Courage. This sacred artifact, imbued with the essence of the goddess Farore, grants Link more than just bravery—it provides him with a supernatural safeguard against death. Throughout each of his adventures, whether he faces the dark magic of Ganon or the bewildering trials of alternate dimensions, the Triforce of Courage acts as a bastion of protection. It ensures that Link can withstand mortal dangers that would overwhelm others, allowing him to continue fighting and striving to restore balance to the realms he cherishes. This divine protection is a cornerstone of his character, symbolizing that as long as he bears the Triforce of Courage, Link will always rise to meet any challenge, undeterred by the specter of defeat or demise.
So with that understood, how do we explain the downfall timeline? Well I think I've got an answer.
The Triforce of Courage grants the bearer the courage to face overwhelming odds and protects them from losing their essence or being overwhelmed by external evils. In the Zelda series, this Triforce piece often manifests its power by aiding Link in overcoming supernatural threats and challenges that would otherwise be insurmountable.
After the events of Ocarina of Time, There are two separate timelines created, one with Link, and one without link. The timeline with Link is the child timeline, where young link returns to Kokiri Forest to seek out his friend Navi. What happens next is undetermined, until now...
Once there, Link gets lost, but not just lost, lost without a fairy. In the lore of Ocarina of Time, those who get lost in the Lost Woods without a fairy companion are said to become Skull Kids. However, Link, even after returning to his childhood and losing Navi, carries the Triforce of Courage. This artifact's essence not only embodies bravery but also fundamentally protects the wielder’s spirit from corruption and transformation. Essentially, the Triforce of Courage acts as a shield, preserving Link's identity and purpose against the transformative magic of the Lost Woods.
Link's venture into the Lost Woods, safeguarded by the Triforce of Courage, sets off a remarkable event. Instead of succumbing to the fate of becoming a Skull Kid—a common destiny for those who lose their way in this enchanted forest—the Triforce of Courage interacts with the mystical energies that saturate the woods. The Lost Woods are not only a mysterious and ancient place but also the location of the Kokiri's Emerald, a sacred stone left by the goddess Farore. Farore is known for her power to create realms, as seen in Skyward Sword.
This unique interaction between the protective power of the Triforce of Courage and the realm-creating magic associated with Farore' s Emerald generates a rift or portal. This portal leads to the creation of a new timeline: a fantasy timeline beginning in Termina, an alternate dimension that mirrors and distorts the realities of Hyrule. This pivotal moment marks the divergence from the known paths of Hyrule's history into new, uncharted territories.
(This fantasy timeline explains why their are are fantasy characters' in these particular Zelda games. Like Mario characters in Link's awakening or Din in the oracle games. These characters are fantasies.)
Why Termina?
Termina can be seen as a physical manifestation of a trial created by the Triforce of Courage for Link to overcome. This world, laden with impending doom, peculiar inhabitants, and twisted versions of Hyrule’s characters, is essentially a crucible designed to test Link’s bravery and resolve. The challenges within Termina are direct reflections of the inner fears and the courage needed to confront them, perfectly aligning with the purpose of the Triforce of Courage—to push its bearer beyond their limits in the face of true adversity.
Majora’s Mask, with its dark themes and existential threats, serves as the ultimate test of courage for Link. The Triforce’s influence ensures that Link not only survives the journey but is also given a chance to grow and understand the depths of courage. It guides him subtly, ensuring that he stays true to his quest of not only saving Termina but also finding his lost friend, Navi.
At the end of Majora's Mask, Link has successfully navigated the trials of Termina, proving his courage and fortitude. With his mission in Termina complete, and his attempts to find Navi (his fairy companion from Ocarina of Time) unresolved, Link departs from the unknown realm. As Link continues his wandering in search of Navi, the Triforce of Courage leads him to Hytopia, thus bringing us to the next game in the fantasy timeline, Triforce heroes.
After the events in Tri Force Heroes, where Link and his two duplicates successfully lift the curse on Princess Styla, the magical bond that linked the three Links dissipates. This could be explained by the Triforce of Courage, having fulfilled its purpose in Hytopia, leading Link to new challenges where his heroic virtues are needed. With Hytopia’s immediate crisis resolved, Link sets out to explore new lands, possibly still in search of his original quest to locate Navi or driven by a restlessness instilled by his continuous heroic callings as he is still unaware of the fantasy timeline that he’s in.
The Triforce of Courage, still with Link, guides him to new lands with emerging threats. This mystical artifact, sensing disturbances in the balance of good and evil in distant realms, might lead Link to Holodrum and Labrynna. These lands, unlike Hytopia, face dire existential threats that require not just courage but the ability to adapt to changing environments and timelines, which are central themes in Oracle of Seasons and Oracle of Ages.
Link's Awakening occurs after Link’s heroic deeds in the Oracle series. In this narrative sequence, Link sets off on a personal journey to train and prepare for future threats. Still unaware that he's in a fantasy timeline. He travels by boat, seeking wisdom and strength to be better equipped as Hyrule’s guardian. This journey symbolizes a hero’s need to reflect and grow, a common theme in legends.
The central twist of Link’s Awakening is the realization that Koholint Island is a dream realm created by the Wind Fish. As Link gathers the instruments and prepares to awaken the Wind Fish, he faces a moral and existential dilemma: awakening the Wind Fish will erase the island and its inhabitants from existence. This challenge is a test of Link’s courage and wisdom, pushing him to understand the complexities of reality and illusion, a theme deeply embedded in his quest to overcome this fantasy timeline he’s created.
Upon awakening the Wind Fish, the island fades away, and Link finds himself adrift on the open sea on a piece of his shipwrecked boat. This conclusion represents a rebirth for Link, a literal and metaphorical awakening. He is left to reflect on the nature of his journey and the lessons learned about impermanence and the power of belief and dreams.
Unbeknownst to the people of Hyrule, Link has not died but has instead been transported to yet another dimension or time, continuing his adventures elsewhere or even struggling to find his way back to Hyrule. In this newly created timeline, however, his perceived death leads to the absence of a hero when Hyrule most needs one, resulting in the realm's downfall. The downfall timeline.

Conclusion:

This version of the downfall timeline is rich with the fantasy and magic central to The Legend of Zelda series. It hinges on a magical misinterpretation: the sight of Link vanishing into a rift created by the clash between the Triforce of Courage and the ancient magics of the Lost Woods. This event, seen as his death, marks the tragic beginning of the downfall timeline, setting the stage for a darker chapter in Hyrule's history where the hero is believed lost forever.

Hi everyone! I'm looking for a beta reader for my Vampire Diaries fanfic! So far, I've posted a prologue and the first chapter. It's my first ever fanfic, but I'd like to post a chapter in a week or so. Usually, I'm editing one chapter while writing the next one, so there's plenty of time for review.
In Pursuit of Prestige is inspired by The Secret History and She's All That. It features heavy references to Greek Myth. It's academic rivals to lovers.
Here's the summary: Elena and Damon go to the same small liberal arts college where they're competing for a spot in a prestigious secret society. Who will receive the coveted spot and the knowledge kept behind locked doors? Vaguely inspired by The Secret History by Donna Tartt. AU
I'm available to beta read a fanfic in return.

I thought this might make for an interesting discussion. I used to strictly be a pantser, having no idea exactly what I would write until I sat down to write it. I was never one for outlines of any sort, and this stayed the case for a while. Somewhere along the line, though, I started making plans for my fics in advance.
It started with just a bullet point list of the main plot point for each upcoming chapter of my longest fic. Then, I made a real, genuine outline document for my first plot-heavy fic because I wanted my plot to be coherent. It was a lot of work, but it was extremely helpful in carrying out the vision for the fic. Ever since then, I've at least written brief summaries of each chapter in advance for a lot of my fics. There was a fic I started with no outline, but I've returned to it now and I found myself writing up an outline for the next 12 or so chapters so I could pace the reveals I want to drop throughout the story. I didn't used to be like this, but I'm now a believer in the power of outlines (at least for plot-based fics, or fics with a lot of moving parts that I don't want to lose track of tiny details on). I don't think I'll outline every single one of my fics or anything, but I never thought I'd be the person who was outlining any of them to begin with!
Have you ever experienced a shift like this with your own writing? Or are there any of you who might have gone in the opposite direction, where you started as a plotter but became more of a pantser over time? I'm really curious to see if this is something that changes for a lot of people.
EDIT:// Just in case you're unfamiliar with the terms, a "plotter" is someone who outlines or plots out their fic in advance, while a "pantser" writes by the seat of their pants (no outlines/minimal to no planning).

This is the prologue for my grimdark story. The prologue is designed to be the longer chapter, but the other chapters are designed to not exceed 2,000 words.
Synopsis (I will only give a summary for the first part of it as to not spoil the prologue, as I wish for geniune spoil-free reaction, if that is okay):
In the prologue, Harisken leads his village in military training against an imperial threat that has been announced in a letter from Sofran Garmer Lovewater, urging defence of their homeland, Pedranier. The villagers, including Harisken's son Carasken begin their training. As they practice combat skills, Harisken imparts lessons of endurance and the harsh realities of war. When they return to the village, a prayer is made and food is served.
I would like criticism on the following:

1. Character voice - is the narration done well that places you inside of the character's mind (I.E. the narrative does not feel distant).
2. DIalogue - do the characters all sound different and is it interesting for you?
3. Emotions - do you connect with the PoV by the end of the chapter?
4. Is what is happening clear?

This is Grimdark so reader discretion is advised.
Link: https://docs.google.com/document/d/1eRgQo--isrtDc4ynRQwVeZoZNyvug-VMHn55v5kmaLw/edit?usp=sharing
Thank you, all. If I am missing something, please let me know!
I am willing to read medieval fantasy. I am working on another project on top of this, which is 115K words, so I am able to commit long term. If you enjoy my writing sytle and want a long term partner, I am able to also provide the other novel which is set 66 years in the future from this post's story.