One Assassination Under God, chapter 2 (review)

From the vinyl edition booklet

We Are Chaos and both chapters of One Assassination Under God are among my favorite Marilyn Manson albums. There was material from the 2007-2017 period that I thought was solid (my favorite from that group would be The Pale Emperor). None of the ‘07-‘17 work, though, grabbed my feelings and imagination as powerfully as the Triptych. The next two bodies of work did, though.

Several themes and concepts from the past reappear with discrimination. The immediate elaboration of the older snake and bee imagery in a new context was part of what won me over to We Are Chaos.

As I type this, I wonder if that has played some role in the divided reaction among fans. Manson is aware of what he does best and how to build on it but he’s never been interested in retreading old ground. Retreading is usually what people want. Luckily, Manson never listens.

While he uses his prior body of ideas as stepping stones rather than the point itself…even those hoping for echoes of Antichrist Superstar won’t be disappointed. It just isn’t super-reverent or imitative. Depending on the listener, that may push it across the uncanny valley in one direction or another.

The biggest thematic similarities with Antichrist Superstar are cyclical time and awakening, which- when combined -gives us relative perspectives of time from different sides. Themes like that tend to piss people off. The reaction often feels like “Why is the author now acting like a character?”

Having listened to both chapters back-to-back once and chapter 2 thrice so far, I believe that chapter 1 is one side of the wall and chapter 2 is the other. I’ve already written a lot about the dream-within-a-dream/ladder-of-consciousness themes in my Triptych analysis (go to ‘music’ and scroll down to the ‘album as an art form’ list if you’re curious). The Triptych is a very procedural creation, though, in which one’s point of entry can effect how the overall panorama unfolds. It is meant to have multiple entrances and the story is busy.

That can also be true of One Assassination Under God but the two chapters give it a more direct symmetry. At the point of inception, it feels simpler.

Looking back over my chapter 1 review, the simple moments felt like some of the more uncomfortable ones. When it seems like an artist may stop creating and then continues…simplicity smacks of finality. You wonder if the blunt, right angles mark a precipice rather than a wall or a roof.

Chapter 1 wakes up inside of chapter 2…but chapter 1 had it’s own discussion of awakening. On Antichrist Superstar, the dream narrative haunts the waking narrative. The influence of the dream lasts long enough to reshape the dreamer in its image. The proven instability of one lays the ground work for the instability of the other. A monster wakes from a paranoid, self-demonizing dream. It ends with the question of whether the dragon is beautiful or terrifying. A listener likely understands that they can be both but who knows if that particular dragon did.

One Assassination Under God builds on this. The first three songs of chapter 1 reminded me of the first three songs on the three Triptych albums. A place (title track), the people (No Funeral Without Applause) and the person (Nod If You Understand).

The fourth song, As Sick As The Secrets Within, feels so lucid as to make the prior three fantastical by contrast. It is when we get our earliest personal look at our viewpoint character. Much of the lyrical imagery in both No Funeral Without Applause and As Sick As The Secrets Within remind me of the ACSS transition from Dried Up, Tied And Dead To The World to Tourniquet. In a story as manic and black-and-white as Antichrist Superstar, that transition is one of the most gray, tender and complicated moments.

The lucidity of As Sick As The Secrets Within roots us in a viewpoint character but without the character names to let us know what aspect is positioned relative to what. Because of lyrical themes that have been present throughout Marilyn Manson’s career, I found myself referring to this viewpoint character as House Face in my notes.

House Face wakes up, has a few direct, waking observations and then starts to choke on what he is waking up to. The last song on chapter 1- Sacrifice Of The Mass -was one of those scarier, simpler notes that made me wonder if House Face just ran off of a cliff.

Around the release of chapter 2, a new section of the Marilyn Manson website appeared: a sort of virtual art gallery (with a spatial interface that reminded me of the White Enamel ARG website) featuring paintings associated with each song and some brief remarks on their composition. The environment is movie theater-like and brutalist. Equidistant to a theater, a university and those stoney public ashtrays that used to be everywhere and now mostly huddle around DMVs and police stations.

When I first heard chapter 1, I thought the speaker of ‘Nod If You Understand’ was meant to articulate that phrase to someone else. In his commentary, Manson says the song is written from the perspective of one to whom it is spoken. The lyrics come from behind that silence and the associated painting is a figure whose slit throat looks like a second mouth with more teeth.

In the Triptych one-two-three beats, Nod If You Understand would normally have marked the viewpoint character. Upon awakening, the place, the people and the person are like ephemeral archetypes. Dream images that get shaken off. Sacrifice Of The Mass then felt like House Face’s own vulnerability, as though he were a dream to be shaken off by the rest of the world.

Manson has lately stated that chapter 1 was contemplative and chapter 2 is active. I myself see both of those present throughout. Chapter 1 does have a noticeable familiarity with personification and dream imagery but chapter 2 seems stylistically self-aware; proud of its own constructed nature (as anyone must be if they don’t want to curl up and die).

In the website’s new annex, Manson said that the name of Sacrifice Of The Mass came from a thin, black book which his father obtained in the course of his life in the Catholic Church (I may be misremembering but I thought– in the website commentary -he described the book as being somehow ‘Catholic’?). This flows with the last rites lyrical themes and puts a funerary bow at the end of chapter 1. Chapter 2 makes it plain that the funeral was not the end. The ceremony is over and the body is buried, yet the book does not stay closed.

Manson described As Sick As The Secrets Within as a process of outsmarting your demons. to “unhaunt” oneself. If chapter 1 woke up inside of chapter 2, then the existence of House Face persists as a haunting and his grisly, toothy smile is the only one he has.

Sacrifice Of The Mass was dour, dramatic and final. Chapter 2’s opening song, Unalive, has the musical character of a sudden, panicked awakening; whatever it was you intended to leave behind has followed you.

We begin with the same sing-song rhythm as the title track, this time channeled through the guitar riff that Manson sings over.

The three opening beats of the Triptych albums are a zoom-in. This awakening zooms out but the very large has a way of mirroring the very small. The execution imagery of the title track has receded and coalesced into something less civilized and more personal. Not the spectator sport of execution but decimation: ten newly-fledged soldiers draw lots. The loser gets stabbed by the other nine.

You are then bound together: to be otherwise is to admit that the sacrifice was in vain. Loyalty becomes a question of desperate insecurity. The charge goes on, like House Face off the cliff. The stakes get higher.

Something about this makes me think of my early misunderstanding of the Red, Black And Blue lyrics: “set fire to the Tree of Life / love or death / just to watch the suffering”. The “love or death” part was what I misheard the first time and I still hold to it as a kind of head canon. My mind may be acting on an association between “get high on the smoke and dance / in the ashes / this arrangement is deranged / imagine us engaged in flames” and “Hold hands around your fire / Burn you like a church / get higher than God / You won’t rise again / And we’ll rejoice”.

‘Unalive’ can look like an uncertain little word. Yet fear on this album holds hands with abstraction (“eyes may cry but I’ll never weep”). Is it prim avoidance or literally descriptive of one dangling from the edge of existence?

The haunting imagery comes together as a poltergeist in Don’t Answer The Door. We spent much of chapter 1 on the inside of House Face. In chapter 2, we are in the room with him. In the first few lines, we “Unscrew the lightbulbs / In your eyes / Let my darkness inhale you / Can you hear my voice when you breathe out”.

The familiar, Mansonian cluster of voices has come back to us, clearly embodied in a single being rather than a mysterious revolving door. We are immersed in the insanity of a haunting. The insanity is awareness of each separated part, feeling each other and pulling together. It’s not a slow or quiet song but the band definitely steps back for Manson’s voice to take the foreground and I’m pretty sure I’m more convinced by this character-affectation than any other he’s attempted in decades.

I get that this is supposed to be more direct and personal than a lot of his previous work but someone like him can’t keep imagination out any more than I can. In any recording there are always blank spaces wherever a cut happens, however seamless they may be. Those blank spaces are the skeletons of some of the best art that I know of.

Front Toward Enemy flirts with the color associations of Red, Black And Blue. House Face unhinges his jaw and swallows his enemies. This song is also way more convincing in the context of One Assassination Under God chapter 2 than it was on the Raise The Red Flag single from 2024. Re-positioned as a single from this album, it reaches par with the single power of Sacrilegious.

Sacrilegious was a different kind of single than Front Toward Enemy but I think I detect an energy exchange between those two songs. One thing they have in common is the unambiguous emergence of personal certainty.

My entire life…I’ve had strangely specific ideas about my personal power and influence. Even in early childhood. Often, I’ve felt that not using it at all is better than using it destructively or frivolously. This dovetails with a kind of popular wisdom: “People aren’t stupid. They don’t need your opinion or guidance.”

At present…that could not be more wrong.

Ironically, I find myself way less afraid of my own power than I am now. Which for me is a dizzying stock-taking.

All The Vilest Things is definitely more sonically layered and gentle than the first two singles from chapter 2…but I think it could actually do some heavy lifting beside some of Manson’s older, more complicated songs that ended up as singles, like Coma White (frequent contender for my favorite Manson song beside the 1998 live acoustic version of The Last Day On Earth) and Overneath The Path Of Misery.

The accompanying painting on the website is called Cotard’s Syndrome and appears in the back of the vinyl booklet, opposite the lyrics of Enantiomorph.

Cotard’s Syndrome is a condition in which one is convinced that they are dead or do not exist. Such a one may also believe that they have lost body parts.

In my own therapeutic treatment for Borderline Personality Disorder, similar combinations of words come up. Obviously- with BPD -the experience is more tied up with mental and emotional influences whereas Cotard’s Syndrome is more typically associated with literal belief.

During this treatment (now almost a decade in the past) I often articulated it as being afraid that I do not have a soul. In retrospect, I was living with the reality of my soul every waking and unwaking second. I could never have done otherwise.

“I’ve been pulling shrapnel

From the dead skin

Reckless shots that

You fired into a crowd

All the vilest things

And the pain that they bring

Still you never, ever can take me down”

Going to war with someone who was dead and dismembered for a while isn’t like going to war with anyone else.

The language of House Face now describes our situation and the song called The Arsonist is the haunting presence that enters. The song describes a shared glance between two perspectives, one up and one down and the tension seems blended with terror and squirming desire.

There are similar lyrical themes to Apple Of Sodom, what with “I’m the poison you can never taste.” Considering the “(g)o back in time” lyric, the use of use of Antichrist Superstar font on some parts of the album and a still from the Beautiful People video on an encased t-shirt in the Front Toward Enemy video…I think this might not be “just me”.

Yeah, the ‘Marilyn Manson’ font originates with Holywood but ‘side a/b’ and ‘chapter 1/2’ has Antichrist Superstar font

None of the Suns could be a great single and a great live performance. It’s comfortable in the new romantic end of post-punk, like Don’t Chase The Dead. I like it better than that, though.

Lucifer’s Teardrop introduces us to the world beyond House Face- also rather new romantic; kinda reminds me of She Wants Revenge. This song marks my favorite character moment from the album and the transition from None of the Suns to Lucifer’s Teardrop is my favorite new romantic moment from either chapter of One Assassination Under God. The ending of chapter two may be the sweetest sweet spot from the overall body of work.

Exit Wound (like Front Toward Enemy) sounds way better in context than out- it even builds musically on Lucifer’s Teardrop. In the website commentary, Manson said that the ending chant of Sacrilegious (“coming back, coming back baby”) was a deliberate callback of the ending chant from Mister Superstar (“superstar, superfuck, baby”). Similar callbacks are noticeable in Exit Wound and Kinderfeld. There is a “Coroner ventriloguist” speaking through the exit wound of ‘blood in, blood out’.

“I’m the one who lives

Inside of the tongue

Tells the altered boys what to say

Ballerina bayonets

Slice us up with pirouettes

Mouth is shut on hand grenades”

Lyrical themes and attitudes are reminisicent of Little Horn and Saturnalia as well.

The associated painting is called The Necromancer (also the cover of chapter 2) and Manson made explicit the Ingmar Bergman Seventh Seal influence from Death Is Not A Costume. Turtles all the way down, until it’s not. Death is not a costume, yet it hangs from you.

Mythically speaking: you know who loves costumes? Death. The Seventh Seal, the Twilight Zone episode about the old southern lady who is obsessed with not dying, etc.

Then…we got Enantiomorph. Last song. The spoken word intro is not printed in the vinyl booklet like Red, Black And Blue and track 99 from Antichrist Superstar. Even at this final and dire stage, new voices always find their way in.

This feels like a Rorschach moment that’s too precious to spoil. A brief personal reaction: no one ever tells you about the black swan. You can panic or you can try to let the next thought come.

Playing Final Fantasy Blackmoon Prophecy part 4

Light spoiler warning

Here’s the beginning of the play-through, for those who wanna be caught up

The Crescent Rivulet takes time and effort but not as much as the Temple of Visions. Throughout Final Fantasy Blackmoon Prophecy, I’ve noticed that Babineau tends to use treasure chests as environmental guideposts toward things that bear investigating. Such rewards may or may not be progress.

The Crescent Rivulet was the first dungeon I’ve encountered that seemed to have nothing but treasure chests and monsters.

Eventually, I found an Artifact for Bosche, which apparently improves his Procure ability. The closest thing I can compare Procure to is Setzer’s Slot ability, what with randomly generating a move from a roster.

The Viral Tendril ability item lies in a nearby treasure chest. This teaches Ami Virulent Breath which poisons an enemy, with a slight chance of simultaneously inflicting other status effects. Virulent Breath only targets a single enemy, though, as opposed to the usual multi-target Bad Breath. A memoir page can also be easily be found in the area, along with a chest of Bodkin Arrows- a decent acquisition for Bosche.

And let us not forget the Lucavi nethicite, which bestows 50% passive resistance to Shadow. Leveling bonuses are max HP+7 and max MP+3.

In the waterfall pool with the Lucavi nethicite, the Bodkin Arrows and Merlin’s Staff, there is the moogle you usually find at the end of the dungeon, who leads you to the exit.

Might this not be where we’re supposed to be after all? However grateful I am for more blue magic and nethicite?

I returned to the Temple of Visions with Bosche at the head of my party, to see if he has some kind of obstacle transcendence ability…like putting two halves of the key together? He does like rare and exotic stuff, right?

If he does have an obstacle transcendence ability, it does not appear to be putting ancient, magical artifacts together. Like Siegfried, Bosche also appears to be unable to recover MP from Ami’s Cheer ability.

You know who might be able to put the key together? Someone at the Arcane Library.

No one did, though. This was also where I found my second conspicuous glitch: I entered the Arcane Library through the eastern bridge and appeared at Surgate Waystation. This happened three times in a row. When I tried entering through the western bridge I made it into the Arcane Library (for all the good it did).

Also: Bluebell apparently cannot set foot on the campsite outside of the Nightmare Cave. I’ve lately begun to wonder if Bluebell is an early taste of travel potential and the scale of the map, like the early experiences with chocobos and vehicles in III, IV and V.

Finding myself back at square one, I made a list of every town and city in Lindblum, since the only advice on offer is to ride around on Bluebell and see what people have to say.

Between one thing and another, I did some grinding. Elina learns Regen at level 20. Vera summoning Kirin or Ami casting White Wind is good for benefitting multiple party members but at least Elina can now do it one at a time.

At level 18, Nobumasa learns Reppu (single target Wind elemental attack) and Shokuto (group heal).

Perhaps the soldier in Altair meant that Jack lives in the Rotunda of Revelry, rather than the Crescent Rivulet. But the guard outside of Jack’s office says we need an appointment…

I was starting to run out of ideas. So I went back to the Temple of Visions. I tried Darius at the front of the party, to see if he had any relevant obstacle transcendence abilities. He was no more useful than Bosche. Then I, uh…tried…something…

Soooo…all I had to do to enter the central path in the Temple in Visions was insert the Crystal Half-Moon Keys into the crescent-shaped slots directly outside of it. Go me.

X_X

(You can steal Hyper Ethers from the Dying Breath monsters, btw)

Moving on with the damn dungeon…we find Vahn in a room, in front of what looks like the shade of his father. Vahn says that his mother Elise never told him anything about his father except that he was a traveler.

From the ghostly image of Kain Silverson, the King of Branch, we learn that he lost his wife Hilda to illness. When she died, Kain found himself falling for one of her former handmaidens, Elise.

When Elise became pregnant with Kain’s child, she relocated to Valla with a cover story. Elise told anyone who asked that her son’s father was a traveling Lenadian merchant.

Vahn asks his father why he suddenly decided to seize the crystals. Kain says that the answer rests at the Citadel, in the heart of Ivalice.

Kain’s image fades and Vahn tells Ami that- upon hearing Malacore’s words about his parentage -he felt something within himself, drawing him to the Temple of Visions. Before this conversation can go any further, though, we are met with a new apparition.

This being, Mnemosyne, says that “(M)emories are required to sustain the power of the Temple of Visions. I need more memories. Your memories!”

A boss fight, naturally, ensues.

Laka’s Dispel green magic comes in handy once Mnemosyne starts Protecting, Shelling and Regening herself. Mnemosyne also absorbs Holy. She is weak to Shadow which is a decent reason to have Darius in the fight (during the attempt in the screenshot at the top of the entry I got party-wiped :P).

You want Darius’ Darkside attack with you on this. Nobumasa’s Shadow attack Yousei Hi was not particularly useful to me here. Mokusatsu will reliably blind her but- if Ami knows Virulent Breath -you could just stick with your beast of a blue mage. It is also fairly easy for Laka to steal her Angel Glove (I had equipped her with a Sneak Ring, which could have been a factor). You want the Angel Glove for your mages, since it buffs magic and spirit by 35 and reduces MP costs for the wearer by 20%.

Vera wants to start the search in Ivalice at the top of the pyramid: Lord Zeul Raithwall. Darius believes that Lord Zeul is the strongest swordsman in the world. Thus far, Zeul’s connection with Malacore remains murky.

Upon returning to Lindblum Castle and debriefing with Regent Gran, Vahn decides that the fate of the Earth Crystal is more time-sensitive than whatever waits in Ivalice.

For Gran’s part, his forces remain perilously divided. Unfortunately, securing the gateway to the Underworld at Mount Koltz still depends on decreasing the demands of the civil war on the Lindblum military.

It seems the rebels now seek to conquer the Magic Library, which preceded the Arcane Library and has fallen into disuse. Baram von Muir is personally accompanying his fighting forces there.

At North Dock, Shiroma and the Eternal Blue wait to convey us to the Magic Library, on an island to the southeast; further south than the plot has taken us, thus far.

Aand holy crap is the magic library hard with a level 20 (Ami), 15 (Oalston), 22 (Laka) and 16 (Vahn). High encounter rate, with status effects and multi-target attacks. Maybe make sure your party is leveled to 17 or over. I then switched to Ami (20), Nobumasa (18), Laka (22) and Vera (18).

The party finds Baram von Muir in the company of two of his rebels- Hanuman and Porkus -whom Baram transforms into…well…

This…is a hell of a way to encounter the head from Sabin’s sprite

The Reppu Ninjutsu (Wind elemental attack) is effective. Virulent Breath can also be a fun way to find out what status effects a given enemy is vulnerable to. You can steal a Thunder Blade from Porkus and a Blizzard Sword from Hanuman.

Siegfried remarks that Baram using this magic on anyone- rebel or otherwise -is just wrong.

Vahn and company tell Regent Gran about Baram’s acquisition of the Magic that turns people into monsters. Siegfried is particularly worried about the citizens of Surgate, who live under Baram’s authority.

Regent Gran, to Siegfried: “You sound familiar, shrouded man. Have we met?”

Siegfried waves it off.

Regent Gran then joins us temporarily for the journey to Surgate. What he brings to the party is a repertoire of both white and black magic (that would make our Edgar-looking Gran a sage by the standards of IV, right?).

Until now, Surgate has had the shrill, militaristic horn version of Under Martial Law. During this visit, we hear the slower, more natural version of Under Martial Law with the violins, harp-plucking, flutes and clarinets.

Every door, it seems, is locked from the inside, against the Lindblum soldiers who arrived ahead of us. One such soldier opines that the rebels may have “pulled back to their base at the mountainside.”

The Surgate Woodlands, behind the town, marks a more ethereal and drifting musical shift. Interesting contrast after Under Martial Law. Separate from the music, the transition reminds me of going from Bone Village to the Sleeping Forest, in VII.

The Chimeras in the Surgate Woodlands are intriguingly difficult to steal from. I started off with Ami Goblin Punching and Oalston casting Comet for a few turns. Then I switched to Ami hitting them with Virulent Breath, Oalston casting Demi to whittle away at the HP without killing them and Laka trying to steal for every turn. Got their HP into the single digits. Soon Demi wasn’t dealing any damage.

Not a damn thing to show for it, the first time. The second time I swiped a Guard Shard (increases defense permanently by one).

Hyper Wrists can be stolen from the ostrich-like Kiwoks. The Chimeras have pretty good exp yield but the Kiwoks usually come with a few Tarantulas. If you want the grinding to stay good, think of ways to kill them before the Tarantulas begin to flee (Storm Breath and Fira and Gran casting Fire has been working for me).

While the Surgate Woodlands have a lot of treasure chests, a lot of them have tiny increments of gil or middling restorative items. They are also more scattered compared to other dungeon-like areas, so good job on the misdirection Babineau.

Eventually, though, the empty treasure chests will start acting as progression markers and the forest will feel a bit less labyrinthine. An arcing, upward path through the trees beginning in the southeast corner of the map will slowly reveal itself.

While wandering and fighting my way through the Surgate Woodlands, Oalston reached level 16 and learned Blizzara and Thundara.

Once you penetrate the mountainside base, you’ll find that Baram has turned several of his rebels into Sabin-headed homunculi. In the right hand chamber is a Sabin-monster called Bellerophon from whom you can steal a pike. Cadmus waits in the chamber to the left and can be shaken down for a Shadow Staff. Within both are Rebel Base Keys, which can be used to unlock the central chamber without wandering away doing an optional dungeon first (not if you don’t want to, anyway).

Baram’s last two rebels- Benero and Zenero -have lost trust in him after seeing what he’s been doing to everyone else. The party arrives, seemingly, in the nick of time…only for Baram to chortle about how he can generate as much muscle as he wants and transform Benero and Zenero. Baram lunges to the foreground, turns into a Pan-like goat monster (with his executive function apparently intact, unlike his underlings) and the three of them attack.

Keep the Wind attacks coming against Zenero and Benero. Both of them are vulnerable to poison and Baram has a Shadow Ring that can be stolen. No magic appears to work on Baram except non-elemental spells like Goblin Punch, Demi and Comet. Once Benero and Zenero go down, though, you can focus keeping your party healed and spamming physical attacks. It will go by quickly.

With Baram finally dead, everyone remains in shock over the monster-transformation ability he learned in the Magic Library. Regent Gran sends people to older library to see what could be found in Baram’s wake.

The death of Baram also means that the rebellion is over with. All that remains now is Mount Koltz and the sealed gateway to the Underworld.

Here’s the sauce

Until next time, TBC

More on SU Lucifer

Unrestrained spoilers for all four SU Lucifer volumes and the original Sandman

Cernunnos and Herne are frequently confused with each other.

No textual source for Herne dates back further than Shakespeare’s The Merry Wives of Windsor; in the mouth of Falstaff. It is often presumed that Shakespeare could have been riffing on actual, existent folklore about a huntsman, who led the king’s hunt in his preserves. Once, when the king’s party was charged by a buck, Herne threw himself between the king and the deer. Herne managed to kill the deer with a blade on his person but was left critically injured. He recovered but his talent appeared to have vanished. The king soon dismissed Herne and he committed suicide by hanging himself from a tree. After his death, a magic man resurrected Herne by affixing the antlers that gored him to his head. What rose from the cot was a voracious, nocturnal monster with horns, at times retroactively equated with the Wild Hunt.

The other figure, Cernunnos, is historically attested to at the dawn of Christianity which could imply older bodies of thought. In the eighteen-hundreds, a pillar was excavated from the Ile de Cite in Paris, dating back to the first century. On its surface is a bas relief image of a horned being, who is seated with a ram-headed serpent in one hand and a semi-circular status symbol in the other. This pillar, called both the Pillar of the Boatmen and Nautae Parisiaci, is the only historical source of Cernunnos’ name.

Mostly.

‘ERNUNNOS’ is clearly legible. Before those letters there is a mark that has commonly been interpreted as a ‘C’. If this being was called Cernunnos, then we might consider the Gallic phoneme ‘cern’ which means horn or antler. On contemporary art and artisanry of the Gothic world, there are other depictions of a horned figure placed between images of Apollo and Mercury. This has prompted some scholars to theorize that the common pre-Christian meanings of serpent imagery (shedding, renewing, consistency through time, not to mention a totem of Apollo) and the pre-Christian meanings of ram imagery (fertility, strength) are simply combined in the ram-headed serpent held in Cernonnos’ left hand. The apparent syncretism belies a common Roman propaganda angle: equating local deities with Hellenistic deities to make assimilation easier, which the Romans were known to employ in other occupied lands.

In the first century, Christendom did not associate the demonic with an antlered humanoid. The confusion is exacerbated by the incidental resemblances between Cernunnos and Herne, as the Christian rendering of Satan could have been a factor in Shakespeare’s telling. Cernunnos, Herne and Satan all resemble each other but a resemblance is not the same as a causal or associative link. There is no reason to posit a literal, historical through-line between these figures but their resemblance to each other makes it hard for the western imagination to resist equivalencies.

What makes the confusion even more rich: the humanoid stick-figures with horns drawn all over caves during the stone age, commonly interpreted as a shaman wearing a mask. Various scholastic and spiritual movements connect the horned-shaman-stick-figure to the dawn of abstract thought and language, achieved with psychedelics.

In other words: no one knows what Herne, Cernunnos or the paleolithic horned stick-figures are but- because of modern Satanic imagery -everyone feels like they know.

In the cosmology of the Sandman, Night, Time, the Endless, Lucifer and his creator are the oldest beings in the universe. Lucifer was not born of a myth like a dream-kind deity. Like the universe itself, though, mythology has a way of growing around things and absorbing them.

The application of these themes to Lucifer himself doesn’t materialize until the ‘The Wild Hunt’ and ‘The Devil at Heart’. The first two volumes (‘The Infernal Comedy’ and ‘The Divine Tragedy’) nonetheless acquainted us with them. Much of those first two comics revolves around the mythic entanglements of the only mortal family Lucifer ever had: his ex lover Sycorax and their son, Caliban. As Lucifer repairs his relationships with Sycorax and Caliban, Sycorax grows appreciative of her myth but no more attached to it. Caliban had even less warmth for his body of myths than Sycorax and even less of a reason to care. They escape the web as Lucifer enters it.

In the Sandman story ‘The Kindly Ones’, the Cluracan pays a visit to Dream. He is instructed to keep to the path laid out for him in the heart of the Dreaming. Instead, he wanders. He sees visions of what appears to be Dream, garbed in white like Daniel. The Cluracan then vomits a fully mature male deer that bounds away. Raw, creative dream energy appears to have either a complimenting or contrasting reaction to stimuli. With the Cluracan, it went for a contrast and he accidentally created his nemesis.

In both The Sandman and the first iteration of The Dreaming, this being is known as either The Bane of Cluracan or The Wild Hart. The original Dreaming canonically ended that sub plot but…

I think the Wild Hart is the Hunted God. I also think Lucifer is the Hunted God.

An ageless, immortal being doesn’t play by the same temporal rules: their existence entails neither a beginning nor an ending. Lucifer’s family drama with the fall from grace and the war in Heaven occurred before creation. The probably matrix of the created universe simply is not designed to accommodate his ending- certainly not his assimilation. If Lucifer was ever to get caught in the web of the universe, the probability range of an ending or a new beginning would have to exist simultaneously with his immortal self. It would manifest, perhaps, as a separate being capable of subsuming the space occupied by Lucifer.

I think the Hunted God is the dimensional shadow of Lucifer’s destruction through an eternity of attrition. It occupies a dimensional cross-roads between annihilation and rebirth- both micro and macro Lucifer. It is also a potential avatar of survival; a means to escape from God’s control and cyclical design. To annihilate the Hunted God is to confine Lucifer to a limited set of possibilities based on God’s previously given role for him: the ruler of Hell. What are we to think at the end of ‘The Wild Hunt’ but that Lucifer was, in the end, the “hunted” in the language of the story?

As a dimensional hybrid, the Hunted God necessarily partakes of both Lucifer’s myth and things that are close to him. Ravens, for one, as well as the body parts in volume four.

I wondered if the bird that spoke to Matthew in the prologue was the crow that eventually completed Lucifer in ‘The Devil at Heart’. Turns out that can’t be- that was a raven that Lucifer permitted to leave, on the grounds that ravens are not just Lucifer’s symbol. Perhaps the Luciferian black bird is not just a raven (or a crow, for that matter).

The last bird that Lucifer grabs in the prologue hears him say “(w)here you go, you must take no hope.” In this panel, Lucifer’s mouth is covered in black feathers. Maybe that was the bird that flew to Remiel and reconstituted Lucifer. Evocative of the Francisco Goya story in ‘The Devil at Heart’, concerning the painting ‘Saturn Devouring His Son’.

As for whatever form Cluracan’s shape-shifting nemesis would take once escaping the Dreaming- I don’t think it likely that they would have filled the void of the Wild Hunt. The story takes pains to emphasize that the Wild Hunt are beings only slightly younger than the universe itself. That would leave the other half of the equation: the Wild Hart, aka the White Stag, aka the Hunted God.

One possible consequence of Lucifer being permanently returned to Hell? The return of the tithe that Faerie paid to Hell, which ended when Lucifer gave Dream the key. Cluracan entered the foreground of the original Sandman during ‘Season of Mists’ in order to ensure the end of the tithe. Cluracan’s nemesis: check. Lucifer’s demise set in motion by one of the Endless, as asserted by Odin within ‘The Wild Hunt’: check.

Lucifer made good his escape from Hell in the original Sandman and was putting down roots on Earth at the time that Cluracan created his nemesis in Dream’s castle. With Lucifer’s departure from Hell, Lucifer becomes less of the dark reflection of God and more of his own being.

The Hunted God embodies the possible defeat of Lucifer along with the things that partake of Lucifer’s myth but have vitality outside of it. It makes sense that the Hunted God would then have to exist on some level. Maybe as a sliver of their soul that’s barely distinguishable from a normal human soul.

Remiel getting rushed by cannibalistic angels provides the causal occasion for Lucifer’s return, along with the black bird and the beings that housed his various body parts. In Lucifer’s goodbye letter to Mazikeen, he says that he expects that he will be dragged back to existence. For a brief intervening period, though- the Devil will have never existed and people will be unable to avoid the root of evil within themselves.

Lucifer wrote that he expects to return to existence. Yet the reborn Lucifer has the same generalized angel font as Remiel. There is text from Lucifer’s writing, in the Lucifer font, beside Remiel “becoming” Lucifer while retaining the angel font. I’ve spent way too much time wondering about what that may or may not mean. What we know is that Lucifer removed himself from the time flow at the beginning of ‘The Devil at Heart’. He walked into Destiny’s garden, grabbed Destiny’s book and removed every mention of himself.

Off topic but-

That’s the third time Destiny got bullied by an angel, right? And the second time by Lucifer himself? The first time was the angel Meleos: potentially the first being outside of God to pursue artistic inspiration. Meleos said that he studied the book of Destiny but Destiny does not offer to show people things. He won’t even turn a page backward or forward for any reason other than his reading in the moment. He may, if circumstance demands, recite words that he read. If Meleos studied the book of Destiny on his way to creating the Basanos, he would have had to have done so by force. The second time was when Lucifer set the book on fire. The ashes floated to the ground, forming letters that send Lucifer off to the next plot point, then the book reconstituted in Destiny’s hands.

Anyway-

Either Lucifer’s second attack on Destiny and his book sticks harder than the first or it lined up better with Destiny’s plans. Lucifer managed to retroactively edit himself out of the history of the universe in order to avoid being sent back to Hell.

This of course has a number of consequences. Various historical and personal events happen differently. The whole universe acknowledges the shift. Outside of the universe, in the Silver City, it feels more like a distinct “event” happened lately. The angels can no longer hear the voice of God and both their life force and magical influence are in decline. A short time ago, though, Caliban tasted the flesh of a dying angel which made the Silver City instantly aware of his location. Someone repeats the experiment and finds that consuming the flesh of another angel allows them to hear the voice of God again, if only for a moment. Remiel and Duma receive word to return to the Silver City where they are instantly attacked. Duma is quickly devoured and Remiel runs for it. Various beats of the original battle in Heaven are echoed. Michael’s spear pierced Lucifer’s wing and the ground beneath it, immediately before his fall. The same spear thrust and the same break in the ground happen while Remiel is fleeing.

Remiel and Duma have some of the most interesting arcs in ‘The Devil at Heart’. In one timeline, Remiel and Duma are charged by God with claiming and managing Hell under the authority of the Silver City, once Lucifer left the key with Dream. Dream hands it over willingly enough and Duma is the one who accepted it. Remiel was too busy seething about the injustice of God’s decision.

In another timeline, the angels Remiel and Duma are wandering, half-crazed amnesiacs. Duma knows the key he wears around his neck belongs to one of his brothers…he’s just not sure which one. He soon gives it to some random humans who told him they would make sure his brother gets it. Then their siblings from the Silver City tell them that it’s time to come home.

Hell and the Silver City are outside of the universe and the time-space it occupies. At the start of this book, Duma and Remiel are in Hell- safely outside of the time flow. The stewards of Hell likewise notice that something is off and set out to investigate, entering the universe and are thus effected by the timeline shift.

The Silver City is still outside of time. No continuity change per se but a distinct event still happens: the disappearance of God’s voice from their minds.

Mazikeen has also been on both sides of this wall. Unlike Remiel and Duma, though, her perspective has remained constant.

Unless I’m forgetting something from Mike Carey, Mazikeen’s initial appearance at Lucifer’s side has never been portrayed. Context from ‘Season of Mists’ suggests that she simply rose through the infernal ranks. Immediately before Lucifer’s departure from Hell, his court appears heavily militarized. Orders and protocol are clear and direct. At some point after the Lilim assisted in the construction of the Silver City (one of my favorite Mike Carey contributions) and were scattered elsewhere…Mazikeen must simply have been a Lilim warrior who eventually fought under one banner or another in Hell. Millennia past, her prestige grew and she eventually became both Lucifer’s body guard and consort.

She was a soldier, at her post. It was that simple. Then Lucifer turned everyone out, locked the gates and gave away the key and she simply didn’t have it in her to leave his side. In the absence of protocol, her feelings came through.

If we treat the Mike Carey Lucifer comics as canonical coverage of what happened between ‘The Kindly Ones’ and the new Sandman Universe run…Mazikeen defaulted to military protocol as a matter of course, much of the time. Even after the Basanos changed her face into an intact, symmetrical human face- a wound whose depth Lucifer didn’t seem to appreciate -she remained at his side, ready for anything. Eventually, Lucifer restored her face but he took his sweet time about it.

Then, during first two SU Lucifer stories…Lucifer jeopardized their life together. By risking exposure to Heavenly wrath. Because he wanted to put his son back in touch with his mother. At the end of ‘The Divine Tragedy’, she snaps and force-feeds Caliban angel flesh, drawing the eyes of Heaven directly to them.

Lucifer later accuses her of jealousy. Mazikeen does not argue.

This may have been catastrophically petty but it is also one-hundred percent consistent with how these beings operate in that universe. Timeless beings, to be exact. The Endless throughout these stories and the loa as portrayed in House of Whispers are no different. They feel things immediately, react immediately and move on.

From a third-dimensional perspective, this appears as deadly simplicity. Yet three-dimensional beings appear just as simple to them. If something thinks or feels at all then they can be confused and overwhelmed. Simplicity is not the same as harmony or perfection. Rather, the timeless are acclimated to their own level of complication.

There is even something of a metafictive equivalence between Mazikeen and the reader, within ‘The Devil at Heart.’

I wrote that the mythic interrogation of Sycorax and Caliban happened in the first two volumes opposite the interrogation of Lucifer in the last two. Mazikeen is arguably the main, orienting viewpoint in ‘The Devil at Heart’. This means that the gathering of threads into a coherent perspective is largely reserved for her alone, just as she is the sole recipient of Lucifer’s letter.

The carriers of the body parts, of course, remember things both before and after the change but Mazikeen was there from the beginning. Mazikeen also remains unaffected while the angels grow erratic and sickly. Mazikeen acquires the enchanted, silver tongue which clears up her speech once she leaves Lucifer at the end of ‘The Divine Tragedy’. Mazikeen even knows the location where Remiel falls to Earth.

This timeless simplicity was also evident in the earlier harmony between herself and Lucifer. Total, uninhibited freedom itself made Mazikeen and Lucifer compatible with each other. Things only got complicated once morally demanding externalities got involved.

No, it is not all about the love story…but it’s such a huge point of empathy. Mazikeen’s awareness of where Remiel was landing was also a source of confusion, for me. It felt like Remiel had to have been transfigured into the Lucifer we know. But no such thing is spelled out. In Lucifer’s goodbye letter, he sounds like he anticipates a personal resurrection. During his visit with the Hindu pantheon, he explicitly rejects the comfort of oblivion in favor of his selfhood.

This reminds me-

We have absolutely no idea what the stewardship of Hell even looks like in the latter Sandman Universe comics, except that Daniel Dream has undermined it on a few different fronts. I think the mystery at the end of ‘The Devil at Heart’ is one of those questions that luxuriates in not being answered. It feels right not to know if Remiel, in his fallen state, remains himself or not.

Still…Morpheus Dream once said that Lucifer was one of the most powerful beings he knew of. Both Lucifer and Remiel remaining off camera from ‘Marks of Woe’ through Nightmare Country feels ominous. Like a still surface that communicates nothing about what’s happening below.

The album as an art form: Ziggy Stardust & Millennial Pareidolia

I have this memory that I’m not sure about. I don’t know if it happened as I remember it or if the memory is a patchwork, filled in with pattern matching and belief. It could have happened too far in the past for its memory to survive intact.

What I’m pretty sure happened: once, when I was very young, I spent the day with my uncle, a friend of his and his friends’ kids. Something fun was planned which I ended up not participating in. I don’t remember any of the context for this. This is how long ago we’re talking.

What I do remember: I chose to sit something out and listen to music for a long time with my uncle’s friend. It sounded like a good idea to me which surprised my uncle. His reaction was kind of: “…really? Okay. Whatever.”

Then an indeterminate amount of time passed listening to David Bowie live albums. This memory (or whatever it is) has associated colors. David Live was a black backdrop for pulses of dark red, bright red, orange and white. Stage was like a clear and luminous night sky.

If this happened, then it happened so long ago that most of the sensory information hasn’t survived. What I actually do remember is the music and the visual associations it left in my mind.

From my late teens to my early twenties, I became well-acquainted with The Rise and Fall of Ziggy Stardust and the Spiders from Mars: The Motion Picture Soundtrack, David Live and Stage. With each of them there was a pervading sense of muddled recognition.

I remember distinct eras of believing that the ‘listening to Bowie live albums in the car with this guy’ memory was either real or not. During the belief periods, another notion has a way of showing up. The person I was listening to this music with believed that the studio album The Rise and Fall of Ziggy Stardust and the Spiders from Mars was like a script: something to be acted and interpreted from the outside. This person further believed that the seventies live albums were superior representations of the material.

I don’t remember how or when he would have expressed this. His interpretation was like something known beforehand, in the background of my mind. It feels likely that I overheard a conversation he had with my uncle. What about this script / enactment distinction sounds at all like something that would catch the interested attention of a toddler, though?

In other entries, I’ve said two things: that the Ziggy studio album was a rough draft that benefited from reinterpretation in both Aladdin Sane and Diamond Dogs. The addition of Mike Garson’s piano on those two albums brings essential depth beside Bowie shifting into interpretive echoes of Ziggy. The impression made, to me, was that Garson was great at crafting musical worlds which Bowie was compelled to inhabit, as a viewpoint character. Same thing happened a few decades later on the 1.Outside album.

After the musical and theatrical superiority of the second and the third of Bowie’s glam trilogy, I’ve also held that the Ziggy studio album does not describe Ziggy’s apparition: what happens is more like a revelatory broadcast from space. The message is heard and the final era of Earth’s existence sees the abrupt rise and fall of a would-be avatar. They are succeeded, perhaps, by others who “heard it to” and are acting accordingly.

This could even play into a metafictive reading of Bowie’s embodiment of Ziggy both on and off stage through Aladdin Sane in ‘73. The film that resulted in the Ziggy live album was the last public appearance of the character. As if David Bowie himself was a secondhand interpreter who “heard it to.”

I still don’t know if that first encounter with Ziggy actually happened or not but I generally lean toward thinking it had. It was simply a powerful auditory memory, leaving auditory information that my brain prioritized to the exclusion of every other detail.

What about the unspoken knowledge of the guy’s interpretation? Well…if you spend a lot of time wondering if something is real, then a selectively-preserved memory can attract a succession of attitudes. Who knows what edits you might make on accident.

But taken at face value: I think I ended up agreeing with the stranger in the long run. I found out, for myself, that studio Ziggy was a skeleton to be fleshed out from other perspectives.

Here’s the intro post

Playing Final Fantasy Blackmoon Prophecy part 3

Light spoilers for Blackmoon Prophecy and a few heavier spoilers for various mainline Final Fantasy games

Remember how I said Naddaha Pyramid was like the narrow, winding path dungeons with high encounter rates like in IV?

After you charge a lightening rod for him, Dr. Cid will teleport you across the next leg of the journey to the Wind Shrine. Except his laboratory at the other end of the teleportation device is filled with his malfunctioning, aggressive robots. With a long and winding slog over catwalks and through narrow corridors.

Fuck Jennifer

It is as close to the goddamn Tower of Babil from IV as I ever want to encounter outside of IV.

Not long after, we gather more party members far more quickly than in most 2D FFs. Out of the mainline games, the only one that felt like this was IV. Yet IV didn’t always make the difference between a permanent PC and an NPC obvious, which added credibility to a few scripted deaths (other deaths and resurrections were batshit random). VI had a relatively large playable cast of characters but gathering party members itself was not frequent.

After Ami and Nobumasa, we soon encounter the Blackmoon Prophecy version of a recurring FF character called Siegfried.

Siegfried is typically a bit player. So is his frequent friend and rival Gilgamesh. The one I remember best was from VI. I think the first time I saw him was on the Phantom Train? Dodging traps and being kind of random amid the transmigrating souls? Shows up later at the coliseum in the World of Ruin?

Things get going once we encounter a bridge locked down by the slightly-familiar General Leonardo. Many Gaia nation states possess magical, historical weapons of both heraldic and military value. Cornelia’s own sacred treasure- the sword Excalibur -was lately stolen by the infamous thief Gilgamesh. We learn, from the Cornelian King at his Nideen palace, that the trail leads through the verdant cave system known as Bragg’s Folly. We get Excalibur back, Leonardo lets us cross.

Bragg’s Folly was the first dungeon that felt like it was applying specific pressure to MP management. Every fight requires some sort of massive damage, multiple target attack which means Vera gets to flex a little with the summoning. Storm Breath blue magic is also an asset. To date, ethers (MP restoratives) are only occasionally available at item shops, which is another reason why Laka’s ability to steal comes in handy.

The use of ‘Amarant’s Theme’ (IX) here felt perfect. So did ‘Battle at the Big Bridge’ (V) during the Gilgamesh fight, what with the hammy dialogue and the horns, electric guitars and keyboards gave it a fun seventies grindhousiness (Something with katanas and Kurosawa-like spurting blood? You can steal an Atlas Armlet from Gilgamesh, btw).

Come to think of it, this version of Siegfried feels more deserving of ‘Amarant’s Theme’ than Amarant himself. Amarant himself was not one of the better-written parts of IX.

Siegfried, Nobumasa and Vahn take equal thirds of something comparable to red magic. One way in which Siegfried is distinguished is his ability to learn and use some of Cyan’s Sword Art skills like Dispatch (VI). Siegfried has also- thus far – not been able to recover MP from Ami’s Cheer command.

In the Nightmare Cave, we face the Dreamweaver, who assumes various shapes to exploit mental and emotional weak points. Vahn’s mother Elise is one illusion, who says cryptic things about his father. Another illusion is a man named Davon whose apparition is visibly distressing to Siegfried.

Rather like IV, our foes remain one step ahead of us while we seek the crystals. Having escaped from the Branch dungeons, General Braak of Ivalice beats us to the Wind Crystal.

Now…Vera was one of the other three generals of Ivalice, whom were sent to Mysidia to intercept Darius. Vera is attempting rational interrogation when the other two spontaneously flip shit and decide to start beating confessions out of everyone.

(Local embodiment of Celes, from VI? Both Vera and Celes are generals but Celes was incarcerated and brutalized for speaking out against Kefka’s poisoning of the water supply at Doma. Vera is rescued like Celes but instead we find Vera attempting to exert her own authority to prevent mob tactics in her ranks. This feels significant)

Vera draws the line, the other two turn on her and Vahn and company fly to her aid.

Back in our relative present

At the Wind Shrine, Braak attacks Vera for desertion and a boss fight ensues. While this is happening, Malacore appears directly in front of the Wind Crystal. Braak leaves, as though deferring to him.

Then Darius shows up, furious at having been subjected to mind control. Even with our newly-sane party member, though, Malacore is still able to swipe the Wind Crystal. Only the Earth Crystal at Mount Koltz remains.

I also had my first honest-to-goodness glitch encounter of the play-through at the camp site between the bridge outside of Nideen and Cornelia. I checked out the ability list next to that lil one, then turned the music box beside the moogle on and off. Then I couldn’t leave. The screen would fade to black like the normal transition and then I’d be standing in the central path as though I just entered. I slept in a tent- hoping it might move the game past whatever was going on -but it didn’t work. Had to close out and reload a save. It’s the only glitch I’ve found so far, though, so I’m not worried yet.

Nobumasa learns Mokusatsu at level 14 and Katon at level 15 which will make him way more useful. Both of those hit everyone in the opposing party. Katon is fire-aligned while Mokusatsu does non-elemental damage and may inflict blind and / or confuse. So far, blindness has turned out to be the most useful status effect and- with the monsters in the coming dungeons -you want them landing as few hits as possible.

The nation of Lindblum is the historic custodian of the Earth Shrine and its crystal. The journey is, of course, fraught.

Lindblum is beleaguered on two fronts. On one, the Earth Crystal has been taken to the Underworld by the Fey, behind an impermeable magic barrier. On the other, civil war has broken out. When Regent Gran decided to open avenues of trade and cultural exchange, a rash of militant xenophobia finds its voice in a courtier named Baram. They have, of late, began taking villages and checkpoints and have destroyed multiple bridges (Lindblum resembles a cluster of islands off the southern coast of the southeast continent so bridges are a big deal).

I guess everyone else is also worried about this?

This group- known simply as ‘the rebels’ -appear to be a typical monster-of-the-week at first. Between Cornelia and the Lindblum borders, we attempt to slip through a heavily occupied checkpoint on chocobos.

The sprites of the Narshe guerrillas (VI) now ironically embody fratricidal isolationists. Our first confrontation consists of rushing through them as quickly as possible. The chocobo is constantly running at full speed while we dodge obstructions. Objects in the way deal damage and running into a rebel triggers a fight with some mid-level damage sponges. The obstacle course ends with the apparition of Gylfi and another boss fight with mind-controlled Hans.

Our path to Lindblum Castle takes us through the Arcane Academy, which rests on an islet in the center of a rare intact bridge. Elina and Oalston are ecstatic.

The Kirin magicite can be purchased from a scholar for 10,000 gil. Vera now has healing utility- Kirin gives everyone a big heal and casts Regen on them. I’ve been grinding Elina rather hard, putting her at level 18 at that point (with the average being around level 15), and she was still yet to learn Regen.

A scholar elsewhere in the Arcane Library will hand you the Remora nethicite which offers magic, spirit and MP leveling bonuses. Started off rotating Remora between Vera and Ami but Nobumasa also benefits a lot from Remora since his Ninjutsu abilities are scaled to spirit (the only combative magic that’s spirit-scaled so far).

One may also encounter an interesting lil dude called Laudo, who came to the Arcane Library to make a profit selling ethers. This has not worked out the way he planned and- for a thousand gil -will follow us around. If you elect to hire him, he will sell you cheap ethers anywhere you make camp, mitigating the prior ether scarcity. In the long run, Laudo’s wares will include more diverse and potent ethers.

Before sharing the latest breakthroughs in black and white magic with Oalston and Elina, Director Sabino of the Arcane Library wants to test their proficiency.

The two front-row spirits can be beaten according to the elemental affinities and antipathies that their colors suggest. For the one in the back row, you want Elina to spam Dia.

Upon surviving the test, Oalston is permitted to learn Comet and Elina is entrusted with Libra.

Thus far, trial, error and context has served me well with determining things like elemental weaknesses and generalized estimates of HP limits. The acquisition of Libra makes me wonder if this may be less feasible, going forward. Oalston has also acquired a powerful non-elemental attack. With the optional nethicite and magicite in the Arcane Library and the chance to have cheap ethers on hand…this section feels like one big proficiency benchmark. Makes you wonder what’s coming.

Vahn learns Purify at level 15 but I’ve been finding that the majority of non-white magic healing abilities can only be used on the specific character with that ability. Elina remains the most dynamic healer. Vera with Kirin can function fine as a healer so long as you supplement her with Ami’s Cheer ability.

Regent Gran (who is embodied in Edgar’s sprite from VI with a reddish palette swap) fills us in on the situation with the rebels and the Earth Crystal. If the Fey are keeping it in the Underworld…I’m tempted to wonder if something like the Feymarch- my favorite dungeon from IV -is around the corner.

With Lindblum caught between the Fey and the rebels, Regent Gran is in no position to divide his attention. Vahn and Ami mention the possibility of taking territory back from the rebels and Gran is thrilled. There seems to be a certain amount of local sympathy for the rebel isolationists and the Regent is slow to move against them openly. He directs us to Kaipo to meet with his trusted commander Baigan.

Toward these ends, Regent Gran lends us a Chocobo Whistle, allowing us to summon his personal chocobo Bluebell. Being a blue chocobo, Bluebell is capable of crossing rivers and reef-like bridges between landmasses.

Addicted to Bluebell

As we enter Kaipo, Siegfried balks: he absolutely refuses to publicly set foot there. We of course have to anyway and- should one’s party rest at the inn -a conversation can be overheard.

This is another one of those moments that convinces me that the references have a function, thematic and / or otherwise. We have both a town (Kaipo) and a character (Baigan) from IV. Kaipo even looks the same. Siegfried is a perpetually masked background character swordsman. Another masked warrior from VI, Shadow, will sometimes relive moments from his past while dreaming when the party stops at an inn.

Shadow’s recall-dreams begin with his past as a professional thief. These dreams dovetail with the eventual revelation of Shadow’s estranged family: the father of his dead lover (Strago) and his daughter (Relm). What happens next in Blackmoon Prophecy is also reminiscent of Barret’s return to North Corel in VII.

Now this may have been a glitch.

As the party is about to settle down and rest, voices are audible outside. I wasn’t sure if this was a glitch or not, since the party was rather still. I suppose they could have been shocked into silence at the full-blown lovers’ quarrel outside.

Even though Siegfried did not want to be seen in Kaipo, he evidently couldn’t stay out, either. He seeks out his lover Davon, whose appearance was used by the Dreamweaver. Davon is shocked to see Siegfried after two years of absence. The couple’s fortunes took a turn once Siegfried attracted a degree of political prestige. Siegfried seemed to think that this visibility would not be safe for his relationship. Afterward, Siegfried disappeared on an ascetic quest.

He passionately apologizes for disappearing and admits that he is also suffering in Davon’s absence and continues to desire him. Davon admits that two years of abrupt silence is not easy to forgive. In spite of Siegfried’s pained avoidance of the topic among the party, Davon himself seems to have warmed up. If you visit him at his home (minus Siegfried, who won’t go anywhere near there with the party at this point), he says that he intends to wait for him.

Our local version of Baigan needs us to reclaim the town of Dawnmarch. We can set out with our newly empowered black and white mages or we can clear the village with the blue mage and the summoner. For the other two party spaces, you want some people who can both give and take some physical hits. The rebel boss there has a maul that can be stolen.

Baigan then requires several thousand gil to station soldiers in Dawnmarch, to hold it against the rebels. Luckily, there is a nearby forest inhabited by juvenile dragons with gil hoards of a manageable size.

I started this next task the way I did because Ami left the Arcane Academy fuming about how they don’t have anything for a blue mage. I agreed; especially since I had not learned any blue magic since Goblin Punch. It felt like a missed beat and then Baigan sends us on a monster hunt. It seemed to add up.

I managed to steal from three out of four baby dragons. The one that got away was the white one and I never saw them again. I encountered the red fairly quickly and I encountered the blue twice. Between those two was my only encounter with the white and lastly the black. It seems possible that the dragon encounter rate in the forest starts off high, because it’s a mainline story event, then goes down a little each time.

Since the baby dragons are roughly boss-tier, this is a convenient time to mention just how useful Ami’s Cheer ability has been. I haven’t even thought of the Cheer ability since I played X for the first time as a tween…and I’ve replayed X multiple times since. Was it always this useful? It helps when you have someone like Vera, with a single strong healing ability that also casts Regen on everyone. If you’ve been giving her the vigor shards, keeping her close to the Valefor nethicite and buying her current weapons and armor, you won’t need her to do anything for the Regen duration except her standard physical attack.

The Water Ring can be stolen from the blue juvenile dragon. Flame Sabres can be stolen from the red. Black dragons with yellow underbellies drop Miracle Fruits (large and permanent HP and MP increase).

Okay this made me feel a little called out

Oh and I also stole a Flame Sabre from an Allosaurus in the area? And I’m pretty sure all I got from them in the past were Earth Drums (a disposable item that causes Earth damage)? So far this is the first time I managed to steal two different items from one monster. If I’m remembering the Earth Drum correctly, then do the same monsters carry different stuff in different areas? Or has this always been possible and I only just now pulled it off? Even though I’ve been trying to steal from as many things as possible?

Speaking of: in the grassy periphery of the forest, there are ogres whom you can steal Life Shards from.

While Baigan’s soldiers are now financially situated, the rebels have not been idle. According to Regent Gran, they have penetrated the Dragon King’s Roost south of the gil-farming forest. It appears they want to capture and tame some dragons to use as airborne super weapons.

The corpses of the rebels are strewn about the Roost and the survivors panic and attack you if you go near them. As we approach the summit, two pissed off dragons wait for us. The first is Vedrfolnir, who has a Survival Vest you can steal.

Now…whom should we find in the Dragon King’s Roost but Bahamut: the embodied deity of Ivalice?

After Bahamut vaporizes the three rebels, he goes for the party, Megaflares everyone and breaks through the ceiling of the cave.

Some Lindblum soldiers investigate in our wake and bring us back to Regent Gran’s castle. As we’re catching him up, the subject turns once more to the Earth Crystal, which is still in the Underworld with the Fey. A nearby bodyguard is suddenly possessed by Malacore, announcing that the Fey originally secured it for him. Yet the magical barrier has kept Malacore out as surely as it has the human pursuers.

Malacore also passively refers to Vahn as the son of a “tyrant king” while talking about something else. A little question mark balloon shows us that Vahn has no idea what he’s talking about. Before relinquishing the unsuspecting bodyguard, Malacore says “After all, it is your duty as the son of King Branch to allow me this power, is it not?”

Vahn panics and flees from the party as soon as Darius, Vera and Regent Gran attempt to ask him about this. Local chatter in Tzen suggests that Vahn has likely ended up in the Temple of Visions.

Oh- first blue magic since Goblin Punch! The Vibrant Plumage ability item can be stolen from a Zemzelett, outside of Tzen. From this, Ami learns White Wind. Blue magic was one of my original motivations for keeping Laka as close as I have been.

Being a massive VII fan girl, the use of the ‘Listen To The Cries Of The Planet’ music was a pleasant surprise. This dungeon branches off into a left and right path. Both of them end with a treasure chest that contains half of the Crystal Half Moon Key, which is required to unlock the central door.

The shurikens and the Yoshimitsu treasure chests suggest that Nobumasa may have some reason to be here. Sure enough, the Hadesgigas go down fast when you throw shurikens at them (hopefully not before you steal their Spiked Gloves). With Ami having learned White Wind, she can now heal the whole party and cast Regen while Cheering for gradual MP restoration. With Ami’s Storm Breath and Nobumasa having learned Mokusatsu and Katon, you should be alright.

You also might want to fight the monster-in-a-box Almagest, since it drops an Arondight: Darius’ best weapon so far.

With both halves of the key in hand, it is apparent that the party can’t just slide them together. Then I remembered: someone in a village mentioned both the Temple of Visions and the divided key.

I can’t remember what they said though.

No one in the village of Altair is able to help out with this but they do mention a gambling engineer of renown named Jack. A townsperson says that he lives north of Altair, so off I went astride Bluebell.

This place…has an almost dream-like quality. The music is your basic video-gamey-casino loop. Tinny, synthesized, brass instrument sounds. It’s not annoying but it’s not dissimilar to annoyance. Reminiscent of insomnia, somehow. Like a casino-themed Sonic level only drunk and just about to start tilting from horny to crying.

Eventually, though…somewhere north of Altair…I found the suspiciously-named Crescent Rivulet.

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Playing Final Fantasy Blackmoon Prophecy part 2

Light spoilers

When we last left our adventurers, they were on the trail of Darius in the Gulgur Volcano. Unbeknownst to them, General Braak escaped Hans, Biggs and Wedge, leaving them to fall into the hands of three enigmatic beings who appear to be capable of mind control. When the Vahn squad catches up with Darius, they find him in conversation with a voice that he is seeing outside of his head for the first time: Malacore, whom Darius released from the Crystal of Water.

A later encounter with the esper Ramah puts much of this in perspective: the crystals are doing their usual elemental control thing (either placed there by the gods or left there as energy siphons for malevolent outsiders, depending on cosmology). What effects the crystals effects the espers. This entanglement has come up in older FFs but here we have an additional layer: elemental guardians, like Salamander and Bismarck- residing either with their crystal or at its former location. Quetzalcoatl is both an elemental guardian and an esper. Quetzalcoatl leaves nethicite behind and Salamander does not. Ramah then introduces a fourth layer: the Archareons, rulers of the Esper World. Presumably beings older and more powerful than Ramah and the other espers seen thus far.

In the distant past, both human and esper worlds were affected by a phenomenon which- on the third dimension -manifested as the disappearance of all light from the sky. Humanity remembered this as the era of the Blackmoon. It choked the biosphere, obviously, yet had consequences beyond it. The espers appear to have been affected just as much and- having longer lifespans and more of a multidimensional perspective than humans -resolved never to allow it to happen again.

Despite their immortality and non-locality, the Archareons can only perceive this event through the dark glass of prophecy. While prophecy on the esper scale may see farther than on the human one, both humans and espers relate to it in the same way. A prophecy, for these purposes, is an amorphous thing: a statement from the future with a limited range of success or failure conditions.

Malacore, who was subsumed by the Water Crystal before Darius released him, is the one who is actually capable of manipulating the crystals in such a way that the Blackmoon Prophecy may be fulfilled. This prophecy specifies that Malacore’s opposition is the axis on which Malacore’s decision will turn. From the Archareons’ perspective, Vahn and the party are the ones actually swinging the axe and therefore they are the ones who must be stopped.

The Archareons are also having non-human pattern-matching issues: Darius was a dragoon from Branch. Vahn is also a dragoon from Branch. As far as they are concerned, “these kinds of humans” appear to be working in concert. Almost immediately after acquiring the ship with which to travel to the continent of the Wind Shrine, they are capsized by an Archareon. This Archareon was summoned by Gylfi: the one we saw fighting Hans, Biggs and Wedge at the Water Shrine.

Now…Malacore shoves, espers push back. Gylfi appeared to comfortably take some responsibility for what is happening both with Darius and the crystals. Is Gylfi a third-dimensional proxy for the Esper World Archareons? Or a collaborator with Malacore? Both seem possible, just now.

Espers also introduce our first actual taste of character customization: nethicite crystals. Obviously magicite exists in this game but its only use appears to be teaching Vera how to summon different esper spirits. Nethicite can be equipped to anyone, bestowing passive buffs and additional points for various stats upon leveling. These are, of course, good for cultivating stat emphases in the long run and circumstantial protection immediately.

So far, I have encountered three nethicite-yielding boss fights in the main plot: Syldra (MP leveling bonus), Quetzalcoatl (defense and HP leveling bonus) and Atomos (magic leveling bonus).

Considering how I acquired the Valefor nethicite on Mount Palumpu, I think this may be a good time to talk about other game play factors that start loosening up. Laka the thief is recruited shortly before entering the Naddaha Pyramid, which I appreciated. I like FF thieves; both for the stealth build and the perpetual item-farming. Goblins can be encountered in the vicinity and an interesting little item can be stolen from them: Goblin Glove, with a little book icon. This comes in handy post-Naddaha once Ami the blue mage (my favorite FF mage class) is recruited. I’m wondering if those book items are how Ami will be learning most of her blue magic? Stealing the items from the relevant monster makes a lot of sense. I can see how this might annoy some people but coordination between thieves and blue mages kinda hits me where I live.

Anyway: Goblin Punch will make Valefor way less scary (Valefor’s nethicite crystal boosts HP, speed and vigor upon leveling).

We also start seeing some recognizable dungeon-design conventions from the mainline series around here. Naddaha Pyramid is a FFIV-style gauntlet of winding paths and high encounter rates. The treacherous swamp of Connal Curach has stone-to-bridge jumps and thick fog, like the shipwreck graveyard from V.

Also during the Laka-to-Ami-juncture- the obstacle transcendence abilities of the party leader have so far appeared to be removing single-tile obstructions. Elina with the Mysidian glyph barriers, Laka with picking locks and Ami with persuading the Moombas of Mount Palumpu to step out of the way.

Yes, I did have to show you each frame of that

The music gets a little more diverse at this point. The Naddaha Pyramid has what at least sounds like the music in Ultimecia’s final dungeon from VIII (on a related note, music in boss fights have been from VIII and V, thus far). Once the party starts making their way through Mount Palumpu toward the Wind Shrine, the music gets distinctly non-retro themed. Like, recognizable low notes on a viola in a distinctly non-midi format. The mines of Kohlingen have a version of the ‘Phantom Forest’ from VI with a lot of woodwind instruments and a bit less harp-plucking than expected. I liked it though.

Since so much of what we are listening to comes from mainline Final Fantasy games, the music choices can sound a little referential at times. I’m still kinda waiting to see if certain associations expand or not, like all the FFVI musical cues happening in relation to the nation of Ivalice. Or the FFV boss music during the fights with Gylfi and his cohort.

It is also impossible not to notice just how many place names and character names are taken from other FFs. Lots of main characters like Balthier and Cecil. The name ‘Vahn’ also comes from a pre-existing game but he’s also the only one with a main character name doing main character stuff.

It is easy for me to imagine certain things. Like each mainline FF takes place in its own tangent universe. These tangents proceed from a convex arc, enabling them to go as far as possible without intersecting. Final Fantasy Blackmoon Prophecy may be a lateral level above or below. If the main character from a mainline FF is, perhaps, causing the mutually exclusive tangent…than Blackmoon Prophecy appears to be a level up or down from there. The souls of the divergence-authors are now circulating in a contained environment, with everyone else. If Vahn got caught in the web of the story, then maybe it is because it could have happened to anyone in this version of Gaia.

Some other things I wanted to mention-

Mount Palumpu

The blue Whip creature on the ground has a tent if Laka can manage to successfully ‘steal’ from it. Laka is level 8, here, with 39 for luck and 56 for speed. Vahn is the only one with a better luck stat and Laka is obviously the fastest party member so far. Laka always moves before anyone else has a chance but she can only steal a tent from a Whip once every few dozen attempts. For now, it looks like the luck stat determines whether the ‘steal’ command works or not, as in most other Final Fantasy games.

Also- the Headless monsters you can encounter between the Rift Shrine and Connal Curach? Kinda look like female Armadullahans? You can steal Spirit Shards from them. ‘Shards’ are basically permanent, single-increment stat boosters, like the stat+ and ‘source’ items from VII. The stat+ and ‘source’ droppers were hidden in the crashed Gelnika, though. The demake of VII for the NES (the Lugia2009 version- not the Chinese bootleg it was based on) had a lot of monsters late in the game that dropped stat+ items, which felt like a way to add some character build freedom near the end. We’ll see how Babineau implements stat+ / shard droppers going forward.

The Headless are also damage sponges who can hit the whole party at once, though, so have fun with that.

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Let’s play Final Fantasy Blackmoon Prophecy part 1

Light spoilers

Final Fantasy Blackmoon Prophecy is an RPG Maker fan game by Daniel Babineau. Babineau began development in 2003 and completed the first playable iteration in 2011. After over decade of patches and updates, a streamlined, final-draft ‘remake’ was released a few days ago. Presently, Babineau is developing a sequel.

The nostalgia and referencing are immediately apparent with some interesting inversions.

The most obvious ones so far riff on FFI and FFIV. A beloved dragoon named Darius has lately been going a lil crazy with wild emotional reactions and inferences about everyone’s loyalty and worthiness. He looses it too hard with a prisoner, threatens to have them summarily executed and bristles when fellow dragoon Vahn tells him that’s not how it works. He storms off, rants to the king about it and gets drummed out of the military. A brief investigation to the Water Shrine ensues and guess who shows back up, eventually?

Vahn’s sprite looks like Bartz from V

Darius’ falling out and expulsion is rather efficient. Irrational person says irrational things, threatens a detainee and strikes a fellow dragoon. Everyone agrees on this and they get rid of him because they respect the rule of law. Last time things went this smoothly in a 2D Final Fantasy, Kefka was on the brink of reshaping the face of the planet and terrorizing everyone into worshipping him.

Our main character Vahn shares his first name with the main character from FFXII. XII and XII: Revenant Wings are set in a place called Ivalice along with FF Tactics and Vagrant Story. In Blackmoon Prophecy, Ivalice is a known location in the wider world. We learn in short order that the people of Ivalice worship the dragon Bahamut as a deity and that Ivalice is at odds Branch, where our player characters start out. An Ivalician general named Braak was the prisoner that Darius threatened.

I suspect the majority of music in this game comes from the Pixel Remaster versions of I-VI and a few of them have abrupt splices in their loops (copy right protection?). Excepting, of course, the music that’s obviously from PS1 through present, like ‘Who…Are You?’ from VII during a dramatic moment and the FFIX Chocobo Forest music for the, uh…Chocobo Forests.

The majority of musical cues are from IV, like the basic fight music and the Baron Castle music for Branch Castle. A lot of FFVI cues are associated with the nation of Ivalice but not exclusively (an early non-Ivalice village has ‘Kids Run Through the City’).

The random encounter rate is suspiciously low for a retro-style Final Fantasy game, at first, but ramps up once you get out of your backyard. So far, combat abilities are learned from a pre-existing roster for each character with occasional ability-and-stat-bestowing items.

Vahn’s ‘jump’ command also seems to have a clear purpose, early on. I know that the turn-skip was always supposed to be a risk-vs-reward mechanic but it actually works that way, in these early battles. Vahn leaps into the air, skipping his turn and taking no damage. Either Hans or Oalston have to just take all the hits during that beat so you have to keep them alive until Vahn descends with his massive physical attack.

In IV, there were a lot of temporary, scripted NPC party members early on. The point was to give you an early taste of what different classes can and can’t do before the permanent, “real” bearer of the character class showed up.

(Possibly…? A few of them turn out to still be alive and playable later which always struck me as kind of pointless..especially after having more competent party members to do that stuff longer by the end game period)

Blackmoon Prophecy clearly uses a similar approach to character class ‘tutorials’. The dragoon character class eventually gets a dedicated exploration with Hans, Biggs and Wedge. I dunno yet if this game has a red mage class but so far the dragoons seem to have most of the ‘red magic’ stuff going for them with an occasional ‘jump’ button, like Freya from IX.

Oh hey- when you finally have a full four-member party in Mysidia (judging from its portrayal in IV, is Mysidia supposed to be the FF version of Mystara?) you can choose your own party leader. Different pcs have different obstacle transcendence abilities, like Elina being able to remove Mysidian glyph barriers.

The four-member party also makes it clear that the ‘defend’ command has more than one function. This game is inspired by early Final Fantasy so the absence of an active time bar lines up. Nonetheless, there is such a thing as turn order determined by everyone’s relative speed stat.

This, here, is an ideal case in point. Context from FF in general tells us that restorative magic is lethal to undead. Thus it is here. So Elina casts Cure on the Fossil and takes it out in one shot. Oalston should also be leveled enough at this point to one-shot a normal Bomb with Blizzard. That leaves the purple-tinted Grenade, which seems to have more HP and hits harder when it blows up.

Unlike most classic Final Fantasy, our summoner Vera has a firm melee emphasis (vigor seems to translate into physical attack and it’s her best stat). Buy the Mythril Blade while you’re in Mysidia, equip it to Vera and you’ll notice that she can usually one-shot the Grenades before they can cause trouble.

But– Vahn has been leveling since before any of these three were recruited. That gives him an inconvenient speed stat, here in the Gulgur Volcano. With Elina, Oalston and Vera, you could probably end the battle in the screenshot up there in one turn. If you just plug in a ‘fight’ command with Vahn, though, he will act before any of the other three have a chance to. This could have a few consequences. Depending on who Vahn strikes first, the Grenade might have a chance to explode. Ending the fight as quickly as possible depends on Vahn using the ‘defend’ command.

You’ll probably find the magicite that allows Vera to summon Shiva and a Blizzard Staff for Oalston, eventually, which will make things easier. Until then, you’ll probably spend less time dying and using up healing items if you pay attention to who is good at what and how the speed stat effects turn order.

That was a neat little tutorial segment without needing to be told what’s happening. Good job, Babineau.

I’m pretty sure this fight has a scripted loss but…if you manage to inflict poison on one of the two beings in the front, it will do fifty-thousand points of damage each turn. I couldn’t resist playing through it three times since I kept wondering if the poison status effect was a secret route out of the scripted loss

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The angel from ‘Nightmare Country’ (Sandman Universe lore stuff)

Unrestrained spoilers for Nightmare Country, Hellblazer: Dead in America and the original Sandman

Could Elliot Garner- aka Dr. Diablo -be the angel? A proxy for Dream, like those employed by Desire and Despair.

It looks like Garner’s soul was devoured by demons in ‘Dead in America’ but…there is a resemblance between Garner and the “angel” from Nightmare Country.

This theory rests on that resemblance, which is admittedly vague. Garner does not have many moments in ‘Dead in America’ where his face is clearly visible. He always has those thick, owly glasses and there are a lot of flashbacks to him at varying ages while wearing the glasses.

Between the angel and Garner, there is a loose similarity of face, head and body. During the flashbacks to Garner’s younger self, the part of his hair is always combed over. When Garner’s memories return to him in Hell, his hairline sometimes looks like its thinning in the way that the angel’s hair is thinning. At other times in Hell (post-memory recovery), his hair looks like he smoothed it over the thinning spots in the front.

Covered hairline in Hell
Uncovered hairline in Hell
Angel with his hair smoothed over his bald spots?

They are both blonde. They both like to wax poetic about the collective subconscious and the use of stories for social engineering. John Constantine is shocked by Garner’s drive to collect and hoard the dream sand without any stated plan for it. The answer could be something so simple that it isn’t factored into the elaborate conspiratorial stuff. Like snorting it to get high.

Now…about Garner’s soul-

Daniel Dream had a clandestine meeting with Garner before he got roped into the plot of ‘Dead in America’. As soon as a demon attempted to rip out the eye of his astral body and eat it, Garner’s soul explodes. We learn, gradually, that the Kindly Ones from the original Sandman began as rebel angels, beside Lucifer, who fell when he did. Etrigan calls them “angels of hate.”

The Kindly Ones evidently escaped from Hell some time before they became the characters we first met back in ‘Preludes & Nocturnes’, when they tell Dream where the pouch, helm and ruby are located. They are not originally dream-kind but they appear to have been enmeshed in a dream-kind psychic environment, like Lucifer in his own SU story.

So Daniel Dream appears to hold Hell responsible for the death of Morpheus Dream and sends them an exploding package to make a point about it. Because of their dream-kind entanglements, Daniel Dream realizes he could summarily wipe the Kindly Ones from existence and only holds back because Constantine convinces him to.

What job did the Kindly Ones originally do in Hell? Guard duty, like Cerberus. They are then returned to this role, leaving John in a good position to ask for a favor later on.

Since the Kindly Ones went back to work while owing a debt to a human…and at least one soul has been empowered to walk out of Hell (Constantine) because of it…

Hell has lately been humbled and subverted by Dream. How much latitude could such a thing afford? Could Dream have just yoinked Garner’s soul back, like a yo-yo? Or at least a fragment of it, which Dream could use to fill in the blanks, as he has in the past with other beings?

One other being, anyway: the Corinthian. After uncreating him in ‘The Doll’s House’, a tiny skull from one of the Corinthian’s mouth-eyes falls to the ground. He picks it up and uses it recreate the Corinthian in ‘The Kindly Ones’.

If Dream were to attempt to restore a fragmented soul by filling in the blanks with dream substance, the human would basically be turned into dream-kind with a bit of human lineage. Dream is empowered to create and uncreate dream-kind but he enjoys creating nightmares, in particular.

(Speaking of: didn’t Dream turn two or three human souls into dream-kind in Nightmare Country? Maybe more if we count things from the original, like Matthew, Lucien or Prez Rickard?)

Once Garner regained his discarded memories in Hell, he remembered that he hid the rest of his limited supply of dream sand in the concrete of the Hollywood Walk of Fame.

If Dream “recreated” Garner as dream-kind based on a fragment, it is possible that the “new” Garner may remember the Walk of Fame. He could potentially re-collect the sand. Would Dream not demand it back, though?

Maybe. Daniel Dream is interested in establishing a reputation and boundaries: to re-dignify his authority after the collapse of his former self.

Like his prior self, Daniel can be far-sighted and goal-driven. Perhaps Garner’s use of the dream sand lines up with Dream’s plans. Or perhaps Garner is allowed to keep it as payment for something. In ‘The Glass House’ (second Nightmare Country volume), the angel’s stash of dream sand appears to be a personal secret.

By the end of ‘The Glass House’, Thessaly knows that Dream is pulling strings in this and that the angel is an apparent ringleader. She makes a move on the angel and is intercepted.

The sand in the possession of the angel could be both payment and strategy. Garner may simply enjoy having it around to snort. Much of Dream’s magic resonates with and attracts other sources of it. Allowing the angel-shaped-dream-kind to keep the sand could unwittingly turn them into a bloodhound, capable of detecting other forgotten dream magic that needs to be dismantled or reclaimed. It would explain why the Smiling Man is always just within the orbit of the angel but never close enough to encounter.

The Smiling Man appears, at times, to be a dream-kind in the company of Mr. Agony and Mr. Ecstasy. A Dreaming-side informant or collaborator. Mr. Ecstasy and Mr. Agony are Desire’s agents in the third dimension. The Smiling Man may be Despair’s agent on the astral plane, covering her half of the plan.

The voice in Mr. Agony’s stopwatch has Morpheus Dream black word balloons and white lettering, just like the Smiling Man. Agony and Ecstasy might not know where the voice in the stopwatch comes from. If it comes from the Smiling Man, than maybe both the Smiling Man and Ecstasy/Agony are equally blind to each other but used for a concerted purpose by Desire and Despair. The angel could represent Dream’s natural and appropriate participation (like the contest for Joshua Norton’s soul in ‘Three Septembers and a January’) or a quiet infiltration of Despair and Desire’s plan. (‘Three Septembers and a January’ is referred to by implication in the first Nightmare Country volume and explicitly in the second).

Some framing concerns-

When Daniel Dream shows up at the end of ‘The Glass House’, the angel asks “do you know what I am?”

Dream says that he knows what he is and what he has been saying he is. We then learn that- in this instance -the demon Azazel was shape-shifted into the angel’s appearance. So Dream was simply calling out Azazel.

When Thessaly tries to squeeze the angel for answers at the end, she is intercepted by Mr. Agony and Mr. Ecstasy who promptly beat the crap out of her. This is revealing, in and of itself. Thessaly is a three-thousand year old witch who may well have no equal among mortals. Among humans, she is unstoppable. The last time we saw her get snatched and jerked around (SU Dead Boy Detectives) it appeared to be the work of one of the Endless (Despair). She can only be outstripped by god or Endless tier beings.

Anyway-

Mr. Agony says “This is the witch. The one we mustn’t kill.” So they leave Thessaly curled up on the pavement.

The pair wanders over to the angel- rescued but hardly any more at ease for it. Mr Agony says “And this, Mr. Ecstasy, this is the one we mustn’t hurt.”

Mr. Ecstasy, to the angel: “Our employer is well aware that you have been playing with their things. That you wanted a piece of their power. (…) They know what you want, and have told us to tell you that you can have it. (…) But you will have to do it for them.”

Angel: “What if I say no…what if I won’t be that thing’s pawn?”

Mr. Ecstasy: “In that unhappy circumstance we would have to hurt you terribly. But I think you’ll find if you look inside your heart, that you’re not quite as intransigent as you previously believed. (…) I think you’ll find you want to help them.”

The angel screws his eyes shut in frustration and opens them- now relaxed and rather curious.

Yes, Dream could have rescued Garner through re-creation but we actually saw John get out of Hell, right? If Dream was going to recruit a proxy, wouldn’t John be a better choice?

Maybe, Maybe not. Death, the eldest sister of the Endless, is respected and feared among her family. When she tries to collect John’s soul, he does his little confidence game shtick in Hell with the passive cooperation of the Kindly Ones, returns to Death and then disappears under her nose. If John won’t get in line for Death then how is her little brother supposed to pull it off? To say nothing of the fact that John told Daniel to his face that his smile is creepy.

The fate of John in ‘Dead in America’ also raises questions about canon. Neil Gaiman met Alan Moore in the mid-eighties, when Moore was working on Swamp Thing. The two knew each other around the time that Moore created Constantine for that story. I could go on, or you could just go to the ‘comics’ section in the menu and read my Swamp Thing reaction. Put simply: there is a ton of world-building connections between Swamp Thing and The Sandman which feel too authentic to be a coincidence.

If we acknowledge this relationship…that leaves John Constantine in a rather tight spot.

A recurring theme in the original Sandman are the long-term consequences of things that ‘felt normal at the time’. In ‘The Kindly Ones’, Delirium says that- if one of the Endless travels to Earth and stops to look at a lightening strike -people will be stopping in that place and looking up for generations. Dream’s realization of the size and scope of these entanglements was a factor in his eventual suicide.

On his secluded island, Orpheus was guarded by generations of Greek caretakers because Morpheus inspired them through their dreams.

If we take this seriously, we admit that Morpheus may have affected Constantine’s bloodline simply by associating with his ancestor Johanna. If we factor in the short-lived Lady Constantine comic, then Lady Johanna eventually acquired the Wych Cross estate, to be renamed Fawny Rig; the name it bore when Morpheus Dream was imprisoned there.

The shared universe between The Sandman and Swamp Thing may have existed in a nascent state before Jamie Delano made Constantine the main character of Hellblazer. This makes it possible that John’s life would not have turned out the way it did if Morpheus had never met Johanna in the eighteenth century. In the Sandman Universe comic run, the echoes of cause-and-effect surrounding Morpheus are beginning to reach Daniel in indirect (and at times inverted) ways. In ‘Waking Hours’, Daniel is assessing this. In Hellblazer: Dead in America and the two Nightmare Country books, Daniel has moved on to acting on his assessments. ‘Dead in America’ sees him exercising direct control over both Swamp Thing and John.

Then there’s the prophecy mentioned by Clarice Sackville in the first SU Hellblazer volume which describes “the true and final death of John Constantine.”

Meanwhile, old currents of cause-and-effect from Morpheus are appearing around Daniel. Daniel might decide to take charge of those currents and either contain or neutralize them. Of course John is going to get swept up and of course it’s going to have consequences. If John originated in the shared universe of eighties Moore and Gaiman, he could easily meet his end in that universe.

This reminds me of the online buzz when ‘Dead in America’ was first published. There were rumors that DC/Vertigo was choosing to officially merge the Hellblazer canon with the Sandman canon. If there was anything to that speculation at all, then it sounds like DC/Vertigo intended to officially recognize that shared universe. The SU Hellblazer stories are no longer digressions: they are the main plot, sort of how the Rick Veitch Swamp Thing comics are included in the Hellblazer omnibuses.

I find that intriguing but…DC has welched on stuff like this before. They tried to perma-kill Superman in the early nineties and brought him back due to fandom reactions. This “final” Hellblazer story could be subverted just as easily. John’s whole presence in the Sandman Universe comic run hinges on the timeline split in Books of Magic. If DC wanted to retcon it, all they would have to do is say “Nevermind; that was a divergent timeline.”

Freedom of speech

There are Americans alive, today, of voting age, who never knew McCarthyism, the crackdowns of the sixties, the AIM movement or the Satanic panic. Who have never known an America where attending a protest lands you a multi-decade prison sentence. Now they have. They are experiencing this for the first time in their lives. Inevitably, someone asks why.

A trans-eye glimpse of the vanishing point between perception and probability

Almost three years ago, there were a round of Gallup polls on typical liberal v. conservative culture war issues. 51% of respondents stated that being transgender was wrong, in and of itself. As a trans person myself, that 51% deserved the headline. I chose not to post about it at the time because I was afraid I would sound paranoid. It even sounded like a strangely granular parsing of the issue for an outfit like Gallup. A part of me wasn’t quite convinced it was real.

Obviously I was naive.

Commentators stressed the distinction between classifying something as morally wrong and advocating discrimination. That, to me, sounds like the same kind of bullshit as ‘hate the sin not the sinner.’

Gallup also grouped the data into clusters of political affiliation and people who know trans people and those who do not. The number of those who know one of us was consistent with the percentage of those who said that being trans was morally acceptable: 30%-40%.

The irony is that anti-trans activists are afraid that medical transition will catch on like a social movement. If that were true, approval would be the only limiting factor.

We are not a social movement, though. None of us know why we are trans. If there was a ‘why’, as with a reasoned belief, this whole conversation would be easier. My belief is that we’re genetically predisposed. That is why we are always a statistical minority. It just doesn’t occur in nature very often. Since we do not often reproduce, the number slims down even more.

That also means that the number of people who “know a trans person” is always going to be tiny. Hopefully, whether or not we’re allowed to suck wind won’t always depend on our numbers.

https://news.gallup.com/poll/645704/slim-majority-adults-say-changing-gender-morally-wrong.aspx