#leonides

[amaati]

Non Tua ~ Leonides & Vibia

This series has me hooked. Vibia is such well-written main character, and every character is just as compelling. The setting, art, pacing, story is all phenomenal!

Please, check out the story on Webtoon and support the author!

[fabforgottennobility]

THIS

IS SPARTA

[grandboute]

Two lions #fountain #lions #art #fontaine #leonides #enFlanant https://www.instagram.com/p/Chmqk4hKSr3/?igshid=NGJjMDIxMWI=

[pierre-hector]

Flux des Perséides

Nous arrivons ce 11 février à l’axe des Perséides, moment de l’année où la terre croise l’orbite solaire, devant celui-ci, orbite solaire autour du centre de la galaxie.

(16:27) – Doc./Diapo. n°18 – Le calendrier des saisons

Le schéma présente un calendrier des saisons reportées sur trois cercles [ou disques] concentriques. En traits mixtes sont représentés les axes solstices-équinoxes. L’équinoxe de printemps à droite de la figure, celui d’automne à gauche ; le solstice d’été en haut, le solstice d’hiver en bas.

Sur le cercle [l’anneau] intérieur, la polarisation positive de la lumière dont le maximum est au solstice d’hiver est représentée en foncé. Elle vient s’inverser (+/-) à l’équinoxe de printemps. La polarisation négative dont le maximum négatif est au solstice d’été est représentée en clair. Elle vient s’inverser (-/+) à l’équinoxe d’automne.

Sur le cercle [l’anneau] extérieur, sont reportées les dates des flux des Léonides [nov. (1)] (novembre avec influence en mai) et des Perséides [20 juil.-25 août ; max. 12-13 août, 02:00-05:00 (2)] (août avec influence en février).

Le soleil lui-même n’est pas isolé dans l’espace, il est relié à la galaxie. Il est lui-même relié par un système électromagnétique, comme la terre est reliée au soleil, comme la lune est reliée à la terre. Ce système électromagnétique comporte [lui aussi] des axes : un axe électromagnétique avec une partie positive et une partie négative ; un axe électrique avec aussi ses parties positive et négative. Ses axes sont précisément ce que les astronomes appellent « flux des Léonides » et « flux des Perséides ». Une vue de l’esprit ? Certainement pas. Les saisons chinoises ne sont pas axées comme les nôtres. Les Chinois considèrent que l’année a quatre saisons et qu’entre celles-ci, il y a ce qu’ils appellent des inter-saisons (élément bois) et ces saisons débutent le long de ces axes [Léonides/Perséides], axes de l’univers galaxie-soleil.

— Le flux des Léonides (magnétique -) [en mai] correspond aux saints de glace et à la lune rousse ;

— le flux des Perséides (électrique -) [en août] (en général une période de chaleur, selon la superposition des cycle) ;

— le flux des Léonides (magnétique +) [novembre], une période de chaleur (été de la saint Martin [11 nov.]) ;

— le flux des Perséides (électrique +) [février], une période froide (maximum de décès, surtout de personnes âgées – météoropathologie de [[Ehm]]). Les flux électriques sont plus nocifs sur la santé que les flux magnétiques.

En superposant les deux cercles, nous avons un premier secteur |A, B, C, D| ;

A : équinoxe de printemps, B : flux des Léonides (mag. –, mai), C : solstice d’été, D : flux des Perséides (élec. –, août) ; avec une concordance magnétique négative.

Un secteur |D, E| où il y a prédominance électrique négative, puisque le cercle le plus négatif est plus proche de la terre.

… et un second secteur |E, F, G, H|.

E : équinoxe d’automne, F : flux des Léonides (mag. +, nov.), G : solstice d’hiver, H : flux des Perséides (élec. +, fév.) ; avec une concordance magnétique positive.

Un secteur |H, A| où il y a prédominance électrique positive, puisque le cercle le plus positif est plus proche de la terre.

(22:58) Le problème des saisons est extrêmement complexe. Car en outre, on constate en réalité que le mouvement d’un astre, quel qu’il soit, n’est jamais simple. Il y a toujours un phénomène de rotation associé à un phénomène de translation. La terre tourne sur elle-même, elle subit une translation sur son orbite, pareillement pour la lune dont même varie la direction du grand axe de l’ellipse que constitue son orbite autour de la terre.

Il est vraisemblable qu’il en est des masses fluidiques comme des corps constitués. Les couches ionosphériques, en plus de leur mouvement de translation, doivent avoir un mouvement de rotation sur elle-même autour de leur axe principal et que ce sont ces mouvements de rotation qui déterminent sur les humains les biorythmes : 23, 28, 33.

‣ (à 0016:27) Jeanne Rousseau, « H2O, cosmos et bioélectronique », conférence donnée le 1er septembre 1989 à Annecy, http://www.dailymotion.com/video/xxf5jr_jeanne-rousseau-h2o-cosmos-et-bioelectronique-part-2_creation (cf. temps en début de paragraphe) (cons. 1er fév. 2018). —

(1) Wikipedia, Léonides, « Les Léonides, ou Delta Léonides, sont un essaim de météoroïdes ou météores associés, observables en novembre, [15 < max. 18 < 20 nov.] dont le radiant est situé dans la constellation zodiacale du Lion. Les Léonides sont causées par le passage de la Terre dans la traîne de poussières laissées sur sa trajectoire par la comète Tempel-Tuttle qui a une période de 33 ans. », https://fr.wikipedia.org/wiki/L%C3 %A9onides (cons. 13 fév. 2018).

(2) Wikipedia, Perséides, Les Perséides sont des météores « observables lorsque les débris de Swift-Tuttle rencontrent l’atmosphère terrestre, soit à partir du 20 juillet environ jusqu’aux alentours du 25 août, avec un maximum habituellement situé entre le 11 et 15 août. La nuit la plus active de la pluie des Perséides est celle du 12 au 13 août de 2 à 5 heures du matin. », https://fr.wikipedia.org/wiki/Pers%C3 %A9ides (cons. 13 fév. 2018).

[alistonjdrake]

Excerpts to encourage me to rewrite the ORG prequel

“Val?” 

He blinked. The snow, freezing water, dogs and soldiers were gone. As was the pain but the heat remained. It came in the form of a crackling fire for light and warmth on a windy night. The windows were closed, but cracks in the glass still lifted the curtains. His body still damp, but this time from sweat. His glasses still removed from his eyes, but this time pushed up to his hairline to keep the stubborn strands from his face. A blanket laid across his feet, the sheets of the bed stuck to his back. The light of the chandelier sent a glowing frame around the back of the younger man who straddled him. Long hair hung over his shoulder. Beautiful arms tensed as his fingers pressed to Valera’s hips. 

His thumb rubbed a dark brown spot on his lower waist. Warped and wrinkled. A ghost memory of searing pain whimpered through him.

“What’s this?”

“A bug bite.”

Leonides clicked his teeth in annoyance. “I know it’s a gunshot wound.”

And Valera had another one on his leg, and a few curved scars from dog bites, but none were things a prince with a mouth smarter than his head needed to know. Not yet.

Valera chuckled dryly before curling his fingers with Leonides’ and pulling him down so their faces were closer. He poked his tongue out between his lips, watched as his dear drank him in.

“If you knew, why did you ask?” 

“You don’t want me to know things about you?”

“I want you to beg for every bit of me.” 

Leonides rolled his eyes but his cheeks darkened all the same. 

He rolled off of him, settling in bed beside him with his glorious hair splayed around his head. He laid his arm against his forehead and sighed so loud it filled the whole room. It wasn’t so long ago Valera was his age. He remembered the temperamental moods his eighteenth year brought, only Leonides was living in much more comfort. 

And he had him. 

[julius-scaeva]

A couple of days ago I made this point on main. As you can see, it didn’t become very popular, BUT it’s still something I feel very strongly about (and yes, I’ve come to the conclusion that maybe I’m biased), so I decided that I had something to say. (Obviously: HUGE spoilers for Darkdawn). Also, bring with you pop-corns, you’re here for a ride (there’s a tiny TL;DR at the end btw). 

Let’s start by saying that I adore backstories in books. It’s my favorite kind of fanfiction to write and to read, I’m always glad when an author decides to give us flashbacks about a minor character, and I adore looking for little hints in a character’s behavior to get to know them better.

The explanation for this is pretty simple: I firmly believe that how we are heavily depends on what experiences we’ve come in contact with. I don’t think that our identity is solely based on experiences, but I also think that backstories are often more important than someone might think when considering a story.

I love when an author gives a minor character a voice because they are taking into account that everyone is the protagonist of their own story, everyone has had their personal character development, and, even though they can’t give a proper place for everyone to shine, they still can make us understand that these characters exist, in some way.

This is one of the reasons why I love the Villains series by V. E. Schwab and this is one of the main reasons why I loved The Nevernight Chronicle: almost (emphasis on almost) every character Mia (and therefore the reader) comes in contact with has a story to tell and Jay Kristoff makes sure we know that. That we know what has brought them to the point they are.

This is especially super important in a story that takes place in a country like Itreya where violence and prevarication seem, most of the time, the only options: if you give me a story that is meant to be super bloody and filled with morally questionable people, but then don’t make sure we understand why those people act in that way I won’t be impressed. I will only be extremely bored.

Itreya is a country that deeply influences people’s decisions simply because they often lack the opportunity to see that there’s another way: think about Furian, and how the meeting with the priest changed his life forever. Or about Ashlinn, about how she only knew vengeance before meeting Mia (and her father, how traumatizing had to be for him being imprisoned and tortured all those months). Or about Leona, who is surely deeply flawed and selfish, but is also scarred from an extremely traumatic experience from her childhood. Or about Jessamine, Hush, Carlotta, Corleone all characters we don’t really follow for a lot of time, but we have a little window opened for us and we get a small look in why they became who they are. (Ps: we don’t know shit about Cassius either and this pisses me off too, especially because we had Eclipse RIGHT THERE but that’s off the point I’m trying to make here. Just... if you ever plan to write something about him, let me know, okay?)

And, this is also essential, it doesn’t work only for the kids: like I’ve already said, characters like Furian, or Leona, or Corleone, or Ashlinn’s father are essential because we’re shown that this systemic use of violence and injustice isn’t something that screwed up only the last generation, but is deeply rooted in the very core of Itreya.

After all, what can you expect from a country born from a father killing his own child?

And then we come to the main antagonists.

Let me say this straight: there are villains, in The Nevernight Chronicles as well as in other stories, that don’t need backstories. Not ever single villain in a story needs to be super well developed or super interesting: there are some people who are just... shitty. And that’s all. Because that’s how the world works. There are people who are violent, who are cruel, simply because they can. Example: we don’t know anything about Leonides or Duomo, we only know how their actions scarred and influenced other characters. There’s nothing spectacular about them, nothing stands out: they are two men using their strength and power to abuse vulnerable people close to them. There’s nothing interesting, nothing even remotely alluring, nothing that captures my interest in a man beating his wife to death in front of his daughter or in an another man using his power to abuse young children to the point of one of them committing suicide. They are meant to be seen as disgusting. They are meant to be seen as monsters. They are meant to be seen as the embodiment of the extreme privilege that touches so few people in the Republic and causes oh so much damage. I don’t want to read about them. I never will. It would be the equivalent of reading about Donald Trump. (You can fight me on this comparison)

And then we come to the actual point of what I’m trying to say: I was extremely disappointed, up until Darkdawn, that we didn’t get any sort of background for the components of the Red Church and I was glad we had little snippets with some information about them (especially, especially Drusilla. She and Mercurio had more chemistry than half of the main couples I’ve encountered in books). We also had some kind of information about Solis too (more or less). But... what about Aalea? Spiderkiller? Mouser? Are we just supposed to believe they appeared out of nowhere, already assassins and murderers and completely corrupted by money and gold?

Are we supposed not to have sympathy for them just because they are villains?

Because, if that’s the case, it pisses me off to no end.

And I wouldn’t even be mad about this, like I said, if it hadn’t been made clear that backstories ARE IMPORTANT to make us understand what’s going on in the Republic. I mean, we know stuff about The Falcons that serves no purpose other than that, right?

But okay, o.k.a.y., Jay Kristoff, there are characters who maybe have too little on-page time to talk about them in depth (even though I’d argue on the fact that there was no time for them to actually have a proper backstory), or, maybe, you here were trying to, once again, like with Leonides and Duomo, make us see how richness and power slowly corrupt and destroy, and if you had given us backstories the message wouldn’t have been as effective as it was.

If I consider those characters to be more symbols than, in fact, characters, then I’m ready to look past their lack of background.

And then we come to Scaeva.

Now, if you haven’t already guessed by the url of my blog, or by its aesthetic, or by my main blog, Julius Scaeva is, by far, my favorite character in the trilogy. Which is saying a lot, because I loved almost everyone there (emphasis on “almost”). What can I say? I love me a great villain.

Up until the end of Godsgrave, I was interested in him, but, his character not being in basically two books, I hadn’t enough material to really consider him (even though his dialogue with Alinne made a lasting impression on me) and I wasn’t really sure how I would feel about him by the end of the series. 

And then, then, the last pages of Godsgrave and the first of Darkdawn happened and I suddenly knew I wasn’t reading about “a villain” like, for example, Leonides or Duomo, or even Spiderkiller: I was reading about a well-rounded character.

What makes the difference, you might ask. Well, apart from the number of pages dedicated to him, Scaeva has a well rounded personality, interesting relationships with other people, especially Mia and Jonnen (please, tell me something about Spiderkiller apart from her liking gold and being good at making poisons) and is, undoubtedly, the most charismatic character in the whole thing. I feel like what really made his character, btw, are the glimpses of the past relationship he had with Alinne (the Nevernight wiki says that it was only sexual but it clearly wasn’t and I’m working on another analysis just to prove my point) and, most of all, the interactions with Jonnen. Especially, ESPECIALLY, the scene with them and Adonai (aka: one of my absolute favorites sequences in the entire trilogy).

Kristoff wants us to feel strong emotions towards Scaeva: negative emotions, of course (he totally failed in that with me, btw), but you can’t help a subtle hint of admiration for what he managed to do. It makes a lot of sense, since I’ve been confirmed that his figure was, as I thought, inspired by Caesar (aka: one of my favorite historical figures of all time, and kind of crush when I was a child)---I have to thank @kavinskhhy​ for telling me that Kristoff actually confirmed he was based off Caesar, which is.

The thing is: for characters that are half as complex as him (because he is a complex character, you can fight me on that too) we are given pages and pages that explain how they became the way they are (*cough cough* Maggot *cough cough*). And then we come to the main antagonist. The man Mia has despised all her life. The man that *shocking* is also her father. The man that alone has brought a State on its metaphorical knees. And we discover that he’s actually a well-defined and alluring figure. And... 

We get absolutely nothing about him.

And when I say nothing, I really do mean nothing.

Before he became consul, we are left in the complete dark.

“He’s probably only another of those characters born in privilege” you might say. “Kristoff doesn’t say anything because there’s nothing to say!”

Had this been the case, him being born as a Darkin in a family of mellowborn and having to come to terms with that would have been pretty interesting to see nonetheless, considering the reputation Darkins have in canon (may I remind you that Alinne, in her madness, was terrified of Mia, telling her that she was not her daughter, just because “He was inside of her”? Like I said. Interesting.). But then, let me ask you: are you sure he was born in absolute privilege?

Leaving the comparison with Caesar (born in a very ancient family, but also... not really wealthy nor powerful, to use an euphemism) aside: are you sure that someone as Leonides and Duomo would have developed an obsession (I don’t feel any other word is fitting, here) with the concept of “will”? Would someone who thinks everything he has is well deserved just because he was born in the right family refer to what he’s doing as “a game”? Would someone who has never had to struggle his whole life care to develop a partial immunity to the Everseeing’s symbol, even thought it must have costed him an immense amount of pain? 

But now you’ve proven yourself my daughter true. Possessed by the same will as I: not only to survive, but to prosper. To carve your name with bloody fingernails into this earth.

Look me in the eye and tell me that this man came from the same background as Duomo and Leonides.

“But maybe Kristoff only wanted us to hate him!”

No, he didn't. Because:

1) a villain you’re able to despise without any second thought isn’t a great villain (and you need a worthy opponent when you create a main character such as Mia): if you’re giving us a story filled with morally gray character, the MAIN villain has to be, in my opinion, as interesting as the others.

2) there are in the story characters you have no problem hating and I’ve analyzed why Scaeva is different from them. 

3) there is a moment (only one moment, that’s true, but it’s enough for me to conclude that Kristoff wanted us to see Scaeva as a well rounded character) where you can’t help feeling the tiniest bit of positive emotion towards him. And that’s where he uses his own body as a shield to protect his son. 

And even if he wanted us to hate him, that would defy one of the main messages of the book: everyone (or almost everyone: see the examples above) is a product of the environment they grew up in. Violence causes violence. And Itreya was literally founded over a murder.

So, to sum up: we know how important backstories are in the Nevernight world, to the point of even side characters getting a couple of flashbacks here and there. We have differentiated between characters seen as “symbols” and characters with their own depth. We’ve come to the conclusion that Scaeva is as (if not more) interesting as the majority of the characters who got their own backstory.

And you’re really really telling me that he is the only one out of them all we don’t get to know better?

Why?

Because he’s the villain? (Like I’ve stated up until now, this would make a TERRIBLE excuse)

Because there was no time?

What the hell should I conclude finishing this book? “Oh yes, everyone is a product of society and has therefore a story to tell except that one guy because fuck him, he’s a dick, we don’t care”?

If we take into accounts Spiderkiller, Aalea and Mouser the thing becomes even worse, because it really seems that everyone but the villain has a sad story behind them that makes them act the way they do.

“Oh, shit, something terrible happened to me when I was a child so now I’m a bad person, BUT NOT AS BAD AS THE BAD GUYS, WHO HAVE NO REASON WHATSOEVER TO BE THE WAY THEY ARE. OR MAYBE THEY HAVE, WHO KNOWS? WHO CARES? NOT ME!”

See? SEE? It doesn’t make sense!!!

And maybe you didn’t even notice that, maybe you don’t even care, but since I was little I’ve always took the vilains’ side, analyzed their actions and spent all my time wondering what their side of the picture might be, because almost no one ever cares for backstories of the side characters, let alone the ones of the guys you’re supposed to hate.

And when I come in contact with a story that almost makes mandatory to inform us of every single character’s background, because the author finally acknowledges the importance of what you’ve been through in defining who you are, because if you’ve only seen blood and violence throughout your whole life OF FUCKING COURSE you’re going to believe there’s no other way--when an author does all of this and then systematically leaves out the villains (even the most complex ones) from this mentality

THIS is when I snap.

TL;DR in case you got bored halfway through: if you use backstories in your works to inform us how a violent and cruel environment systematically fucks up everyone, no matter their social status, and then purposefully leave out the antagonists because they are antagonists, I’m not going to take it lightly.

[alistonjdrake]

yo june, happy smut sunday :D do you have any characters embarrassed by their sex lives, or who have trouble reconciling their sexual preferences with the rest of their personhood?

I may be late but I feel like you’re just trying to get me to say Leonides. Because Leonides. I mean I wouldn’t say embarrassed. He’d prefer to be completely disinterested or adverse and he doesn’t like that physical attention is something he wants. There’s two reasons and surprisingly they’re not all the angsty. The Escana are seen to many non-Escana as hypersexual and Leonides loves subverting a good stereotype. His dad King Frederick would bang anything that moved and it was something that political enemies latched onto and even used (in the form of sending people to the capital to spy/harm him and Frederick would of course sleep with them because pretty new thing) and Leonides never wanted to be in the same situation or do anything that someone could potentially use against him because he doesn’t like feeling vulnerable, which also kicks his sexual preferences in the face since it’s all about being vulnerable. 

He’s really the only one with this problem. 

[julius-scaeva]

Bad take: Aa and Scaeva are very similar and their story arcs mirrored each other because both of them tried to murder one of their children and are both very power hungry.

Good take: while Scaeva and Aa have some similarities, the circumstances in which Scaeva tried to kill Mia and the ones in which Aa tried to kill Anais were completely different. Scaeva was willing to die for one of his children, something that Aa would never even consider. Plus, while Aa considered his son much more dangerous than his daughters (*coff coff* sexism *coff coff*) Scaeva never made such dinstiction and wanted both Mia and Jonnen to be his legacy. Therefore, apart some minor similarities in their story, they have two very different personalities.

God take: Aa has more things in common with Leonides than with Scaeva.