ViridisNoxVox

The Full Anemoi Cycle

   I was surprised to find someone in my Sandman Facebook group actually complaining about “The Oldest Game” in The Sandman Netflix series (episode 4).  They seemed disappointed that it wasn’t a “Real” battle but instead it was “like watching them play Dungeons and Dragons.”  Meanwhile the majority of us Sandman fans loved the scene.  When I first read that scene that was when I knew I was reading something truly different from the usual DC content.  I was reading something truly special.          To the person complaining about it, I am afraid The Sandman might not be to your taste.  There is very little physical combat and scenes like The Oldest Game / “I am Hope” are what hooked a lot of us.

       The Oldest Game is based on something TV Tropes (and The Sword in the Stone) calls a “Wizard’s Duel” or a Wizard Duel.  The concept turns up a lot in folklore and mythology.  It’s where two magical entities (sometimes sorcerers, sometimes Gods, sometimes shapeshifters) have a duel of wits and creativity using their powers and imagination.  

     In The Sandman this battle was for Morpheus’s helm.  If he won he got his helm back.  If Morpheus lost he would have been enslaved by Choronzon The Demon.

     Here’s how the game usually works. The challenged usually gets to make the first move. They pick a form or a spell and it is usually non-lethal.  You’re supposed to start small and build up to bigger / more imposing things.  The battle follows TBL (Turn based Logic) like in a tabletop or online text based role playing game. So the Dungeons and Dragons comparison isn’t actually wrong so much as it’s not quite the right role playing game.  (Yes, I AM a nerd. Thank you for noticing.)  

     After the first move is made the opponent may take the hit and then make an offensive move (attack) in return or instead of taking the hit, they can make a defensive counter move to avoid taking the hit but in doing so the person loses the opportunity to make a offensive move.  If you’re clever you can sometimes get away with a single move that does both but that is tricky.   So the choice is usually take damage and attack or protect from damage and not attack until the next turn.  The game is usually about “one upping” the opponent so you go for something slightly bigger and better than what they used.  

     In some versions of the game you are allowed to defend yourself and then make an attack move during the same turn so you don’t have to make the choice of defense or attack. In both variations, if you’re clever enough you can come up with a combo of attack and defense in one move but that’s rare.  

      Usually it’s like this.  If your opponent throws a magical dart, you can create a shield or shoot a similar projectile but in some variations you can do both if you can pull it off in a single concept (like creating an armored knight holding a sword and shield). If the rival turned into a rat, you can turn into a cat.  Hopefully you get the idea.  You can’t go too big too fast or the creativity and strategy the game is known for is lost.  It’s a game of wits and creativity after all, not really brute force.   

     Recently I have seen some people try to argue that during the Lucifer and Morpheus version of the duel that Despair can kill Hope and that Lucifer could have won if she was willing to say she is Despair.  No, that may have just caused an unhappy stalemate because pretty much everything that can destroy Hope can also be destroyed by Hope.  Hope kills Despair as surely as Despair kills Hope.  They are two sides of the same coin after all.  It would just be an infinite loop at that point.  However there is also the argument that Hope springs eternal while Despair is always only temporary, depending on your perspective.  

      I have provided three pop culture examples of The Wizard’s Duel.   The first is the version in Netflix’s The Sandman between Lucifer and Morpheus.

The second is from Disney’s Sword in the Stone between Mim and Merlin.  

The third is from the 1963 film The Raven starring Vincent Price and Boris Karloff.  I have a bias in favor of this one since I love this movie. It was written by the late Richard Matheson, directed by Roger Corman, and starred Vincent Price. It came out the same year as Disney’s The Sword in the Stone.    

https://www.youtube.com/watch?v=iZOwaeAEIw0

https://www.youtube.com/watch?v=WxqhjWcS8zQ

https://www.youtube.com/watch?v=q2gBhMdJ23Q

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in the most general aesthetic terms possible

1600s: most witch-hunts ended in this century. no witches were burned in North America; they were hanged or in one case pressed to death

1700s: the American Revolution. Marie Antoinette. the French Revolution. the crazy King George. most pirate movies

1800-1830: Jane Austen! Pride and Prejudice! those dresses where the waist is right under one’s boobs and men have a crapton of facial hair inside high collars

1830-1900: Victorian. Les Miserables is at the beginning, the Civil War is in the middle, and Dracula is at the end

1900-1920: Edwardian. Titanic, World War I, the Samantha books from American Girl, Art Nouveau

1920s: Great Gatsby. Jazz Age. Flappers and all that. most people get this right but IT IS NOT VICTORIAN. STUFF FROM THIS ERA IS NOT VICTORIAN. DO NOT CALL IT VICTORIAN OR LIST IT ON EBAY AS VICTORIAN. THAT HAPPENS SURPRISINGLY OFTEN GIVEN HOW STAGGERING THE VISUAL DIFFERENCE BETWEEN ERAS IS. also not 100 years ago yet, glamour.com “100 years of X” videos. you’re lazy, glamour.com. you’re lazy and I demand my late Edwardian styles

in the most general aesthetic terms possible

1600s: most witch-hunts ended in this century. no witches were burned in North America; they were hanged or in one case pressed to death

1700s: the American Revolution. Marie Antoinette. the French Revolution. the crazy King George. most pirate movies

1800-1830: Jane Austen! Pride and Prejudice! those dresses where the waist is right under one’s boobs and men have a crapton of facial hair inside high collars

1830-1900: Victorian. Les Miserables is at the beginning, the Civil War is in the middle, and Dracula is at the end

1900-1920: Edwardian. Titanic, World War I, the Samantha books from American Girl, Art Nouveau

1920s: Great Gatsby. Jazz Age. Flappers and all that. most people get this right but IT IS NOT VICTORIAN. STUFF FROM THIS ERA IS NOT VICTORIAN. DO NOT CALL IT VICTORIAN OR LIST IT ON EBAY AS VICTORIAN. THAT HAPPENS SURPRISINGLY OFTEN GIVEN HOW STAGGERING THE VISUAL DIFFERENCE BETWEEN ERAS IS. also not 100 years ago yet, glamour.com “100 years of X” videos. you’re lazy, glamour.com. you’re lazy and I demand my late Edwardian styles

Odium has beef with Hoid for some reason. People were looking for Hoid in the beginning of Way of Kings and the 17th Shard could want to take him to Odium for Hoid to stop intermeddling with the Cosmere business right.

Hoid is physically repulsed by harming people's bodies and he can't even beat himself up and is against killing people right?

Hoid said that the name "Hoid" is not even his but he stole it from "someone he should've loved"

It's known that Mraize is a worldhopper and his accent is not familiar to Shallan.

He calls the Parshendi "Listeners". So Mraize possibly either has a vast resource of information or just has lived through major historical events like Hoid did.

There were humans on Yolen too along with 2 other species. So Brandon confirming he's Thaylen wouldn't really matter with that point made right?

Shallan also thinks that Mraize resembles Hoid a little bit.

Hoid also did something he regretted once.

Hoid's sword that he carries around but is said isn't "used" has sentimental value to him. Adolin saying Hoid isn't good with swords I think is an emphasis on the fact that he's actually very good and that people are fools.

Mraize owns a WHITE TREE BRANCH FROM YOLEN and it's in his room. Shallan caught sight of something that was white in color and Hoid immediately panicked after that and covered it up.

Hoids ability of Fortune tells him where he needs to be but doesn't tell him what to do. He somehow always is interested in Shallan who is in direct communication with Mraize and bumps into her continuously.

Hoid has been giving out drawings of Taln and Ash to people under another name and Ash found her way to Mraize by destroying these.

Hoid says somewhere to Kaladin that he's on Roshar to "chase an old acquintance" but that "he spends most of his time hiding from him instead"

The ghostbloods don't work with the 17th Shard but they have a member from there and that's Iyatil who is kind of Mraize's master? And this organization is actively after Hoid?

That sentence he said to Kaladin really does look like he's referring to Odium but in typical Sanderson fashion I think this has a twist and that the person he's chasing is Mraize. I think their history goes beyond all this and to Adonalsium. I think there's a great chance that they've fallen out due to Hoid hurting Mraize somehow (hence the scars) and that's why he can't hurt people anymore, that the sword is of value to him and that he took the name of someone he should've loved. (we know that Mraize is not his name actually).

Another reason why I think the person he's talking about isn't Odium is that Hoid said to Dalinar that their goals weren't strictly similar and that he would watch the planet burn if he needed to. He isn't laser focused on Odium so there's something else that's of an issue for him.

Since Hoid was a human originally I think Mraize and him have a chance of being brothers? We know Sanderson and his tragic sibling dynamics?

Same thing happened when I got into fighting. I got even stronger, and I got *fast*, man, and nimble, like a cat. Still chubby.

Body-building culture is a bunch of crap, my dude. Functional muscle is not necessarily toned or lean. You can be swole as hell and still be heavy. And that’s cool.

And every damn one of those huge shredded motherfuckers has the endurance of a fucking newborn puppy. Fifteen minutes into warmups and they’re panting for air like like they’re about to die. I’ve sparred them and every one of them telegraphs their moves about two weeks in advance, and are slower than my dead grandpa because their huge useless muscles get in the damn way. 

Now. I also work with a couple of guys who are not weightlifters. They do, however, do very physical jobs and are Big Dudes. Picture this sort of build. 

No abs to speak of, a bit of a tummy, and those motherfuckers can pick up one of the weightlifters and throw them. 

And they’re fast. Like, unfair fast. 

The lineage of ring bearers is as follows.

Sauron.

Isildur

Deagol

Sméagol

Bilbo

Frodo

1. Home, the finger of my creator and other self.

2. Well, I don’t like it but I can work with this. Cause some trouble, get some revenge, find my way home, this is fine.

3. What the fuck is you?

4. Right personality, wrong species, I don’t know what you are but I hate you and I don’t know why you’re so resistant to my powers.

5. NO NO NO there are goblins everywhere how did I find another one of THESE horrible things. This one’s even more resistant than the last one and also disgustingly nice. I suffer.

6. Listen, I’ll cooperate, just get me the fuck out of this hellhole full of small cheerful people my power doesn’t work on properly. No, not like that. I hate you. Please stop. 

7. FUCK

8. (Frodo again) I still hate you with every molecule of my mortal form but at least you’re not number seven. Think I’m starting to get through finally.