The fact that Pantalone and Dottore reflect a priest and a plague doctor makes so much sense...
At fiiiiirst the alliance between these two seems like a simple pact where one provides the money and the other runs the experiments (everyone and their mamas know that not really) however mihoyo do several details behind their visual designs that go far beyond mere sthetics their attire reveals a very interesting past.. why does the banker dress like a cleric, and the scientist like a plague doctor? š¤
The Dance of Death
During the worst epidemics of the Middle Ages and the Renaissance, cities became total quarantine zones. Whenever the plague rolled in, rulers and wealthy citizens packed up and fled to the countryside. In the middle of all that abandonment and chaos, plague doctors and priests were pretty much the only authorities who actually stayed behind to face the horror on the streets, since the science of the time blended religion with medicine, both professions needed each other to manage the chaos of the infected cities, Doctors treated human bodies while clergymen treated the soul (since the plague was considered a divine punishment) so doctors rarely treated a patient if he had not confessed to a cleric beforehand bcs a cursed soul could not be cured
The Lazarillos and Pure Faith (14th Century)
In the original Black Death outbreak, their teamwork came from sheer desperation. Back then, doctors just wore regular cloth clothes (no bird masks yet ā¹ļø ....) and they worked side by side with priests in lazarillos (make-shift plague hospitals administered by religious orders, but the technical staff were plague doctors) and it was a total team effort:
While the doctor tried to stabilize the patient's body, the priest kept people from completely panicking, which was a huge deal because hysteria caused massive riots in the wards.
If they visited an infected house, they went in together. The doctor figured out if the patient had a fighting chance, and the priest stepped in right behind him to prepare the dying for the afterlife bcs they breathed the same infected air and handled the same fluid exposures, both professions caught the plague and died at insane rates, literally they were literally wiping out together......
Bureaucracy and the Bird Mask (17th Century)
Flash forward to 1619, and a French doctor named Charles de Lorme invents the famous leather suit with the beak-shaped bird mask šāāļø and by this time the doctor and priest dynamic wasn't just about faith anymore... it was a highly regulated government control system
The doctor called the shots, Protected by his leather suit and beak mask, the doctor was the only one allowed to go in first. The priest had to wait outside at a safe distance until the doctor tapped the door with his wooden cane to give him the green light for last rites.
Shared paperwork, Since people were dropping dead in days, wills had to be written on the fly, the doctor (from a distance) certified that the dying person was still lucid, and the priest blessed the document, both had to sign together as official legal witnesses.
Counting the bodies, at the end of every day, the bird-masked doctor and the parish priest had to sit down and cross-reference their lists of the dead to make sure the government's body count was completely accurate.
I find it curious that Pantalone and Dottore are inspired by the two professions that irl helped each other in such a catastrophe
Pantalone's design evokes a high ranking Orthodox cleric with liturgical vestments and the Globus Cruciger constellation and its strong inspirations based on a real priest named Feofan Prokopovich, Dottore for his part, reinterprets the 17th century beaked mask and all his characterization linked to crows
aaaaa but it's not just that šļø
The Clergy banks and economy
Although the Church declared greed a sin.... in the age of the plague, the clergy controlled the world's economy, Monasteries functioned as the first modern banks, lending to kings and insuring fortunes. When the plague struck, the fear of hell became a multimillion dollar financial business.... wealthy people paid fortunes in gold for "indulgences" (papers that bought their entry into heaven) furthermore, if a wealthy family died without heirs from the disease, the Church automatically inherited all their lands and palaces (lol rests in piss my granny she got hit by a-) while the people lay dying in the streets, the clergy accumulated capital and controlled the flow of money.
The Doctor alchemy and science
In those centuries, medicine was not separate from magic or alchemy, Plague doctors didn't know what caused the disease, so they experimented with the occult, searching for the "Elixir of Life" to become immune, their prescriptions were a bit...well hum.... they made the sick drink ground gold and used arsenic or mercury to try to "neutralize" the plague's poison, but the most disturbing thing was that, although the Church forbade opening corpses, considering it a horrific sin, these doctors secretly performed illegal autopsies in dark basements to study the anatomy of the dead.
In the end.... these two professions were two sides of the same coin........ Clergy controlled the economy while the Doctor controlled the bodies, ppl who perform religious functions suffered massive mortality during the Black Death (estimated at between 42% and 45%), this high death rate led to a severe shortage of priests and a crisis of faith that called into question the moral authority of the Church and forbidden science, churches and wealthy cities needed to pay these doctors fortunes so that the financial system wouldn't completely collapse due to a lack of workers and the Doctors were critical figures during the epidemics, most were junior physicians or young mens hired by cities to care for all citizens rich or poor, needed the clerical capital to finance their clandestine laboratories and potions, It was like a perfect and twisted alliance šāāļø the economy provided the funds and science did the dirty work in the shadows.
(It's kinda funny that two minds abandoned by the world have inspirations based on two professions that helped humanity from a deadly disease lmaooooo I never fell for the Panttore/Dottolone retcon anyways)
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Arlecchino criticizing Pantalone (& Pulcinella) for not putting his life on the line as an onfield fatui agent and staying in his homeland like people aren't trying to kill him all the time. You assign him somewhere else without his doctor around he'll die for sure
On that note,
What is your favorite attempt on Pantalone's life as listed in the anomalous tree marrow drops?
gunshot to the arm!!!
acid being thrown on him!!!
classic poisoning!!!
Remaining time: 1 day 23 hours
Personally liked the acid attempt like who does that
I love the poisoning one because it's the attempt that came closest to killing him, and immediately after being brought back to life and given emergency surgery he asks for a replica of it to be made. Like "Damn that was some good ass poison, I'm gonna start using it too"
I'm very intrigued by this part It is very likely that this was right when Pantalone was in the Harbingers so they were finally able to open up emotionally when Pantalone was already actively involved in fatuis? so when Zandik and Feofan met, they didn't become friends right away after their first conversation????
But well, it wouldn't surprise me at 26, Zandik treated him for a gunshot wound, but Feofan insisted on not giving any information about who shot him, I'd say they were good friends, but they still kept their guard up so they wouldn't get hurt again, if you ask me.
I don't know but i'm breaking my silence rn the "You're the only one" don't fit at all for Dottore to Pantalone let me tell you something more I think that quote is from Pantalone to Dottore
On second thought, Dottore doesn't treat Pantalone any differently than he did Scara or Columbina he even gets along well with Pierro and has worked with Capitano the problem was that his way of loving people lacked so much emotional empathy that in the end they ended up drifting apart due to discomfort
But Pantalone... what does Pantalone have?... Pulcinella hates him, he dislikes Columbina, Sandrone despises him, he and Arlechino only speak about work matters, and he probably doesn't get along with Capitano, Even Childe is fed up with his business monologues š
The idea that a banker whose job is primarily social work has no one else in his private life besides Dottore is simply shit asf but he was the only one who was able to maintain a lasting relationship with the person who had such an unconventional way of loving.
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First, before anything else: This post contains leaked text from the new artifact set about the Fatui harbingers, so read further at your own risk if you're not a fan of leaks:
WOWOWOWOWOW that artifact set is a feast for Dottolone/Panttore fans!
I'm going to be putting on my tinfoil hat and reading way too deeply into everything here, but hear me out:
(By the way, all the translations here are from obsessedfish on twitter.)
The earliest interaction we have from Pantalone and Dottore in the new artifact set appears to be this one, from Capitano's artifact, where it's stated that the two of them booked the "little dark room" to talk together and came out laughing. Pulcinella tries to spite them by blocking them from ever booking the room again--but it turns out that they just never do, making this a one-off event. The fact that they actually went out of their way to book the "counseling room" for one occasion and one occasion only suggests that whatever conversation they had there was something significant...
Perhaps it was even... this conversation, which also ended in laughter?
Did Pantalone and Dottore book the Fatui counseling room to share their pasts with each other, passing off what was almost certainly a deep show of trust, revealing their personal vulnerabilties, as "casual conversation" even in their own minds, finding humor in their shared suffering (to all the other harbingers' confusion or contempt)?
Well, this artifact set certainly leaves that option wide open. After all, we find out that even if Pantalone wants to pass his past off as "casual conversation" in his thoughts, he certainly has no intention of sharing any details of his story with anyone else:
Then we find out that Pantalone divides his own life into "before twenty years old" and "after twenty years old," the time at which he suddenly started experiencing "happiness" more regularly:
Need I remind everyone of what happened when Pantalone was 20?
This is the devs literally telling us:
Meeting Dottore brought happiness to Pantalone's life.
Goddamn this dog is SO GOOD at chess.
Then it just goes absolutely crazy. We're told that Dottore recently told Pantalone about a new experimental idea of his, and Pantalone was the one who suggested exactly where to safely and secretly conduct his inhumane experiment: Pantalone's own hometown.
This, too, is part of the "fair trade." Dottore receives a place to conduct an unapproved personal experiment, and Pantalone receives revenge. A brutal and horrific end to the people who tormented him as a child.
None of this is an accident. It's a perfect encapsulation of the "you aid me, I'll aid you" nature of their relationship. Their very desires in life align perfectly, so that the actions they were naturally going to take conveniently and continually balance the scales of "transaction" between them.
But there's something much more than transactional about this. The way Dottore goes about this is entirely personal. He knows exactly what town he's going to for this experiment, and he goes about his experiment with extreme prejudice, the first sign of this being that the artifact goes out of its way to separate "Zandik" and "Dottore." He's not there as a Fatui harbinger; he's explicitly there for personal pursuits:
Second, it's not just any random townsperson he chooses to sit down with. The only person Zandik bothers to describe in any detail is a single woman, one who is very, very intentionally described as "black-haired" and "not as old as she looks":
I would argue there's a pretty strong implication here that this woman is Pantalone's cruel mother, the one who sold him off after using or letting others in the town use violence and restraints to torment her child.
It's not an accident the only person Dottore remotely shows any interest in describing is this woman. He was there, in part, for her.
Then they drop the absolute craziest implications on us:
Pantalone sits in the theater, watching an opera about "love and forgiveness" which he says no one in Snezhnaya really likes, because they're all convinced that you must earn your happy ending by virtue of deep personal suffering first.
Funny critique of Russian classics aside, it's abundantly clear from the next few paragraphs that Pantalone has associated himself with the situation on the stage--receiving a "happy ending" requires suffering under the shackles of injustice, then breaking free from your own suffering, only to face the next plot device pitted against you to drag you back in despair, again and again until at last you truly find your "warm home."
Pantalone doesn't care for the saccharine play on the stage, with its unearned happy ending. His happiness has been bought with blood and tears, a true Snezhnayan love story, and his happy ending arrives unannounced through the door at the final moment, bearing news that all is well--the cruel shackles of the past are gone forever.
Dottore literally goes right back to Snezhnograd from Pantalone's hometown, suffering motion sickness and all, and apparently even goes straight to the opera to find Pantalone and tell him that he's killed Pantalone's evil mother and wiped the town that tortured him as a child entirely off the map--by turning them all into cannibals who ate each other.
AND THEY SAY CHIVALRY IS DEAD.
Furthermore, the pair's internal dialogues are even lovely subtle mirrors of each other:
Pantalone remarks that he fought against his fate by fleeing his town, tearing through the veil of the silvery birch forest that isolated the rural community:
On Dottore's first night in Pantalone's hometown, he simply stands in this exact forest, contemplating the untameable nature of human potential:
(These "infinite possibilities" are the same "possibilities" Pantalone mentioned in his earlier conversation with Dottore, when he commented on the tragic humor of them both being born into miserably rigid communities, yet somehow still having their fates follow different possibilities--restraint or exile.)
This isn't a generic statement. While Dottore's talking about all of humanity here, he also has one specific human who demonstrated incredible potential in mind, and we can tell this is true because he critiques the town bitterly, saying that, given their unique circumstances and environment and given how far Pantalone had managed to rise, the town had had every opportunity to evolve into something truly incredible, separate from the limitations of the rest of the world. They had the potential to pursue entirely different paths, to make different (better) choices, and to lift themselves out of their archaic behaviors into enlightenment--and yet instead, they chose isolation, blindness, and cruelty to those they did not understand (Feofan), demonstrating that "human potential" is not always synonymous with "greatness":
"More possibilities should have emerged here" could absolutely be read, if you choose to, as "Feofan shouldn't have faced the 'possibility' he did, being tortured by the miserable people of this place."
Even the innocent child that comes across Dottore conducting his experiment is not spared this critique:
Pantalone is the child who ran, who broke through this exact forest to slake his curiosity and hunger for the outside world, for something more than the limitations of the tiny village allotted to him. Pantalone is the one who responded to Dottore's monstrosity not with fear but with hope:
And thus, for Dottore, Feofan represents the "goodness" in human potential, the "infinite possibilities" that are worth admiring, rather than the mundane, mean-spirited, and backward limited "possibilities" chosen by other human beings.
Pantalone shines like gold in Dottore's eyes, is what I'm saying, enough that destroying those who would have bound him--destroying them with unique cruelty, in a truly violent manner--was something Zandik made into a personal task, from which he sallied home like a knight in shining bloody armor to deliver Feofan's happy ending personally, echoing the "reaching a warm home" line across both Pantalone's thoughts:
And Dottore's:
(Tiny aside here, but I'd even argue that there's a hint that all of this must have taken place relatively early in Pantalone and Dottore's partnership [though after Pantalone made harbinger at 30], because it was specifically different types of drugs and their effects on humans that Zandik was experimenting with at the time he met Feofan in his medical lab--at that time, Zandik was testing poisons that would be profitable for the Fatui, and here he was supposedly testing psychotropic drugs that would be profitable for the Fatui. The similarity of the research suggests these events didn't happen that far apart--at least they happened before Zandik was inspired enough to change the direction of his research again.)
All in all, the pictures from the artifact set come together to suggest an organized series of events:
Pantalone revealed his traumatic past to Dottore.
In response (okay, possibly), Dottore dredged up a truly horrific experiment that would result in not only death, but gruesome and violent death.
Dottore proposed this experiment to Pantalone, entirely by coincidence and not at all with intention, of course.
Pantalone immediately realized the potential (possibly the goal all along) and told Dottore where to find the people who tormented him.
Dottore went to Pantalone's hometown and obliterated them all, including the person who was likely Pantalone's mother, with extreme prejudice.
Dottore further smeared the reputation of the townspeople even after their deaths by disguising his experiment, claiming the townspeople had been cannibals all along and surely went crazy on their own long ago.
Despite his motion sickness, he hustled back to Snezhnograd not to review the results of his experiment or even rest after his travels, but to go straight to Pantalone at the opera, to tell him what had happened to all the people who wronged him so long ago.
Like, be still my heart??? Romance has a name, and its name is Dottore.
Yes, sure, I know--Dottore likely wouldn't have done all this if he didn't already have an experiment in mind, if there were no benefit in it for him. I'm not saying love magically made him an altruist who would have gone out and fought Pantalone's mother directly just to avenge his "friend," but I am saying there's enough here to suggest that it wasn't just out of convenience that Dottore did all this. Given his motion sickness alone, he could have chosen a closer location for the experiment and had a much easier time of it, right?
Yes, Dottore did this because it benefited himself, giving him a unique environment in which to conduct his experiment.
But simultaneously, this was a deeply personal effort that he undertook, knowing how much it would mean to Feofan.
The fact that Dottore's personal interests aligned exactly with an opportunity to avenge Pantalone isn't just a coincidence, it's the point, demonstrating perfectly how well these two characters' interests and desires fed into each other for centuries. It's not just "you aid me, I'll aid you"--it's "whenever I'm aiding you, it turns out that I'm also aiding myself, because we're that intertwined by our mutual choice to reject fate."
I think, more than anything, what this artifact series tells us is that Pantalone and Dottore are virtually identical in their habit of cloaking personal vulnerabilities behind carefully curated detachment, with Pantalone hiding his trauma behind talk of profit and value and Dottore distancing himself from his own experiences by reducing his human life to scientific objectivity.
Both of them laugh at their suffering to each other's faces, make light of it entirely... And then turn around and, disguising their actions as purely transactional mutual benefit, choose to fiercely defend each other, lashing out at injustices the other has faced both symbolically and literally, in a way that they never managed to protect themselves.
In before we find out that Pantalone had Dottore's childhood village burned to the ground, just calling it now.
It's truly a flavor that has to be savored.
The dog is a chess grandmaster; I fear I have absolutely no chance.
So Pan's theme got an official release and it's called What Gold Cannot Touch.
I lovelovelove this name so much. I am sure there will be people coming out with cool ideas on it soon! ^^ For me the first thing I think of though, is Pantalone's ambition/conviction.
Ultimately Pantalone doesn't actually care about mora in the way a banker or businessman should. He isn't hoarding money for the goal of being rich imo, and he doesn't even view its value the way you would expect. Mora is fundamentally another symbol of the divine shackles put on humans. Something given to them that they believe they can control but never really will. Morax's blood turned into something believed to be inherently valuable and always utterly tied to Him as well.
What Pantalone cares about is the authority and the control money represents. And the ability to impress your interpretation of "value" onto the world. Those who fight and work and outsmart should be the ones who get the power money brings, all the way up to the ultimate power, the one who owns the currency at the top. Hence why he wants to overturn mora and create a new currency for humans.
So I think the title means, that while people may look at Regrator and see a purely greedy, mora-hungry capitalist, all of his "gold" has not actually touched his soul, his inner ambitions, his truth. Its part of the game. It is the current blood of the world that he needs to manipulate before he can truly replace it. His existence is drenched in gold but it will never taint or tempt or 'touch' the deep inner hatred that motives him to burn that very gold down.
HIIIIIII!!!! sorry if this is like a stupid ask lol, but could you do a stamp tutorial? your stamps are always so high quality oml, how do you resize your gifs and images???
HIIII and no worries, I can totally make a stamp tutorial! (āā½ā)
Iāll be going through on how to make a normal image stamp and then a gif stamp. By following these two tutorials, youāll be able to make stamps just like these!
PROGRAM USED ā Ibispaint
STAMP TEMPLATE BY ā AHMED-ART on Deviantart.
To start off, you must find an image youād like to make into a stamp. Then, find a stamp template you think would pair well with your image. There are many different types of stamp templates out there and you can find a lot of them on Deviantart.
Make sure to read the terms of use for the template before using though! Here is the template I will be using for this tutorial.
Making stagnant stamps is easy once you got the steps down. You can use any art program and follow a similar process, but I only use Ibispaint to create mine.
First, create a canvas that is the same width and height as your stamp template. This one is 97x57. Most stamp templates have super similar proportions. If you are unsure of your stamps dimensions, you can create a 100x100 canvas then crop it around the stamp template once you have inserted it.
(Brush icon -> Canvas button -> Trim)
To get higher quality on the image inside your stamps: the closer the better! For example:
See how the first stampās image is rather far away? This makes the quality appear much lower. However, once you zoom in, it becomes higher! So I recommend finding images to create stamps out of that you are able to zoom in on so the quality can pop.
Youāll need to erase the parts of the image that donāt fit inside the stamp so it remains transparent around the border.
If you want to change the border color of the stamp, fill in the canvas with the color you want. Then, clip it to the stamp border. Lastly, go and set it on multiply. This will change the stamp borders color!
If you want to put a line texture on your stamp, you can utilize the ruler tool in Ibispaint to draw lines over your stamp.
Iāll add these every once and awhile to my stamps for fun. If you set the opacity of the lines to 10%, itāll end up looking something like this.
And thatās the completed stamp!
Changing the border color and adding the line texture is completely optional, though itās always fun to customize stamps!
PROGRAMS USED: Ibispaint, Ezgif
GIF stamps are a little trickier, but the process is not too difficult once you got it down!
First, find a gif that you would like to make into a stamp. Iāll be using this one!
if you want to have a different colored or customized stamp border, you must edit it on Ibispaint before like explained above.
You can combine the layers and save them transparently so itāll end up looking something like this.
I made this one blue and added a gradient to it to match the gif I want to make into a stamp! You can add a gradient to the border by adding a darker color onto the multiply layer then using an airbrush to blend both colors together in the middle on both sides of the template.
Now, open up Ezgif and click the tab called Crop. Then, insert your stamp template there. The way I find the dimensions of the inside of the stamp is by cropping my way around the inside of the template.
The dimensions inside this template in particular are 91x51. This is what we will resize our gif to! Before we can do that, click the crop tab again at the top of the page to refresh it and then insert your gif. This isnāt required to do, but I like to crop my gifs a bit so they focus more on what is going on inside my stamp. Like I said before, the closer the better, as it will make the quality higher!
Now that we have our cropped gif, click the tab called resize at the bottom of the page. The dimensions of the inside of this stamp are 91x51, so insert those numbers in the width and height boxes to then resize the gif.
Next step is to click the overlay tab at the bottom. You will need to click the button that says āextend canvas sizeā so we have room to overlay the stamp template on top of the gif. After extending the size, upload the stamp template as an overlay where it says choose file.
On computer, after clicking upload image, you can just drag the stamp template over the gif and situate it. However, you can also figure out the number coordinations to fix the template ontop of the gif by messing around with it a bit. I make my graphics on my phone so I use the numbers instead of dragging.
Left means to move the template left or right depending on the numbers you insert. Top moves the template up or down. The left for this template is 42 and the top is 21. It takes a bit of messing around to find the exact numbers.
Now that the template is ontop of the gif, all that is left to do is to crop the space around it. Click the crop tab again at the bottom of the page and then click where it says ātrim transparent pixels around the image.ā This will easily crop the extra space around the stamp.
Click download to save your gif and thatās it! Here is the finished product!
The whole process for making gif stamps is always the same, the only things that can vary or change are the dimensions of the gif (so it can fit inside different templates) and the left/right.
I hope you find this tutorial helpful and if anyone needs anything else explained, let me know. These stamps are free to use if anyone would also like to use them.
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My Fragile God, Fading Fast Analysis (Interpretation of Mizi's character)
It looks like something new came out, so I thought it'd be a good opportunity to talk :)
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Rightā¦ I used to wonder why Mizi would voluntarily enter something like a death match/survival stage. I wondered if she really didnāt know anything about what was going on-was she just that pure? Or was there more to it. Well, now it's revealed and her life is justā¦ wowā¦
Maybe I should have seen this coming. Her guardian seemed like a being with a completely different sense and perception from that of humans.
The feeling Iām getting from reading this chapter is an extension of what I felt from The True Face, actually.
I think Mizi wanted to be accepted. She wanted to be understood.
Itās just that the way that comes acrossāhow she mentions about how Sua's "crushable"āfeels a bit unsettling.
But Mizi isnāt the type to want to crush someone else. Itās more likeā¦ she wanted to have an effect on someone. She wanted to be a presence that mattered to someone in a significant way. To carry some kind of weight in another personās life. Because sheās always been fragile, and had to survive by leaning on someone elseās warmth. At first, it seems that just being loved was able to make her happy. But living through itā¦ she realized it was actually invasive. Violating. She couldnāt keep living like that. Itās hard to explain, but I do get the feeling.
Mizi wantedāeven if it meant dyingāto live among beings like her.
No matter how much those aliens who took her in cherished her and treated her as cute in their own way, it wasnāt in a human way.
They couldnāt truly understand her.
At some point, she mustāve realized: sheās fundamentally different from them. No matter how deep their affection, with just a flick of a finger, she could be killed. And living in that situation, no matter how well-meaning her guardians were, was probably unbearable.
And more importantly, they could never truly understand or connect with her emotionally. Their feelings were different. Their ways of sensing and sharing emotion werenāt human. So even if they meant well, they couldnāt connect to her heart.
I think Mizi really did love and like those aliens who raised her. And they probably loved her back, in their way. But what is āa pet,ā really? Itās not an equal being.
At the very beginning of the comic, thereās a moment where she notes that Sua has the same number of fingers and toes as she does.
That really matters to Mizi. She wanted to connect with someone. She wanted to truly interact, be understood, and understand in return. Thatās why she chose to go among humans even if it meant potential death.
Even if she died, she wanted to live among beings like herself.
She wanted equal interaction and communicationārelationships where you give and take at the same level, where even if you hurt each other, itās mutual. She wanted a relationship where wounds could be shared and given in return. Thatās what this is emotionally about. That expression about being able to "crush" someone. However, it doesn't mean that Mizi would actively go around hurting people, quite the contrary, she's always shown to display a pretty big heart, because you see, her essence is about wanting to be understood and connected, treated as an equal.
Whatās fascinating is that the āgodā Mizi chooses is actually very different from what people usually imagine a god to be. The aliens who raised her are more like the conventional āgodā figure: they control life and death, theyāre affectionate and loving in their way, but ultimately, theyāre supernatural and unable to empathize with human standards. They fit that āgodā mold more closely.
But Mizi chooses Sua as her god.
And she knows Sua is far weaker than the aliens who raised her. She knows that she could hurt Sua at any time if she wants it. (Thatās the āfragileā in the title.)
And I think thereās a kind of sorrow in thatāless a thrill of power, more of a sadness. When you look at her expression, it doesnāt feel like sheās elated or satisfied by the idea that she could destroy Sua. It feels more like sheās melancholic by the fact that her godāthis person so important to herāis so finite, so breakable, so easy to lose. Maybe even more fragile than Mizi herself.
Still, I think she found something real in that.
This soft, tender, fleeting beingāSuaāis still her god and her universe.
And thereās something a little tragic in that. The sadness that comes with realizing, āMy god is someone who could die.ā
When Mizi says that she could crush Sua, itās not from a sense of domination or power.
Mizi needed a god she could understand. Sua became like an anchor for her heart.
Maybeā¦ after her mom(?) died, Sua was the first other person she really met and got close to?
And Mizi wants to be a person.
Even back in The True Face comic, Miziās actions were driven by her desire to be understood. She tried to get along with the other kids with this kind of innocent purity she put up as a facade of sorts. (Because she wanted to live among them.)
But deep down, she didnāt want to be accepted just for being harmless. Thatās why she snapped when Sua said, āIt must be easy for you.ā What she really wanted was for someone to recognize her for who she is. And I think she eventually found a lot of that in her relationship with Sua. Mizi mustāve loved Sua a lotāThatās why she called her my universe, my god.
She seems like the type who always wants to connect with others.
And she really, genuinely means it. She wants it to be genuine.
Honestly, in this series, I think Mizi may be the one who cares most about "people", in the broad sense along with Hyuna. Both Hyuna and Mizi seem to have strong compassion for humanity, but itās displayed in different ways.
For Hyuna, it feels as if itās more about idealsājustice, belief, freedom, inherited principles. Her love for people comes from a value system, a kind of universal ethics. She's a very humane and idealistic person.
But Mizi simply likes the people around her. (Not saying Hyuna isn't! She loves people too.) She has a desire to be with people. Her love for humanity comes from a more personal place.
That affection projects onto Suaāand Sua is her most precious person.
Even if Sua is weaker than the aliens who raised her, in Miziās eyes, sheās the strongest and heaviest presence in her world. But also, the most fragileāsomeone who could die at any time. A fragile god.
Thatās what āMy fragile godā means, I think.
Well, that's what I felt from reading the comic!
These kinds of feelings are fascinating to read. Thereās so much tangled up in themā¦ but I think I understand. This is just my personal interpretation, but unraveling through it is really enjoyable...I enjoy reading them!
Eden and Mobius remind me of Pantalone and Dottore in a very strange way
very time I see their dialogue in the dim light, I can't help but think it's exactly the kind of odd conversation the banker and the doctor would have in Snezhnaya late at night. At first, it sounds like a crazy theory, but knowing the company and how they base so much of their other games on it... well, I don't see it as far-fetched. To illustrate, I'll try to break down the parallels: on the one hand, how Mobius and Dottore are similar, and on the other, how Eden and Pantalone are similar.
but first....
who is mobius?
In the game, she is a Biologic (BIO) type valkyrie who attacks from a distance using the Lightning element. Her role focuses on being the main attacker (DPS) who chains massive attacks to shred waves of enemies. Lore-wise, she is a brilliant, cold, and super dangerous scientist. She is completely obsessed with human evolution and immortality, which led her to perform highly questionable genetic experiments on herself to cheat death (which is why she regenerates by de-aging and looks like a little girl). Her role in the Fire MOTH organization is Head Scientist of the Genetics Department, making her the mastermind behind the darkest biological projects to save humanity.
If there is one thing this damn company writes to perfection, it is brilliant minds that operate outside of conventional morality to solve existential truths. Letās start with Mobius. Before becoming the Head Scientist of Fire MOTH's darkest projects, her past was defined by a frail with an abusive past because of her father that birthed her fear of fragility and her obsession with immortality. Embracing the concept of the Ouroboros(the eternal cycle of life) her lore heavily mirrors ancient Egyptian themes of overcoming mortality through physical preservation. To Mobius, evolution is a destructive process, yet the only path to survive the Honkai. This led her to perform highly questionable genetic experiments on herself to cheat death, and rejected by society as a monster, this is exactly where "heresy", Mobius's science is a heresy against the natural order, stripping the universe of its right to decide when humanity should die. She breaks the laws of the world because she considers them fundamentally flawed.
It is under this exact light that Il Dottore finds his true parallel, moving away from the simple "cruel villain" trope. In the original Chinese texts, Dottore is explicitly portrayed as a heretical scholar whose past was marked by extreme ostracization, he was brutally rejected, hunted, and expelled from Sumeru's Akademiya for his radical ideas. His grand "heresy" is challenging the divine monopoly on miracles. Viewing the Archons and Celestia as shackles keeping human ingenuity stagnant, he proved mortals can surpass gods by committing the blasphemy of fragmenting his own existence into temporal Segments to bypass aging.
Both share the scientists rejected by a world that couldn't understand them. They operate under the cold conviction that, for humanity to transcend, Incidentally, both have reptile motifs (lizardttore...), They have an earring on the right side in case Mobius is a memento of her mother
Who is Eden?
In the game, she is an Imaginary (IMG) type valkyrie who also uses the Lightning element, but her role is a Support. She fights using dual pistols and music to heal and buff the entire team's damage. Lore-wise, she is a high-society diva and the most famous and wealthy opera singer on the planet before the apocalypse. She is elegant, deeply melancholic, and loves fine wine. Her role in the Fire MOTH organization is the ultimate financier and patron; she used her endless fortune to buy entire laboratories, fund shelters, and pay for resistance armies out of her own pocket just to keep art and civilization alive.
While grandiose ideological battles take center stage in this company, those ambitions would utterly collapse without structural finance, leading to a profound thematic mirror between Eden and Pantalone, letās look at Eden, long before becoming the wealthiest golden diva of the Previous Era, her roots in the poorest districts of the Mu Continent where she had nothing and had to sing in gritty underground theaters to escape the slums. Eden eventually used her hard-earned, immense fortune to purchase laboratories and fund resistance armies out of her own pocket to keep civilization alive. Beyond her self-made wealth, her design and core are deeply tied to Christian motifs; her name directly references the biblical Garden of Eden, her sig weapon Echo of Paradise alludes to angels, and her devout nature mirrors a religious believer due to her because his lover Elysia and her is the retelling of Jesus in honkai
Pantalone finds his true narrative counterpart, bridging their stories through nearly identical paths of self-made triumph and religious motifs. Mirroring Eden's humble beginnings, Pantalone was born into extreme poverty in Snezhnaya, enduring freezing starvation and praying to the gods for a vision. Through sheer intellect and calculated effort, he climbed his way out of the slums to control Teyvat's economy through the Northland Bank. To make the mirror perfect, his true name as Feofan Sergeyevich Veksel, where "Feofan" translates to "Manifestation of God," while his constellation, Globus Cruciger, and his attire are directly inspired by Christian clerics and priests.
Both characters share the same tragic sophistication: they are elegant, self-made patrons who understand that wealth is a weapon forged through their own sweat to challenge fate. Bearing deeply religious names and motifs and motif of believers/devotees In fact, both have certain vices (Eden with alcohol and Pantalone with cigarettes). And both have a certain melancholy/depression This can be seen in how Dottore mentions antidepressants in the reports and in how Eden clearly states that she is depressed about many things
aaaaaand just that??????? no ofc no
Picking up where we left off with the twisted narrative parallels of this latest patch, a theory has been floating around that completely shattered my brain. If we truly want to understand the tragic potential and absolute between Pantalone and Dottore ... we need to look back at Honkai Impact 3rd...
Because yeah guys mihoyo is already known for copying his previous games by making references, has actually written this script before, and they gave us the perfect blueprint through Mobius and Eden.
Look at how cleanly this fits:
Let's talk about Eden.... she was a ridiculously wealthy singer who didn't need to answer to anyone. And what did she do? She decided to give the entire Golden Courtyard to Mobius. Not because they shared the exact same worldview, but because she recognized Mobius's raw genius when the absolute entire planet was against her. She saw a brilliant mind where everyone else just saw a monster.
But what truly breaks your heart when you draw this line is the emotional dynamic. Mobius is universally recognized because she is very hostile to humanity, utterly terrifying, and her first impression is always that of a heartless, ruthless being (very much the vibe of our dear Doctor...) Yet, her bond with Eden was so unbreakable that Mobius literally BEGGED her not to die along with the end of the old era. The mad scientist, who treated everyone as mere disposable test subjects, breaking down at the thought of losing the only person who actually saw her.
That exact desperation is what injects a delicious layer of romantic tragedy into Dottore and Pantalone.
To imagine Dottore.... someone who treats human life like pieces on a chessboard..... holding that invisible level of fixation, attachment, and a twisted sense of respect toward Pantalone because he was the only one who didn't fear him and bet everything on his mind... It would be fun if both relationships had some similarities In essence they already fulfill the requirements of the scientist who needs funding and the rich person who provides funding I would like to see a little moreeeee šššš
Alchemy, Antimony, and Why a Banker Would Operate at a Loss
Pantaloneās constellation (fate) is represented by the globus cruciger, the ācross-bearing orbā he also wears on his left hand. This post unpacks some of the symbolās history in both Christianity and alchemy to think about Pantaloneās unique understanding of wealth.
This is Part I of an effort to synthesizes my Pantalone notes into a (somewhat) coherent analysis. My theory is that Pantaloneās goal isnāt to control wealth itself but rather to possess the means of rewriting the rules in a world where money is a catalyst for transcending fate.
TL;DR
In Christianity, the globus cruciger represents Godās authority in the hands of a worthy human ruler
In alchemy, itās the symbol for antimony, used to purify metals into gold and often represented by blood
Esoteric alchemists viewed blood as a vital life force from which transmutation begins; both Morax and Pantalone describe currency as blood that flows through the land, and Mora acts as a catalyst for commerce and crafting (alchemy)
Despite expressing disdain for the power imbalance between humans and gods, Pantalone never seeks true equity. Instead, he wants to reshape this hierarchy into one where divine authority lies in the hands of a worthy human ruler
Pantalone operates at a loss in his dealings with Dottore because his ultimate goal isnāt owning money so much as the catalyst itself
The larger argument these analyses work toward is that Dottore and Pantalone have equal ambitions but diverging methods (focused on the crucible and the catalyst respectively), and I suggest they might offer a model for the kinds of collaboration necessary to save Teyvat.
One Hell of a Banker
In the 6.6 Archon Quest, Pantalone muses on the cost of doing business after a Fatui operative implies letting go of one of their spies was a waste of Mora. Pantalone says:
Weighing profit against loss is a necessary part of life. But to tell the truth, I have been operating at a loss since this all began... many centuries ago, in fact.
It seems strange to think that a banker would be content to operate at a loss. But we already know that money isnāt the end-all be-all for Pantalone. Yelanās Story Quest offered early insights into his character when Uncle Tian told us:
His āwealthā is not a mere question of how much Mora he has to his name. He has a very unique understanding of wealthā¦ And what heās planning may very well shake the world to its core.
What are we to make of this unique perspective? I suggest Pantaloneās interest in money is more abstract than what we might expect from someone who calls himself a venture capitalistāweighed more toward the venture than the capital. Pantalone himself might have already given us a hint about what heās up to in A Winter Nightās Lazzo:
This line is easy to play off as the implicit threat it (probably) is, but we know that Pantalone tends to speak on multiple registers. What if blood does play a part in his planānot as violence but as a metaphorical catalyst? What if the globus cruciger on his left index finger is a clue?
The Manifestation of Godās Will
Before Hoyo confirmed the Harbingersā constellations, many of us suspected the globus cruciger would belong to Pantalone, not only because of his ring but also because the authority it promises is precisely how he fashions himself in the Moment of Cessation.
But though money ought to mean nothing to the gods, they held it firmly within their grasp nonetheless, along with the countless other forms of power that they wielded [...] In the name of money, I shall respect the contract between us... we shall, by whatever means necessary, become the heart that pumps money around the world.
Ever since Christianity overtook the Roman empire,the globus cruciger has served as a symbol for Godās authority in the hands of an earthly ruler. But beyond that, the symbol also participated in the transition of religious powerāwhich occurred over roughly three centuries.
Like most Christian symbols, the globus cruciger repurposed existing traditions. The Romans had a long history of depicting their Emperors as Jupiter holding a sphere to represent their dominion over the world. Because this was already recognized as a sign of authority, adding a cross to the top sent a clear message: Christianity had conquered the Empire, and the Emperor was now the worthy manifestation of the Christian God. Roman leaders used art and, more saliently, coins to facilitate the shift from a pantheon of Roman deities to the authority of the Christian God, thanks to their ability to circulate vast distances. Even after the fall of the Empire, the symbol continued to be used on the crowns of European kings.
Pantaloneās constellation being the globus cruciger is significant sinceconstellations reveal a personās fate. This link to divine authority is also emphasized by the other part of Teyvatās fate system: names. Feofan, derived from Theophanes, means manifestation of God. The cosmic representation of authority is matched by the name of the man himself.
Or, as alchemists might say: as above, so below.
Alchemy & Antimony
Iāve written about Dottoreās associations with alchemy, but Pantalone has several connections as well, beginning with the fact that the globus cruciger serves as the symbol for antimony (ā).
In alchemy, antimony is used to purify alloyed metals into gold in pursuit of the magnum opusāthat is, the philosopherās stone or spiritual transcendence.
Chemically speaking, this isnāt that far-fetched. The idea was that gold could be extracted from ore when melted down with stibnite (Sb2S3), a mineral form of antimony trisulfide in the form of silver-gray crystals. Stibnite acts as a solvent because the sulfur bonds to the other metals in the ore, forming a slag that can be removed and leaving the gold dissolved in liquid antimony. Boiling off the antimony within the crucible then leaves only the pure gold behind.
With alchemy being what it was, all kinds of esoteric metaphors were involved. Basilius Valentinus, the pseudonymous author of Azoth, discusses antimony in evocative terms across several other books, including His Triumphant Chariot of Antimony and Twelve Keys of Alchemy. Hereās a passage from the latter:
If you would operate by means of our bodies, take a fierce grey wolf [and] cast to him the body of the King, and when he has devoured it, burn him entirely to ashes in a great fire. [ā¦] Know that this is the only right and legitimate way of purifying our substance: for the Lion purifies himself with the blood of the wolf, and the tincture of its blood agrees most wonderfully with the tincture of the Lion.
If you have no idea what that means, thatās partially the point. Twelve Keys of Alchemy is an allegorical text where alchemists are meant to decode familiar metaphors to āunlockā the process of creating the philosopherās stone. We can read the metaphors as follows:
The fierce grey wolf (lupus metallorum) represents antimony in the form of stibnite, marked by its spiky gray crystals
The body of the King is the base metal that will be transformed
Devouring is the process by which the stibnite breaks down the bonds between metals in the fire of the crucible
And the blood of the wolf is the liquid antimony holding purified gold
The association with the gray wolf seems fitting when this is what stibnite looks like
In the spiritual alchemical process, antimony (as stibnite) represents the āinner beastā that devours the soul, separating it into the impure parts to be discarded and the pure parts that remain in the blood for the subsequent steps toward enlightenment.
Blood Money
Esoteric alchemists saw blood as a vital life force central to spiritual transmutation. Blood is both raw matter and the divine, purified essence. In the seven stages of alchemy, the final step is coagulation, the transformation (of blood) to a solid state or, allegorically, the solidification of the enlightened self. In process philosophy, blood is the symbol for Rubedo, the crowned king, the fourth and final stage of alchemy signalling successful transformation.
With all this in mind, I donāt think itās a coincidence that Genshinās lore highlights the associations between blood and alchemy with Mora as its fulcrum.
In both Moment of Cessation and Cashflow Supervision, Pantalone connects blood with money through the principle of circulation:
Money is the lifeblood of the world, and the pathways along which it flows are the worldās arteries. Then, the center of the world is a heart made of gold.
The circulation of money traces the very arteries of the world. Countless lives would flow alongside the tides of blood, until they are swept away and swallowed up.
But that sounds an awful lot like someone else we know, doesnāt it? Perhaps the creator of Mora himself.
In the Prithiva Topaz description, Morax narrates:
āThe currencies that flow through this land are my flesh and blood. For thus did I become the guarantor of the peopleās hard work, wisdom, and future. This is the trust I have placed in them. Betray it, and you taint my blood.ā
In Zhongliās Story Quest, Historia Antiqua, we overhear a scholarly debate about Mora in which Hanxue says:
Mora is a catalystāthis we all know. Even today, Mora is used in the mystic arts for its curious properties of weapon enhancement.
Zhongli soon steps in to correct him, explaining:
Mora and money came about simply because they are a convenient measure of a contractās value. Rex Lapis just meant for Mora to serve as a ācatalystā for people to exchange and trade.
While we canāt dispute Zhongli on the subject of Rex Lapisās intentions, we can question whether intent is the same as impact. Rex Lapis might have only meant to catalyze trade, but Mora has indisputably become a central element of Teyvatās alchemical system. All craftingānot just weapon enhancementārequires Mora as part of the exchange.
So, by invoking the metaphor of his blood, Rex Lapis effectively allegorized Mora as the catalyst for alchemy.
Fair Exchange
In the voiceline that confirmed Pantalone and Dottoreās partnership Wanderer says:
Oh, the ninth-ranked guy. Heās obsessed with the idea of āfair exchange,ā to the point of wanting to overthrow the natural imbalance between gods and humans.
Fair exchange is foundational to Pantaloneās worldview, but his notion of fairness isnāt necessarily morally just. His disdain for divine inequity hasnāt exactly turned him into a socialist. From Cashflow Supervision:
The only law present is the private law of the hoarder, and the only sanctions are poverty or death. Either to become a rentier and gain power and control, or to be subjected to control and work to death. The rules are always fair.
Thus, humanity will stand on equal ground with the Gods by virtue of their inherent ambitions and wealth [...] The power of the Gods shall no longer intervene to embellish the power of the wealthy before the poor, nor shall the wealth of the Gods descend, to rescue the dignity of the poor from the feet of the rich.
For Pantalone, equality should exist on a cosmic scale, rather than on the level of the individual. Itās a distinct idea from equity.
What Pantalone establishes with his Credit Coupon experiment is capitalism in its most theoretical form. It āworksā only in containment and when everyone starts from the same place. (Thereās also a whole host of ableist assumptions baked into the idea that oneās ability to do hard manual labour is āalways fair,ā which the game doesnāt really get into.) We know some people choose to stay in Meropide after serving their sentence, so itās not hard to see how wealth will eventually be unevenly distributed once more even here. Capitalism, meet entropy.
All this to say: Pantalone isnāt attempting to eliminate wealth disparity. But heās also not trying to hoard wealth within the existing system. Instead, heās transforming the system onto one where authority is now in different hands: the hands of a āworthy human ruler.ā Itās still an Empire, but itās one where a human is now the manifestation of God and can adjust the rules to eliminate divine favouritism.
Equivalent Goals, Alternative Ends
When writing on Dottoreās connection to the Hanged Man, I talked about the alchemical principle of āas above, so below,ā which treats the individual and the universal as foils for one another. By changing the self, one changes the world, and vice versa.
Pantalone doesnāt operate at a loss for Dottore as a kind of accessory to his plan. The game makes it clear that the two of them are equals as far as ambitions are concerned (and Dottore likely wouldnāt give Pantalone the time of day otherwise).
Over the course of the Nod-Krai arc, Dottoreās ambition cohered into something far less self-indulgent than what 3.X led us to believe. Pantalone helps us confront this realization when he admits to falling for the same assumption: Ā
Pantalone: I once thought your ultimate goal was to ascend to godhood. But as it turns out, that was merely one of your experiments.
Dottore: Experiments take many forms. Most people are too eager for success, too fixated on the end goal. They forget that the experimental process itself is just as important.
Dottoreās goal is neither to make nor become a god. Rather, he wants to fix what he sees as rotten with the world. His focus is on overcoming the limitations of the individual human body, and his idea of the final form of transcending fateāhis magnum opusāis to rewrite the rules of the world in Irminsul by seizing control of the crucible.
I suspect Pantaloneās arc is be similar in that the image of the capitalist banker is only one aspect of his character. His goal is consonant with but distinct from Dottoreās in that his focus is on reworking a global system of circulation, and his final form of transcending fate is to rewrite the rules of the world by gaining dominion over the catalyst.
Individual, universal. Crucible, catalyst. Human body, body politic.
As above, so below.
Both approaches stem from a shared hatred of the existing laws. While their aims seem to be contradictory at times, Dottore and Pantalone still advance each otherās goals as equals, and this is why theyāre such perfect partners. My sense is that this model of collaboration will be important to remember when itās time for the Traveler to save Teyvat.
Related Fun Facts
The globus cruciger is also associated with angels, which might prove interesting now that weāre starting to get more lore with Nicole and Ursa! The wing motif on Pantaloneās chest may have some connection.
Antimonyās etymological origins are contested, but we can trace it to the Medieval Latin antimonium and Old French antimoine or āmonkās bane,ā an ominous name given Pantaloneās priestly associations.
the PERSON I'll become if Pantalone/death and Dottore/life become something....
I genuinely want them to have that contrast too.... the "Heretic" is bound to give life and the one who bears the name of the "Manifestation of God" is bound to death are we crazy?..... I already talked about Dottore and life here's the link ā” but you're missing Pantalone....... besides Ronova is here in 7.X soooo pls... It's like going back to my Arlefuri days
Overanalyzing this dialogue bc I love that even Dottore was surprised about Pantalone not only showing up to help him, but presenting himself as his former subordinate.
It's a clear distinction, the former Dottore' subordinate vs Pantalone, the banker, the harbinger known as The Regrator.
Pantalone as always propose a rational and pragmatic explanation as why he decided that.
But as almost everything Pantalone did in this quest, his words may say one thing but his actions talk more.
It's true, he did the best to not make things difficult for Snezhnaya, and also, like he said, it gives Dottore his recognition for his work. And related to this last thing, the decision of not presenting himself as Pantalone can be tied to him being there as Feofan, Zandik's friend.
All the harbingers share this trait of doing a division between their harbinger persona and their true self/the human self. The harbinger persona works as a mask for the part of them that it's tied to weakness and pain. Dottore literally does this, making a difference between Dottore and Zandik. This difference, with each harbinger, represents their inner conflicts, trauma, issues, etc.
Pantalone is not an exception to this, and it even have a physical representation: His smile.
The Regrator, the banker Pantalone, the cold, calculating man that only sees the world based on how much worth have anything and anyone will always have an arrogant smile. His eyes closed, calm, and his expression as feeling superior, above others.
Feofan, the human that was destitute, that was sold as a subject to a lab, the human that found a new opportunity in life thanks to Zandik, even becoming his subordinate, will smile softly, his eyes open and admiring what he has in front of him. But also, Feofan will show his suffer, will also not smile when he can't.
Another detail is that Feofan will look tired. Even when smiling, his eyes show how tired he is. His baggy eyes devoid of light. Unlike Pantalone who never looks tired of his work, his eyes closed, hiding his truth.
Feofan is tied to the emotional part. The weak part, the vulnerable side, and also full of hatred, resentment. That part that always slips through his actions and between words, that shows even if he doesn't want to. The one that even if Pantalone tries to keep like his relationship with Dottore is mostly transactional, he still will show how much he cares for Dottore, that he likes him to the point of accepting to lose and to not have the advantage. That part that would try to subtly convince Dottore to stay, that would compliment him, that would try to talk to him to make him understand that he is hurting himself (saying that Dottore is selfish to himself) The part that would recognize him as a human in the end.
Pantalone would show as Feofan bc that's the side that Zandik met. The first entries about Feofan's medical history were made and signed by Zandik. The harbinger persona exists thanks to Zandik/Dottore, but before that, it was only Feofan. And if Dottore was about to die, then Feofan has to show up. He wasn't there as Pantalone, as the harbinger, he was there as the person that had nothing and was saved by Zandik. He was there bc he likes Zandik/Dottore, bc he is grateful, bc despite how Zandik/Dottore was, Feofan himself can represent something good he did, helping someone, giving him a life (a new life)
At the end, Feofan points, again, how Dottore would differentiate himself from who Zandik is, he acknowledged this. And as an answer, Dottore would use Pantalone's real name, following this same distinction. Feofan would chose to call him Zandik, that's who Dottore was after all despite the mask. The mask is part of them, but the distinction exists.
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The Sneznhaya flower (or at least some flower from that nation...) should be red
hahaaaaaa I'm here to continue fueling the propaganda that the national flower of Pantalone/Dottore's nacion has a bloom as same color as his beloved's eyes... It's still weeks away from version 7.X. but in my opinion I do believe (I want) a red flower in the snowy nation... I need to cover this up because if there isn't a red flower in the end I'll have to eat it sooooo I'd rather vomit at least the main stuff....
remember the Sumeru Rose right??? Tighnari himself tell us that it's not a real rose maybe the designers took the sthetics of the flora of South Asia/India and created a beautiful purple flower.. perhaps it vaguely resembles the jimsonweed flower oooor certain varieties of purple lilies??? on a cultural and historical level those flowers are reminiscent of the poetic and perfumery tradition of ancient Persia (Iran), the description of the Rose of Sumeru in the game āwhich directly links it to banquets, poetry, and wineāpaying tribute the Rubaiyat and the massive trade that the southern regions had in terms of fragrances
(didn't Pantalone love to use perfume on everything??? mmm according to Yelan that's how she was able to locate him looool).
If they do that with warmer regions, what do you think they'll do with the north? but I think life loves me (or I hate myself for having to read this kind of thing) bcs did find something interesting flowers that grow in winter (generally in cold climates) are red, yeaaaaah but how the fffffck does a red flower survive -40Ā°C without freezing and dying instantly???? okay, let me...
"Antifreeze Blood" and Anthocyanins
this is the Anthocyanins, a water-soluble pigments that give plants their red, purple, and blue hues.
In the frozen tundra of Siberia and other Slavic regions, plants suffer extreme climatic stress, to defend themselves and avoid turning into ice crystals, the cells of plants begin to produce this pigment en masse as a natural chemical antifreeze, they absorb solar radiation to warm the plant and tint its leaves and shoots a dark, glossy, thick blood red.
here are some examples of flora that use this pigment to protect themselves from the cold weather.
Arctic Lingonberry: The color of fresh blood. It produces ultra-potent cherry-red berries, and its leaves mutate to a dark wine hue to withstand the Siberian permafrost.
Arctic Saxifrage: The heretical purple. A true warrior that blooms at -40Ā°C, breaking through the polar ice with a super-vibrant electric magenta.
Siberian Martagon Lily: The syringe shape. It grows in Russian forests, is a deep wine red, and its flower faces directly toward the ground, resembling a falling chemical droplet.
Siberian Fawn Lily: The fangs of ice. It pierces the snow to emerge in spring, and its closed buds are tinged with a bright, intense crimson.
aaaah but did you knooow that in Slavic and Siberian cultures adore the color red??? šļø
These are guide points for a typical Russian geometric embroidery i think it's cuuute
The color red has a deep cultural and historical significance in Slavic and Eurasian ppl (such as Russia), it represents countless things depending on the context for their folkloric and political heritage, In Slavic cultures (Russia, Ukraine) and among the native peoples of Siberia, the color red is sacred In I mean fact... in old Russian the word "red" Ā«ŠŗŃŠ°ŃŠ½ŃŠ¹Ā»(krasny) meant "beautiful", which is why Moscow's Red Square originally meant "Beautiful Square" lmao old expressions like Ā«ŠŃŠ°ŃŠ½Š° Š“ŠµŠ²ŠøŃŠ°Ā»(krasna devica) not mean "red girl" is more like "pretty girl"
In their folklore and mythology, red flowers means the fire of life against winter, spilled blood or forbidden knowledge obtained through sacrifice (in fact there is a myth that explains it)
The Myth of the Fern Flower (Paporot-Kvet): This is the most famous legend, they say a fiery red flower blooms in the frozen forest, whoever plucks it gains absolute knowledge of the universe, but in exchange for a curse that destroys their soul and isolates them from everyone mmmmm sound familiar? mmm who could be the heretic who ended up killing himself to surpass the levels of wisdom???
I truly believe that myth is one of my favorites to read, but did you know there's a story featuring a scarlet rose?
The Scarlet Flower: literally Beauty and the Beast but Slavic oh my god bruh In this story the protagonist doesn't ask for jewels or gold... she specifically asks for a flower she saw in her dreams: a flower of such pure, brilliant, and intense scarlet red that nothing like it exists anywhere in the man-made world. It is a flower so obsessively red that it seems to emit its own fire.
aaaaa I think that's all...I really hope to see some red flower... The sleepless nights I spent reading about these kinds of topics have convinced me a little that there will be some.... I wouldn't complain either. All this stuff about roses the color of eyes and Sumeru's rose is just headcanon but... It's a bit suspicious in my opinion šāāļø
My first Tang Jiuqingās novel! I just finished reading it yesterday and I canāt wait to share my thoughts on it with everyone~ <3
Note(s):
(Very) long post ahead
Contains spoiler
This is my personal review and does not represent the entire audience
Summary:
A novel by Tang Jiuqing (åé åæ).
Jing Lin was the most beloved son of the Supreme Father, Lord Jiu Tian, who ruled over the Three Realms. Revered as the esteemed Lord Lin Song, he was the epitome of both grace and might, the indomitable demon slayer who was the pride of the Ninth Heaven Realm.
Who would have thought that such an honorable person would one day draw his blade against his brothers, splattering blood all over to wash the sky in red and ultimately committed the most heinous crime of patricide and regicide? Even words of compassion from the True Buddha could not move his frozen heart to choose repentance.
Thus, the almighty Lord Lin Song was obliterated on that day with no trace of him left.
Yet unbeknownst to many, five hundred years later Jin Ling remained alive. Far on the mountain near the eastern sea, with his vast spiritual sea severely damaged, he lived in seclusion accompanied only by a brocade carp of unknown origin that he kept in a porcelain jar.
That is, until an incident on one winter night forced the two of them to descent the lonely mountain and stepped into the secular world of mortals to chase the trail of a missing artefact. In this journey to witness the āEight Sufferings in Lifeā, Jin Ling and the brocade carp was unexpectedly led to retrace their steps to the past long gone.
