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> it's too late to be wasting tequila.

No such thing. Life is never wasted if oneself is enjoying the time he is spending on an endeavor! Nor is tequila, for that matter :p

But, thanks. Been a rough week so debate and whiskey help ease the mind haha. Enjoy the books, or at the very least torrent some pdf sections of them if you're interested. David Glantz, Operation Barbarossa, great opposing view to the traditional view of Barbarossa if you're interested in that.

And yes I've read every thing I recommend personally for courses or for fun haha. On that topic, anything by Christopher Browning is insanely informative for Holocaust studies.

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https://pastebin.com/iDWvWSi4


As my last post here, a Masque of Slaanesh causes the planets of a solar system to move by dancing, causing their orbits to shift and accompany the moving of her arms and legs and body, and making them align in a Slaaneshi symbol. And then she causes the system's sun to go supernova by warping her Daemon Palace-thing into a dagger and having it pierce the star's heart.




"The Angriff system was a puppet of the abomination’s will."





Grey Knights pg.171 said:
(Tzeentch has just summoned his most powerful servants to the Warp-trapped planet of Thalossocres)

>When Tzeentch spoke, the planet shook. Its crust and mantle were torn off and to theis day, they say, Thalossocres is not one planet but a shoal of drifting continents surrounding a single core. Those not strong enough to hear the wordls of Tzeentch were thrown off into the warp, but the strongest stayed, their courts remaining glorious on the floating shelves of melting stone.

>Tzeentch spoke to them of impossible things, of the tangled threads of fate that ran through the universe like threads of a tapestry, of the immense shifting components of reality - time, space, the massed minds of humanity and the dozens of alien species that had yet to play their parts, the mindless hordes of predators teeming in the warp, the powers of Chaos themselves. The Greatest of Tzeentch's followers could divine meaning from the stream of concepts the voice of Tzeentch conveyed. Some found intricate plots for them to enact on reality. Others saw glimpses of a future they could alter, or bring to pass. Some saw only desolation and hatred, and revelled in it, for they were the most savage agents of the Change.

>Some were destroyed, unable to comprehend the majesty of the Change God's vision.

...

>Fore days on end, measured in the strange timescale of the warp, Ghargatuloth recieved the revelation of Tzeentch. The other daemon princes looked on in awe, hatred and jelousy. Some were certain that Ghargatuloth would be destroyed. The daemons at his feet were swept aside by the tide of revelations. The substance of Thalassocres was further fractured by the sheer power of Tzeentch. There was a permanent scar left on the warp, a dark barren shadow, but Ghargatuloth remained.



wh40k.lexicanum.com/wiki/GreyKnights(Novel)

https://www.amazon.com/Grey-Knights-Warhammer-000-Novels/dp/1844160874


And what Ra said in Master of Mankind about starships being torn part by Daemons in the warp is fact since it happens all the time.



......



>Ra knew this, yet never had it been related to him in these exact words, flavoured as they were by the promise of prophecy. With the webway, humanity would need no Navigators. They would never need to rely on the unreliable warp-whispers of astropaths. Vessels would never enter the warp to be lost or torn apart by the entities that dwelt within it. But the eldar had done the same, had they not? +No. They eradicated their reliance on the warp but they never severed their species’ connection to it. I will do that for humanity, once and for all.+





..........





>Concerns of the material world intruded on his introspective plunge, and Magnus looked out on a world of shadows and deceit. He had passed from the realm of flesh to the realm of spirit without even thinking of it, and floated in a place without form and dimensions save any he desired to impose upon it. This was the entrance to the network, the nexus point that led into the labyrinth. This was what he had come to Aghoru to find. - A Thousand Sons
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>Thunder boomed overhead and crackling lightning threw strobing shadows out before him. Though his body protested with searing pain, Ahriman pushed himself into a kneeling position and looked around to see what had become of Prospero.
His first thought was that the last work of Magnus had wrought a dreadful change upon their home world, but it soon penetrated his fractured mind that the sky was not that of Prospero. It boiled with storms of a million colours, jagged forks of light and fire dancing in crackling columns that reached from the ground to the clouds.
He knelt upon the lower slope of an outcrop of black rock overlooking a broken volcanic plain ruptured with smoking fissures and threaded with glowing streams of lava. Gnarled fists of rock thrust up from the plain, their peaks topped with crooked silver towers that stood in mocking imitation of the graceful spires of Tizca. The leather-bound Book of Magnus lay beside him, and he tucked it protectively under his arm.
Jagged mountain peaks soared into the shimmering sky that bellowed with peals of thunder. The sky hazed and shimmered like the most magnificent Mechanicum Borealis, but this was no side effect of centuries of pollution and industry. This was raw aether saturating the air and raging with oceanic tides of power.
Warriors of the Thousand Sons wandered aimlessly across the broken rockscape in their hundreds, stunned at the desolation they found themselves in. Quaking discharges rumbled beneath the ground, as though an endless series of underground tremors constantly reshaped the planet’s core.
>No power of the Corvidae or any other cult could fathom its location or any hint of how they had come to be deposited upon its blasted surface.
All that changed on the day the Obsidian Tower rose from the depths.

>IT BEGAN WITH yet another earthquake, a common enough occurrence that no one paid any mind at first. A sullen mood had fallen upon the Thousand Sons, which was wholly expected, for what manner of man would not keenly feel the loss of his home, father and brothers?
But this earthquake did not simply fade away after splitting yet another fissure in the endless volcanic plain while sealing another shut. Cracks spread from the centre of the plain in a radial pattern and a black diamond, like a thrusting basalt speartip, exploded upwards.
It rose into the sky, pushing higher and higher and growing wider and wider with every passing moment until a new mountain had been birthed. Towering and steep-sided, it rose higher than Olympus Mons and the Mountain of Aghoru combined. Broken rocks tumbled from its impossible height, falling from its angular sides to craft a fringe comprising shattered Cyclopean stone and titanic blocks of strange angles and impossible perspectives.
When the rain of dust and debris had ended, the Thousand Sons gathered at the base of this stupendous creation, knowing that nothing natural could have created so magnificent an edifice. Glowing fire arced from the distant mountain’s peak and a shimmering blue light suffused its entirety, as though lightning filled its tunnels like blood in a circulatory system.
A bright shape descended from the mountaintop, a wavering and indistinct form wreathed in the light of stars and the power of infinite possibility. Brilliant wings of shimmering aetheric fire unfolded from the figure’s back, and the Thousand Sons fell to their knees as their father’s light spread over them.
Magnus landed softly before his sons and they stared in amazement as his light illuminated the bleak darkness of the world. This was no corporeal shell of a subtle body as worn by the primarch when he had walked among them. This was a body of light that could exist beyond the confines of the Great Ocean. Magnus had sacrificed the flesh that had contained his essence, and in so doing had ascended to a more evolved form, one free from the constraints of mortality and the limits of reality.
“My sons,” said Magnus with weary resignation, “welcome to the Planet of the Sorcerers.”


Magnus reshaping his planet and raising the 100k+ tall Obsidian tower from the ground like nothing as a Daemon Prince in A Thousand Sons. Slaanesh can reform his realm however he wants, do whatever he wants with it, and corrupted the Wanderer like absolutely nothing. Not that this matters since https://www.reddit.com/user/Cruzzfish1/ has debunked everything you posted. Daemons cannot exist in the materium as they do in the warp. They are too powerful to fully exist in the materium.



And as the quote for the Wanderer says


>Slaanesh's realm is divided into six domains, arranged in concentric rings about the Palace of Pleasure. Each of these is a celebration of Slaanesh's desires, and while they might be mistaken for paradises, nothing in the lands of the Dark Prince is as it seems. An intruder can only reach the Palace of Pleasure, in the very heart of Slaanesh's territory, by passing through all six of the circles-an act of will beyond most souls, both mortal and demonic. One amongst the mortal visitors to his realm still looms large in the memory of Slaanesh, however-a wandering knight of the Adeptus Astartes whose resolve was as strong as silvered adamantium.



Slaanesh specifically made his realm that way to see which ones would be able to make it. He made so that at least some would be able to make to his palace, as he loves to let people into his domain. A Thousand Sons says the warp is without form or dimension, save what one wishes to impose upon it. The quote about the Wanderer says it is beyond "most souls, both mortal and demonic.". The Wanderer is not the only one, and Slaanesh can make his realm as strong as he wants. He made it that way to see who can make it to him. I was just proving a point with my respect threads and this post.

There you go. Debunked. Goodbye.

> it's more like a pocket-book.

Take a picture of the cover, I'm curious what you mean. Is it the individual Tankobons? The original comic book release? If you can't take a picture heres a list of the versions of the manga to find the one you have. I don't think Viz does the Swedish release, so the censorship would be different.

https://www.amazon.ca/Superman-No-Limits-Jeph-Loeb/dp/1563896990

https://www.amazon.com/Mistborn-Trilogy-Boxed-Hero-Ascension/dp/076536543X/ref=sr_1_3?ie=UTF8&qid=1525020946&sr=8-3&keywords=the+final+empire

Filthy casual.

Batman: White Knight https://www.amazon.com/dp/1401279597/ref=cm_sw_r_cp_apa_i_ftDWDb27NBQ0P

> I’ve never read a deadpool where he just decides this battle is too hard so he’s going to page 23 to avoid it.

Well there's Deadpool kills the marvel universe if you want that. Not canon though. This story is basically AU and takes place in a canon that's a lot denser and wackier than post silver age Batman usually is, which is part of the reason why Batmite doing this is okay.

They were refrenced in Rebels via a Holocron and I beleive theres a guide or something that came out that included them but don't quote me on that.

Edit: apparently this guide is where they are refrenced

Edit 2: The form shown in Rebels is Form 5s other variant Shien which focuses on blaster deflection

> So you can't even reference a specific story? Gotcha.

I'm referencing the entire body of work that makes up Jack Kirby's Fourth World omnibus. It consisted the Forever People, New Gods and Mr Miracle series Kirby wrote in the early 1970s. This is it, right here.. Look, you can buy it on Amazon.

How is that difficult to figure out? It's a massive sprawling work which constitutes those three series.

> You can undermine it all you want, but Thanos' relationship with Death is complex and facets of it are thoroughly in Infinity Gauntlet.

Not really. It boils down to Thanos showing off his power, dicking around and Death going "lol, nah". Then Nebula gets the gauntlet and the story ends on something of a whimper.

Plus, Starlin has a way of throwing dozens of characters into a story and making only 3 or 4 truly relevant. Gauntlet and War particularly are really stories about Adam Warlock and Thanos, with other characters just sort of...there. Compare that to Kirby who crafted an entire mythos out of his own mind full of imaginative characters.

> I've never seen anything like it in Kirby's stories, which dramas based around stopping the evildoer and nothing more.

I'm going to venture a guess and say you've never read anything Kirby has ever written.

Oh boy I can tell you right not that you aren't going to make a lot of friends with this rant trust me. My opinions?

>If that is your argument that I propose this to you: Why is it "cheap"? Rape is a touchy subject for many people that often makes them heavily empathize or sympathize, in some cases, with said character that rape happened to. Why would the author default to something like "murder" which is so watered down by popular media that it happens even in children's movies? Why would the author default to something forgettable that DOESN'T grip at your heartstrings? Rape is a good way to build a rapport between the victim and the audience because it is something so invoking of emotion, why is it "cheap" for the author to try to make you feel? This also applies to killing puppies and animals in movies to make you feel. If the author is trying to make you sad and they succeed at making you sad, then they've accomplished what they set out to do.
>
>We don't remember stories that only ever do the bare minimum to make us feel, we remember the stories that take us on emotional rollercoasters or make us really reflect on or pity the characters put in terrible situations.
>
>Also, this is a stupid point as you don't get to decide what is necessary to the narrative of the story, if the author feels that it is necessary to the narrative/the story they want to tell then it is. Stories are in and of themselves unecessary. What you can criticize the story for are the results. For example, if the rape only serves to worsen the narrative, then you can criticize the story.

Only unneeded unless the story is built to tackle the issue. I'm going to show you an example of how these two segments are done absolutely wrong by a hack of a writer.

>>Praé was placed in chains and shackles and was forced to live in the bounds of his basement. He would go on to abuse her, stalk her and rape her at his leisure. He would particularly rape her on her birthdays as a present to remind her that he was a kind, gentle, and caring father. At the age of eleven, the chains released their restraint upon her.
>>Just as her father entered the basement, she Ruthlessly tore him apart until only a puddle of blood remained. After this a woman picked her up outside and would go on to mother her. 10 years later Praé has grown to be very cheerful, Very kind-hearted and polite. She is bright beautiful and an extremely smart woman.

Try not to get braindamage when reading this. This segment is from the suggsverses Praé and this is exactly what everyone is worred about when we use rape in a story. I did a breakdown a year ago on why this scene and prologue fails so hard. I reccoment you read that. Also Im going to quote someone who is far more knowlegeable about the subject from a now defunct website.

>>Take a good look at your story. Why do you think a rape is what you need for it to progress? Is there something else that could fill the same function? Unless you have a damn good reason to include rape in a story, you probably shouldn’t. Using sexual assault as a motivation-in-a-box or an equivalent trope will do nothing but steal credibility and respect from a really serious, really important subject. Plus, you’ll look like a twit.
>>
>>~Rachel Edidin

I also reccomend reading that in full.

>Murder isn't serious? Torture isn't serious? War isn't serious? Sexism isn't serious? Racism isn't serious? Violence isn't serious? We use stories to reflect and encapsulate themes about real life that we as human beings experience, if all our stories had no conflict or serious matter allocated to them, then we wouldn't take them seriously. They wouldn't have severe stakes and they would leave us with NOTHING but hollow empty fluff at the end of each tale we heard.

I said this in my rant but there is a difference between all of those you can't empathize with rape. You can't make metaphors about someone being raped and just have someone understand. We all feel pain and discrimination but this a special kind of pain and something you will not be able to understand. That's not even going into the proverbial mental issues that it entails.