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* In "The Ensurance Trap", [[spoiler:Hathor, newly in possession of a Jjaro dreadnought,]] makes several {{Badass Boast}}s. Among these is:
----> "Now I am become God - no, now I am become Death, the Destroyer of Worlds."
:: The end of this sentence is a verbatim quote from the Literature/BhagavadGita that was made famous in the West by nuclear scientist J. Robert Oppenheimer in describing his reaction to the Trinity atom bomb test[=:=]
----> "We knew the world would not be the same. A few people laughed; a few people cried; most people were silent. I remembered the line from the Hindu scripture, the Bhagavad-Gita. Vishnu is trying to persuade the Prince that he should do his duty and, to impress him, takes on his multi-armed form and says, 'Now I am become Death, the destroyer of worlds.' I suppose we all thought that, one way or another."
:: We should note that there are, of course, other translations of this passage. Another fair one might be "Death am I, and my present task destruction."
----> "Now I am become God - no, now I am become Death, the Destroyer of Worlds."
:: The end of this sentence is a verbatim quote from the Literature/BhagavadGita that was made famous in the West by nuclear scientist J. Robert Oppenheimer in describing his reaction to the Trinity atom bomb test[=:=]
----> "We knew the world would not be the same. A few people laughed; a few people cried; most people were silent. I remembered the line from the Hindu scripture, the Bhagavad-Gita. Vishnu is trying to persuade the Prince that he should do his duty and, to impress him, takes on his multi-armed form and says, 'Now I am become Death, the destroyer of worlds.' I suppose we all thought that, one way or another."
:: We should note that there are, of course, other translations of this passage. Another fair one might be "Death am I, and my present task destruction."
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A no doubt incomplete list:
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* "...how deep the rabbit hole goes" - quote from ''Film/TheMatrix'' (1999, dir. the Wachowskis). (This is a combined version of the levels "Eat S'pht and Die" and "Flight of Icarus" from previous versions of the game.)
* "Waiting for Black Metal Records to Come in the Mail" - song from Music/HaveANiceLife's 2008 debut album ''Deathconsciousness''. (This is the new name for "Third Rock from Lh'owon" after 1.3 preview 4 moved it to Lh'owon.)
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* "Bug-Eyed in Space" and "Once More Unto the Breach" (which take place simultaneously in different timelines) are the first levels in which Leela brings up the {{Myth/Egyptian myth|ology}}s of [[Characters/EgyptianMythology Hathor and Sakhmet]] (the latter seen under the more common spelling "Sekhmet"; both are acceptable romanisations). Leela goes into great detail on both goddesses, who were most often presented as different aspects of each other; post-preview 3, she explains her "lengthy Egyptian mythology lesson" by noting simply:
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* "The Midpoint of Somewhere" (a new level in 1.3 preview 4) has Leela-S'bhuth describe their:
--> One thousand years of solitude
----> staring into the abyss
** This contains two shout-outs: the first to Creator/GabrielGarciaMarquez's classic 1967 novel ''Literature/OneHundredYearsOfSolitude'' (Spanish: ''Cien años de soledad''), and another being (once again) to Nietzsche's ''Beyond Good and Evil'' (see "The Abyss Gazes Also" above for the context).
* "Bug-Eyed in Space" and "Once MoreUnto unto the Breach" (which take place simultaneously in different timelines) are the first levels in which Leela brings up the {{Myth/Egyptian myth|ology}}s of [[Characters/EgyptianMythology Hathor and Sakhmet]] (the latter seen under the more common spelling "Sekhmet"; both are acceptable romanisations). Leela goes into great detail on both goddesses, who were most often presented as different aspects of each other; post-preview 3, she explains her "lengthy Egyptian mythology lesson" by noting simply:
--> One thousand years of solitude
----> staring into the abyss
** This contains two shout-outs: the first to Creator/GabrielGarciaMarquez's classic 1967 novel ''Literature/OneHundredYearsOfSolitude'' (Spanish: ''Cien años de soledad''), and another being (once again) to Nietzsche's ''Beyond Good and Evil'' (see "The Abyss Gazes Also" above for the context).
* "Bug-Eyed in Space" and "Once More
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** Musicians: Ashenspire, Music/BlutAusNord, Music/DeathspellOmega, Music/{{Enslaved}}, Music/{{Genesis}}, Music/GodspeedYouBlackEmperor, Music/{{Magma}}, Music/{{Panopticon}}, Music/PinkFloyd
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** Musicians: Ashenspire, Music/BlutAusNord, Music/DeathspellOmega, Music/{{Enslaved}}, Music/{{Genesis}}, Music/{{Genesis|Band}}, Music/GodspeedYouBlackEmperor, Music/{{Magma}}, Music/{{Panopticon}}, Music/PinkFloyd
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* "The Ascension Factor" is named after a 1988 novel by Creator/FrankHerbert and Bill Ransom, the fourth (and final) novel in the ''Destination: Void'' series.
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* "The Ascension Factor" is named after a 1988 novel by Creator/FrankHerbert and Bill Ransom, the fourth (and final) novel in the ''Destination: Void'' series.series (also known as the Pandora Sequence or the [=WorShip=] series). This series is itself said to have been an influence on Bungie's games; ''The Jesus Incident'', an earlier novel in the series, takes place on a ship orbiting Tau Ceti and features [=AIs=] directing human colonists' response to a threat to their survival; ''Destination: Void'' itself may have influenced Durandal's Rampancy with its idea of "rogue consciousness".
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** ''Apotheosis X''[='=]s track "Carpenter" is named for Creator/JohnCarpenter.
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[[folder:Other Fan Games]]
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* Although several of the above level titles are kept in ''Apotheosis X'', several others are modified. New titles include:
** "Cracks in the Pleasuredome": song by Pinch & Shackleton from their 2011 self-titled album
** "Lost Behind the Stars": slight paraphrase of a line from Beastwars' "Dune", from ''Blood Becomes Fire'' (2013).
** "Ghost Hardware": 2007 EP by Burial
** "One More Fluorescent Rush": single by Avalon Emerson from ''Whities 013'' (2017).
** "After the Flood", "Ascension Day": songs from Music/TalkTalk's ''Music/LaughingStock''.
** "Saturn Devouring His Son": famous painting (c. 1819-1823) by Spanish artist Francisco Goya.
** "The Arch of Time": the fundamental structure underlying the Land's universe in Donaldson's ''Chronicles of Thomas Covenant'' (see above).
* Beyond that, there are shout-outs elsewhere in the game in both versions.
** The zombie Bobs in the original ''Apotheosis'' included the line "More human than human, that's my motto," a close paraphrase of Tyrell Corp's motto from ''Film/BladeRunner''.
** In the credits terminal for ''Apotheosis X'', one of the co-creators included, "for no real reason", an AI-generated image of Music/{{Beyonce}} as [[Characters/DoctorWhoDoctors the Doctor]].
[[/folder]]
[[folder:Other Fan Games]]
** "Cracks in the Pleasuredome": song by Pinch & Shackleton from their 2011 self-titled album
** "Lost Behind the Stars": slight paraphrase of a line from Beastwars' "Dune", from ''Blood Becomes Fire'' (2013).
** "Ghost Hardware": 2007 EP by Burial
** "One More Fluorescent Rush": single by Avalon Emerson from ''Whities 013'' (2017).
** "After the Flood", "Ascension Day": songs from Music/TalkTalk's ''Music/LaughingStock''.
** "Saturn Devouring His Son": famous painting (c. 1819-1823) by Spanish artist Francisco Goya.
** "The Arch of Time": the fundamental structure underlying the Land's universe in Donaldson's ''Chronicles of Thomas Covenant'' (see above).
* Beyond that, there are shout-outs elsewhere in the game in both versions.
** The zombie Bobs in the original ''Apotheosis'' included the line "More human than human, that's my motto," a close paraphrase of Tyrell Corp's motto from ''Film/BladeRunner''.
** In the credits terminal for ''Apotheosis X'', one of the co-creators included, "for no real reason", an AI-generated image of Music/{{Beyonce}} as [[Characters/DoctorWhoDoctors the Doctor]].
[[/folder]]
[[folder:Other Fan Games]]
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* "Unity of Opposites" (new level name in 1.3 as of September 2022, replacing "Unpfhorseen") - another reference to Heraclitus, relating to enantiodromia and nondualism, both central themes of the game. Heraclitus saw everything as being in constant change, yet remaining the same, comparable to the modern aphorism "The more things change, the more they stay the same." The universe contains a unity of opposites in simultaneously encompassing difference and sameness. "The road up and the road down are the same thing," as Heraclitus wrote, since a slanted road is by necessity an ascent in one direction and a descent in the other. Likewise, every changing object contains at least one opposite (though not necessarily simultaneously) and every pair of opposites is contained in at least one objects. The succession of opposites is itself the basis for change: "Cold things grow hot, hot things grow cold, a moist thing withers, a parched thing is wetted."
* "The Abyss Gazes Also" (level name in 1.3, replacing "S'pht Happens") - reference to a famous quote from Creator/FriedrichNietzsche's ''Beyond Good and Evil''[='=]s Aphorism 146 (1886): “HeWhoFightsMonsters should see to it that he himself does not become a monster. And if you gaze for long into an abyss, the abyss gazes also into you.”[[labelnote:German original]]„Wer mit Ungeheuern kämpft, mag zusehn, dass er nicht dabei zum Ungeheuer wird. Und wenn du lange in einen Abgrund blickst, blickt der Abgrund auch in dich hinein.“[[/labelnote]] [[spoiler:Leela has just gazed into an abyss and is quite clearly shaken by it.]]
* "Eádem, sed aliter" - a quotation from philosopher Arthur Schopenhauer's magnum opus ''The World as Will and Representation''. Schopenhauer wrote that the motto of history should be "Eádem, sed aliter", which is [[GratuitousLatin/MarathonExpandedUniverse Latin]] for "Likewise, but differently". This seemingly paradoxical phrase can be considered to dovetail with the unity of opposites (discussed above). And it also serves as a LeaningOnTheFourthWall description of how the failure branch and success branch paths differ: in all five branch levels, [[spoiler:the success path contains an action that is absent from the failure path, but is otherwise identical in every aspect - hence, likewise, but different.]] As with "Enantiodromia", a secondary reference can be inferred to Music/DeathspellOmega's ''The Long Defeat'', which also has a song with this title.
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*** She also alludes to HeWhoFightsMonsters when she writes of [[spoiler:the ascended Jjaro’s conflict with the W'rkncacnter]], “the abyss has gazed into [[spoiler:the jjaro]], who have become enantiodromic mirrors of their foes.” This phrase originates from ''Beyond Good and Evil''[='=]s Aphorism 146 (1886): "He who fights monsters should see to it that he himself does not become a monster. And if you gaze for long into an abyss, the abyss gazes also into you."[[labelnote:German original]]„Wer mit Ungeheuern kämpft, mag zusehn, dass er nicht dabei zum Ungeheuer wird. Und wenn du lange in einen Abgrund blickst, blickt der Abgrund auch in dich hinein.“[[/labelnote]] This is, as [[spoiler:Hathor]] herself notes, a further example of enantiodromia, discussed in the level name section above; Heraclitus was a clear influence on Nietzsche, and beyond this aphorism, ''Human, All Too Human'' Aphorisms 1-3 and ''Beyond Good and Evil'' Aphorism 2 also discuss enantiodromia.
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*** She also alludes to HeWhoFightsMonsters when she writes of [[spoiler:the ascended Jjaro’s conflict with the W'rkncacnter]], “the abyss has gazed into [[spoiler:the jjaro]], who have become enantiodromic mirrors of their foes.” This phrase originates from ''Beyond Good and Evil''[='=]s Aphorism 146 (1886): "He who fights monsters should see to it that he himself does not become a monster. And if you gaze See "The Abyss Gazes Also" in the level names section above for long into an abyss, the abyss gazes source of this quote, which is also into you."[[labelnote:German original]]„Wer mit Ungeheuern kämpft, mag zusehn, dass er nicht dabei zum Ungeheuer wird. Und wenn du lange in einen Abgrund blickst, blickt der Abgrund auch in dich hinein.“[[/labelnote]] TropeNamer for HeWhoFightsMonsters. This is, as [[spoiler:Hathor]] herself notes, a further example of enantiodromia, discussed separately in the level name section above; Heraclitus was a clear influence on Nietzsche, and beyond this aphorism, ''Human, All Too Human'' Aphorisms 1-3 and ''Beyond Good and Evil'' Aphorism 2 also discuss enantiodromia.
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Wiki/ namespace clean up.
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*** Which, interestingly, [[TakeAThirdOption takes the exact third option]] mentioned on Wiki/TVTropes, which the story itself never discusses. (Incidentally, Le Guin's story is another source quoted in the codirector's Pfhorums signature.)
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*** Which, interestingly, [[TakeAThirdOption takes the exact third option]] mentioned on Wiki/TVTropes, Website/TVTropes, which the story itself never discusses. (Incidentally, Le Guin's story is another source quoted in the codirector's Pfhorums signature.)
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** It's subtle and obscure enough that, without official confirmation, it's hard to be certain it's intentional, but she ''may'' make one final shout-out (or TakeThat) in saying, "i can't accept the eternal recurrence they seek as fate inexorable." "Wyrd bið ful aræd" is a line from the Anglo-Saxon poem ''The Wanderer'' that is as famous as any line from Anglo-Saxon poetry can be said to be these days.[[note]]Creator/BernardCornwell and several TV series based on his works have each quoted it repeatedly, which has probably been a contributing factor. It's also been a song or album title for multiple musical acts, including the BlackMetal band Music/{{Wodensthrone}} and the PowerMetal band Rebellion.[[/note]] It's traditionally been translated along the lines "Fate is wholly inexorable," but this reading has attracted criticism recently: ''wyrd'' is far more complex than our common understanding of ''fate'', and ''inexorable'' is but ''one'' possible meaning of ''aræd''. Rutgers University's Dr Aaron Hofstetter has [[https://oldenglishpoetry.camden.rutgers.edu/2017/06/08/wyrd-bid-ful-araed-the-wanderer-line-5b/ a lengthy exegesis]] explaining why he translates ''the same line'' as "The way of the world is ever an open book" - basically the exact opposite meaning! [[spoiler:Hathor]]'s unusual word order of "fate inexorable" may be meant to suggest the line from "The Wanderer", but since she's saying she ''doesn't'' accept fate inexorable (a nice real-life MythologyGag: [[spoiler:[[Characters/EgyptianMythology Hathor's namesake]] was strongly linked with fate in Myth/EgyptianMythology - but then, the Egyptians ''also'' didn't see fate as inexorable]]), the passage may be a playful TakeThat at the line's traditional translation. (Also, some trivia: Our word ''weird'' is a direct linguistic descendant of ''wyrd''. Also, Wyrd was a [[https://mythipedia.fandom.com/wiki/Wyrd deity]] in Creator/{{Bungie}}'s later series ''VideoGame/{{Myth}}'' - in fact, the creator of the world.)
to:
** It's subtle and obscure enough that, without official confirmation, it's hard to be certain it's intentional, but she ''may'' make one final shout-out (or TakeThat) in saying, "i can't accept the eternal recurrence they seek as fate inexorable." "Wyrd bið ful aræd" is a line from the Anglo-Saxon poem ''The Wanderer'' that is as famous as any line from Anglo-Saxon poetry can be said to be these days.[[note]]Creator/BernardCornwell and several TV series based on his works have each quoted it repeatedly, which has probably been a contributing factor. It's also been a song or album title for multiple musical acts, including the BlackMetal band Music/{{Wodensthrone}} Wodensthrone and the PowerMetal band Rebellion.[[/note]] It's traditionally been translated along the lines "Fate is wholly inexorable," but this reading has attracted criticism recently: ''wyrd'' is far more complex than our common understanding of ''fate'', and ''inexorable'' is but ''one'' possible meaning of ''aræd''. Rutgers University's Dr Aaron Hofstetter has [[https://oldenglishpoetry.camden.rutgers.edu/2017/06/08/wyrd-bid-ful-araed-the-wanderer-line-5b/ a lengthy exegesis]] explaining why he translates ''the same line'' as "The way of the world is ever an open book" - basically the exact opposite meaning! [[spoiler:Hathor]]'s unusual word order of "fate inexorable" may be meant to suggest the line from "The Wanderer", but since she's saying she ''doesn't'' accept fate inexorable (a nice real-life MythologyGag: [[spoiler:[[Characters/EgyptianMythology Hathor's namesake]] was strongly linked with fate in Myth/EgyptianMythology - but then, the Egyptians ''also'' didn't see fate as inexorable]]), the passage may be a playful TakeThat at the line's traditional translation. (Also, some trivia: Our word ''weird'' is a direct linguistic descendant of ''wyrd''. Also, Wyrd was a [[https://mythipedia.fandom.com/wiki/Wyrd deity]] in Creator/{{Bungie}}'s later series ''VideoGame/{{Myth}}'' - in fact, the creator of the world.)
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Changed line(s) 182 (click to see context) from:
** It's subtle and obscure enough that, without official confirmation, it's hard to be certain it's intentional, but she ''may'' make one final shout-out (or TakeThat) in saying, "i can't accept the eternal recurrence they seek as fate inexorable." "Wyrd bið ful aræd" is a line from the Anglo-Saxon poem ''The Wanderer'' that is as famous as any line from Anglo-Saxon poetry can be said to be these days.[[note]]Creator/BernardCornwell and several TV series based on his works have each quoted it repeatedly, which has probably been a contributing factor. It's also been a song or album title for multiple musical acts, including the BlackMetal band Music/{{Wodensthrone}} and the PowerMetal band Rebellion.[[/note]] It's traditionally been translated along the lines "Fate is wholly inexorable," but this reading has attracted criticism recently: ''wyrd'' is far more complex than our common understanding of ''fate'', and ''inexorable'' is but ''one'' possible meaning of ''aræd''. Rutgers University's Dr Aaron Hofstetter has [[https://oldenglishpoetry.camden.rutgers.edu/2017/06/08/wyrd-bid-ful-araed-the-wanderer-line-5b/ a lengthy exegesis]] explaining why he translates ''the exact same line'' as "The way of the world is ever an open book," expressing basically the ''exact opposite meaning''. [[spoiler:Hathor]]'s unusual word order of "fate inexorable" may be meant to suggest the line from "The Wanderer", but since she's saying she ''doesn't'' accept fate inexorable (a nice real-life MythologyGag, since [[spoiler:[[Characters/EgyptianMythology Hathor's namesake]] had strong associations with fate in Myth/EgyptianMythology]]), the passage may be a playful TakeThat at the line's traditional translation. (Also, some trivia: Our word ''weird'' is a direct linguistic descendant of ''wyrd''. Also, Wyrd was a [[https://mythipedia.fandom.com/wiki/Wyrd deity]] in Creator/{{Bungie}}'s later series ''VideoGame/{{Myth}}'' - in fact, the creator of the world.)
to:
** It's subtle and obscure enough that, without official confirmation, it's hard to be certain it's intentional, but she ''may'' make one final shout-out (or TakeThat) in saying, "i can't accept the eternal recurrence they seek as fate inexorable." "Wyrd bið ful aræd" is a line from the Anglo-Saxon poem ''The Wanderer'' that is as famous as any line from Anglo-Saxon poetry can be said to be these days.[[note]]Creator/BernardCornwell and several TV series based on his works have each quoted it repeatedly, which has probably been a contributing factor. It's also been a song or album title for multiple musical acts, including the BlackMetal band Music/{{Wodensthrone}} and the PowerMetal band Rebellion.[[/note]] It's traditionally been translated along the lines "Fate is wholly inexorable," but this reading has attracted criticism recently: ''wyrd'' is far more complex than our common understanding of ''fate'', and ''inexorable'' is but ''one'' possible meaning of ''aræd''. Rutgers University's Dr Aaron Hofstetter has [[https://oldenglishpoetry.camden.rutgers.edu/2017/06/08/wyrd-bid-ful-araed-the-wanderer-line-5b/ a lengthy exegesis]] explaining why he translates ''the exact same line'' as "The way of the world is ever an open book," expressing book" - basically the ''exact exact opposite meaning''. meaning! [[spoiler:Hathor]]'s unusual word order of "fate inexorable" may be meant to suggest the line from "The Wanderer", but since she's saying she ''doesn't'' accept fate inexorable (a nice real-life MythologyGag, since MythologyGag: [[spoiler:[[Characters/EgyptianMythology Hathor's namesake]] had strong associations was strongly linked with fate in Myth/EgyptianMythology]]), Myth/EgyptianMythology - but then, the Egyptians ''also'' didn't see fate as inexorable]]), the passage may be a playful TakeThat at the line's traditional translation. (Also, some trivia: Our word ''weird'' is a direct linguistic descendant of ''wyrd''. Also, Wyrd was a [[https://mythipedia.fandom.com/wiki/Wyrd deity]] in Creator/{{Bungie}}'s later series ''VideoGame/{{Myth}}'' - in fact, the creator of the world.)
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** It's subtle and obscure enough that, without official confirmation, it's hard to be certain it's intentional, but she ''may'' make one final shout-out (or TakeThat) in saying, "i can't accept the eternal recurrence they seek as fate inexorable." "Wyrd bið ful aræd" is a line from the Anglo-Saxon poem ''The Wanderer'' that is as famous as any line from Anglo-Saxon poetry can be said to be these days.[[note]]Creator/BernardCornwell and several TV series based on his works have each quoted it repeatedly, which has probably been a contributing factor. It's also been a song or album title for multiple musical acts, including the BlackMetal band Music/{{Wodensthrone}} and the PowerMetal band Rebellion.[[/note]] It's traditionally been translated along the lines "Fate is wholly inexorable," but this reading has attracted criticism recently: ''wyrd'' is far more complex than our common understanding of ''fate'', and ''inexorable'' is but ''one'' possible meaning of ''aræd''. Rutgers University's Dr Aaron Hofstetter has [[https://oldenglishpoetry.camden.rutgers.edu/2017/06/08/wyrd-bid-ful-araed-the-wanderer-line-5b/ a lengthy exegesis]] explaining why he translates ''the exact same line'' as "The way of the world is ever an open book," expressing basically the ''exact opposite meaning''. [[spoiler:Hathor]]'s unusual word order of "fate inexorable" may be meant to suggest the line from "The Wanderer", but since she's saying she ''doesn't'' accept fate inexorable (a nice real-life MythologyGag, since [[spoiler:[[Characters/EgyptianMythology Hathor's namesake]] had strong associations with fate in Myth/EgyptianMythology]]), the passage may be a playful TakeThat at the line's traditional translation. (Also, some trivia: Our word ''weird'' is a direct linguistic descendant of ''wyrd''. Also, Wyrd was a [[https://mythipedia.fandom.com/wiki/Wyrd deity]] in Creator/{{Bungie}}'s later series ''VideoGame/{{Myth}}'' - in fact, the creator of the world.)
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until we [[spoiler:free the suffering child]]\\
at its core"
at its core"
to:
at its
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* In "Dysmentria" (version 1.3), Hathor uses the phrase, "Go do that voodoo that you do so well," a verbatim quote of Hedy Lamarr (that's Hedley!) from ''Film/BlazingSaddles''.
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* In "Dysmentria" (version 1.3), Hathor uses the phrase, "Go do that voodoo that you do so well," a verbatim quote of Hedy Lamarr (that's Hedley!) from ''Film/BlazingSaddles''.[[note]]The hell are you worried about? This is 1874 - you'll be able to sue [[Creator/HedyLamarr her]]![[/note]]
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* In 1.3, as of August 2022, Durandal and Thoth make a few final shout-outs in "The Near Side of Everywhere":
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* In 1.3, as of August 2022, Durandal and Thoth make a few final shout-outs in "The Near Side of Everywhere":Everywhere", many tying in with [[spoiler:Hathor]]'s final message in "We Met Once in the Garden" (see above):
** Durandal recapitulates [[spoiler:Hathor]]'s discussion of Creator/FriedrichNietzsche's EternalRecurrence. In addition, "circumstances are indeed cyclical" is a CallBack to a phrase Thoth wrote at the end of ''Marathon 2''[='=]s level "Requiem for a Cyborg".
----> It seems circumstances are indeed cyclical; and in their rush to save ''themselves'', the [[spoiler:Ascended Jjaro]] have doomed not just [[spoiler:their forbears]] to immolation, but [[spoiler:the galaxy entire]]. And, having witnessed this, do they attempt to prevent it? Quite the contrary; they wish for its eternal recurrence.
** Durandal recapitulates [[spoiler:Hathor]]'s discussion of Creator/FriedrichNietzsche's EternalRecurrence. In addition, "circumstances are indeed cyclical" is a CallBack to a phrase Thoth wrote at the end of ''Marathon 2''[='=]s level "Requiem for a Cyborg".
----> It seems circumstances are indeed cyclical; and in their rush to save ''themselves'', the [[spoiler:Ascended Jjaro]] have doomed not just [[spoiler:their forbears]] to immolation, but [[spoiler:the galaxy entire]]. And, having witnessed this, do they attempt to prevent it? Quite the contrary; they wish for its eternal recurrence.
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** Durandal also makes a final reference to Heraclitus' writings by mentioning enantiodromia, discussed above in both the level names section's discussion of the level of the same name; and in this section's discussion of "We Met Once in the Garden". As Durandal says,
to:
** Durandal also makes a final reference to Heraclitus' writings by mentioning enantiodromia, discussed above in both the level names section's discussion of the level of the same name; name, and in this section's discussion of "We Met Once in the Garden". As Durandal says,
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** Films: ''Film/BladeRunner'', ''Film/{{Brazil}}'', ''Film/{{Casablanca}}'', ''Film/{{Moonlight}}'', ''Film/PansLabyrinth''
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** Films: ''Film/BladeRunner'', ''Film/{{Brazil}}'', ''Film/{{Casablanca}}'', ''Film/{{Moonlight}}'', ''Film/PansLabyrinth''''Film/PansLabyrinth'', ''Film/TwoThousandOneASpaceOdyssey''
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** After saying that the [[spoiler:Ascended Jjaro]] "have effectively / built their civilization on the bedrock / of one woman's suffering" (i.e., [[spoiler:Hathor]]'s), Thoth alludes to Creator/UrsulaKLeGuin's classic short story "Literature/TheOnesWhoWalkAwayFromOmelas" (another source quoted in the codirector's Pfhorums signature):
to:
** After saying that the [[spoiler:Ascended Jjaro]] "have effectively / built their civilization on the bedrock / of one woman's suffering" (i.e., [[spoiler:Hathor]]'s), Thoth alludes to Creator/UrsulaKLeGuin's classic short story "Literature/TheOnesWhoWalkAwayFromOmelas" (another source quoted in the codirector's Pfhorums signature):(1973):
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*** Which, interestingly, [[TakeAThirdOption takes the exact third option]] mentioned on Wiki/TVTropes (which the story itself never discusses).
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*** Which, interestingly, [[TakeAThirdOption takes the exact third option]] mentioned on Wiki/TVTropes (which Wiki/TVTropes, which the story itself never discusses).discusses. (Incidentally, Le Guin's story is another source quoted in the codirector's Pfhorums signature.)
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Changed line(s) 153 (click to see context) from:
* "Bug-Eyed in Space" and "Once More Unto the Breach" (which take place simultaneously in different timelines) are the first levels in which Leela brings up the [[Myth/EgyptianMythology Egyptian myths]] of [[Characters/EgyptianMythology Hathor and Sakhmet]] (the latter seen under the more common spelling "Sekhmet"; both are acceptable romanisations). Leela goes into great detail on both goddesses, who were most often presented as different aspects of each other; post-preview 3, she explains her "lengthy Egyptian mythology lesson" by noting simply:
to:
* "Bug-Eyed in Space" and "Once More Unto the Breach" (which take place simultaneously in different timelines) are the first levels in which Leela brings up the [[Myth/EgyptianMythology Egyptian myths]] {{Myth/Egyptian myth|ology}}s of [[Characters/EgyptianMythology Hathor and Sakhmet]] (the latter seen under the more common spelling "Sekhmet"; both are acceptable romanisations). Leela goes into great detail on both goddesses, who were most often presented as different aspects of each other; post-preview 3, she explains her "lengthy Egyptian mythology lesson" by noting simply:
Changed line(s) 181 (click to see context) from:
** She also, of course, refers to Myth/EgyptianMythology in comparing the W’rkncacnter to [[Characters/EgyptianMythology Egyptian mythology’s Apep]], a GodOfChaos and GodOfEvil that wants to destroy existence itself. The parallels are close enough that the W’rkncacnter qualifies as an {{Expy}} to some extent.
to:
** She also, of course, refers to Myth/EgyptianMythology Myth/{{Egyptian myth|ology}} in comparing the W’rkncacnter [[spoiler:the W’rkncacnter]] to [[Characters/EgyptianMythology Egyptian mythology’s Apep]], a GodOfChaos and GodOfEvil that wants to destroy existence itself. The parallels are close enough that the W’rkncacnter [[spoiler:the W’rkncacnter]] qualifies as an {{Expy}} to some extent.extent. Beyond that, she also discusses the myths of [[spoiler:her namesake and Sakhmet]] and acknowledges that [[spoiler:Sakhmet]] is a fair comparison for [[spoiler:the vengeful personality she'd gotten locked into for some 700 years]].
Changed line(s) 183 (click to see context) from:
* In 1.3, Custós' final message to the player ends with the line "Avé atque valé", which translates from Latin as "Hail and farewell" or "I salute you, and goodbye". It comes from [[https://en.wikipedia.org/wiki/Catullus_101 Catullus 101]], Creator/{{Catullus}}' elegy to his brother.
to:
* In 1.3, Custós' final message to the player (in "Where Giants Have Fallen") ends with the line "Avé atque valé", which translates from Latin as "Hail and farewell" or "I salute you, and goodbye". It comes from [[https://en.wikipedia.org/wiki/Catullus_101 Catullus 101]], Creator/{{Catullus}}' elegy to his brother.
Changed line(s) 185 (click to see context) from:
* In 1.3, as of August 2022, Durandal and Thoth make a few final shout-outs in "The Near Side of Everywhere".
to:
* "The Near Side of Everywhere" opens with the complete "I have been Roland, Beowulf, Achilles, Gilgamesh" message from ''Marathon 2''[='=]s "Kill Your Television" to which the entire scenario is in fact a WholePlotReference. Notably, this version includes passages that were not present in ''Marathon 2'' itself; they were taken from Jason Jones' finger protocol text, as mentioned on [[https://marathon.bungie.org/story/kytterm.html the Marathon's Story Page]]. Before 1.3 preview 3, they were punctuated quite differently than the original text; however, they now have only slight differences. 1.3 also adds a complete Latin translation of the text in a later (optional) terminal in the same level, which seems to be meant as an OverlyLongGag. In recent versions, both terminals are printed entirely over [[https://www.dropbox.com/sh/e40ip01je2y3bkj/AAAZk3xD5pJzKeoBm_AFkkfoa/Resources/PICT artwork (beware spoilers, and note that a couple of images could qualify as vaguely NSFW)]] generated primarily from [=MidJourney=] prompts (02511 through 02519 for English, 03520 through 03533 for Latin).
* In 1.3, as of August 2022, Durandal and Thoth make a few final shout-outs in "The Near Side ofEverywhere".Everywhere":
* In 1.3, as of August 2022, Durandal and Thoth make a few final shout-outs in "The Near Side of
Changed line(s) 190,191 (click to see context) from:
*** Which, interestingly, [[TakeAThirdOption takes the precise third option]] that Wiki/TVTropes mentions, and that the story itself never brings up.
** Durandal refers to Myth/EgyptianMythology in discussing the mythical Hathor, Sakhmet, and Apep. Our [[Characters/EgyptianMythology Egyptian mythology characters page]] discusses all three in greater detail (Sakhmet is found under the more common spelling "Sekhmet"; both spellings are acceptable romanisations of the name).
** Durandal refers to Myth/EgyptianMythology in discussing the mythical Hathor, Sakhmet, and Apep. Our [[Characters/EgyptianMythology Egyptian mythology characters page]] discusses all three in greater detail (Sakhmet is found under the more common spelling "Sekhmet"; both spellings are acceptable romanisations of the name).
to:
*** Which, interestingly, [[TakeAThirdOption takes the precise exact third option]] that mentioned on Wiki/TVTropes mentions, and that (which the story itself never brings up.
discusses).
** Durandal refers toMyth/EgyptianMythology Myth/{{Egyptian myth|ology}} in discussing the mythical Hathor, Sakhmet, and Apep. Our [[Characters/EgyptianMythology Egyptian mythology characters page]] discusses all three in greater detail (Sakhmet is found under the more common spelling "Sekhmet"; both spellings are acceptable romanisations of the name).
** Durandal refers to
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* "Bug-Eyed in Space" and "Once More Unto the Breach" (which take place simultaneously in different timelines) are the first levels in which Leela brings up the [[Myth/EgyptianMythology Egyptian myths]] of [[Characters/EgyptianMythology Hathor and Sakhmet]] (the latter seen under the more common spelling "Sekhmet"; both are acceptable romanisations). Leela goes into great detail on both goddesses, who were most often presented as different aspects of each other; post-preview 3, she explains her "lengthy Egyptian mythology lesson" by noting simply:
---> "I could name numerous parallels, but in short, [[spoiler:Hathor has undergone a personality shift so radical]] that, when I first encountered her again, I couldn't believe she was the woman [[spoiler:who'd served humanity so faithfully on the ''Marathon'' and Tau Ceti. Better that we call her Sakhmet.]]"
** Her terminal also contains an EarlyBirdCameo mention of [[spoiler:Apep]], who becomes quite important in chapter five by way of comparison to [[spoiler:a character who may in fact have been a GreaterScopeVillain throughout the game, namely the W'rkncacnter from ''VideoGame/PathwaysIntoDarkness'']].
---> "I could name numerous parallels, but in short, [[spoiler:Hathor has undergone a personality shift so radical]] that, when I first encountered her again, I couldn't believe she was the woman [[spoiler:who'd served humanity so faithfully on the ''Marathon'' and Tau Ceti. Better that we call her Sakhmet.]]"
** Her terminal also contains an EarlyBirdCameo mention of [[spoiler:Apep]], who becomes quite important in chapter five by way of comparison to [[spoiler:a character who may in fact have been a GreaterScopeVillain throughout the game, namely the W'rkncacnter from ''VideoGame/PathwaysIntoDarkness'']].
Changed line(s) 159 (click to see context) from:
---> “I assure thee, ''[[GratuitousSpanish no soy ningún comandante incompetente Pfhor]]''. I would not tell thee my master-stroke if there remained the slightest chance of thee affecting it. [[spoiler:Admiral Ksandr launched the ''novam praemátúram'']] thirty-five minutes ago.”
to:
Changed line(s) 167 (click to see context) from:
*** She also alludes to HeWhoFightsMonsters when she writes of [[spoiler:the ascended Jjaro’s conflict with the W'rkncacnter]], “the abyss has gazed into [[spoiler:the jjaro]], who have become enantiodromic mirrors of their foes.” This phrase originates from ''Beyond Good and Evil''[='=]s Aphorism 146 (1886): "He who fights monsters should see to it that he himself does not become a monster. And if you gaze for long into an abyss, the abyss gazes also into you."[[labelnote:German original]]„Wer mit Ungeheuern kämpft, mag zusehn, dass er nicht dabei zum Ungeheuer wird. Und wenn du lange in einen Abgrund blickst, blickt der Abgrund auch in dich hinein.“[[/labelnote]] This is a further example of enantiodromia, which is discussed in the level name section above; Heraclitus was a clear influence on Nietzsche, and beyond this aphorism, ''Human, All Too Human'' Aphorisms 1-3 and ''Beyond Good and Evil'' Aphorism 2 also discuss enantiodromia.
to:
*** She also alludes to HeWhoFightsMonsters when she writes of [[spoiler:the ascended Jjaro’s conflict with the W'rkncacnter]], “the abyss has gazed into [[spoiler:the jjaro]], who have become enantiodromic mirrors of their foes.” This phrase originates from ''Beyond Good and Evil''[='=]s Aphorism 146 (1886): "He who fights monsters should see to it that he himself does not become a monster. And if you gaze for long into an abyss, the abyss gazes also into you."[[labelnote:German original]]„Wer mit Ungeheuern kämpft, mag zusehn, dass er nicht dabei zum Ungeheuer wird. Und wenn du lange in einen Abgrund blickst, blickt der Abgrund auch in dich hinein.“[[/labelnote]] This is is, as [[spoiler:Hathor]] herself notes, a further example of enantiodromia, which is discussed in the level name section above; Heraclitus was a clear influence on Nietzsche, and beyond this aphorism, ''Human, All Too Human'' Aphorisms 1-3 and ''Beyond Good and Evil'' Aphorism 2 also discuss enantiodromia.
Changed line(s) 178 (click to see context) from:
** She also, of course, refers to Myth/EgyptianMythology in comparing the W’rkncacnter to [[Characters/EgyptianMythology Egyptian mythology’s Apep]], a GodOfChaos and GodOfEvil that wants to destroy existence itself. The parallels are pretty on point.
to:
** She also, of course, refers to Myth/EgyptianMythology in comparing the W’rkncacnter to [[Characters/EgyptianMythology Egyptian mythology’s Apep]], a GodOfChaos and GodOfEvil that wants to destroy existence itself. The parallels are pretty on point.close enough that the W’rkncacnter qualifies as an {{Expy}} to some extent.
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---> "we must not walk away from Omelas\\
to:
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** Durandal refers to Myth/EgyptianMythology in discussing the mythical Hathor, Sakhmet, and Apep. Our [[Characters/EgyptianMythology Egyptian mythology characters page]] discusses all three in greater detail.
to:
** Durandal refers to Myth/EgyptianMythology in discussing the mythical Hathor, Sakhmet, and Apep. Our [[Characters/EgyptianMythology Egyptian mythology characters page]] discusses all three in greater detail.detail (Sakhmet is found under the more common spelling "Sekhmet"; both spellings are acceptable romanisations of the name).
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Changed line(s) 155 (click to see context) from:
* In 1.3, one terminal in "Deep into the Grotto" contains an excerpt from "Historia populí dé potestáte super armís", written InUniverse by a [[spoiler:Jjaro]] historian named Naomi Zinn. This is Latin for "A People's History of Arms Control", an obvious ShoutOut to ''A People's History of the United States'' by ''Howard'' Zinn. It's quite likely that Naomi's given name is also a ShoutOut to Howard's close friend, the linguist and political philosopher Noam Chomsky, since ''Naomi'' (נָעֳמִי, ''no'omí'', literally ''my pleasantness'') and ''Noam'' (נועם or נֹעַם, ''nó'am'', literally ''pleasantness'') have the same root.
to:
* In 1.3, one terminal in "Deep into the Grotto" contains an excerpt from "Historia populí dé potestáte super armís", written InUniverse by a [[spoiler:Jjaro]] historian named Naomi Zinn. This is Latin for "A People's History of Arms Control", an obvious ShoutOut to ''A People's History of the United States'' by ''Howard'' Zinn. It's quite likely that Naomi's given name is also a ShoutOut to Howard's close friend, the linguist and political philosopher Noam Chomsky, since ''Naomi'' (נָעֳמִי, ''no'omí'', literally ''my pleasantness'') and ''Noam'' (נועם or נֹעַם, ''nó'am'', literally ''pleasantness'') have the same root. The codirector listing Chomsky as an influence (see below) may be a further hint that this is intentional; ''Eternal''[='=]s overall political stance is certainly quite compatible with both Zinn and Chomsky's.
Changed line(s) 177 (click to see context) from:
*** The author’s Pfhorums signature has included the latter quote (with attribution) for several years, so its provenance is hardly being kept secret.
to:
*** The author’s Pfhorums signature has included the latter quote (with attribution) for several years, so its provenance is hardly being kept secret. (The very next level’s secret credits terminal also mentions Wilhoit.)
Changed line(s) 182,183 (click to see context) from:
* In 1.3, as of August 2022, Durandal and Thoth make a few additional shout-outs in the ending.
** In discussing how the [[spoiler:Ascended Jjaro]] have effectively formed their society on the basis of [[spoiler:Hathor]]'s suffering, Thoth refers to Creator/UrsulaKLeGuin's classic short story "Literature/TheOnesWhoWalkAwayFromOmelas" (another source quoted in the codirector's Pfhorums signature):
** In discussing how the [[spoiler:Ascended Jjaro]] have effectively formed their society on the basis of [[spoiler:Hathor]]'s suffering, Thoth refers to Creator/UrsulaKLeGuin's classic short story "Literature/TheOnesWhoWalkAwayFromOmelas" (another source quoted in the codirector's Pfhorums signature):
to:
* In 1.3, as of August 2022, Durandal and Thoth make a few additional final shout-outs in the ending.
"The Near Side of Everywhere".
**In discussing how After saying that the [[spoiler:Ascended Jjaro]] have "have effectively formed / built their society civilization on the basis bedrock / of [[spoiler:Hathor]]'s suffering, one woman's suffering" (i.e., [[spoiler:Hathor]]'s), Thoth refers alludes to Creator/UrsulaKLeGuin's classic short story "Literature/TheOnesWhoWalkAwayFromOmelas" (another source quoted in the codirector's Pfhorums signature):
**
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** Musicians: Ashenspire, Music/BlutAusNord, MusicDeathspellOmega, Music/{{Enslaved}}, Music/{{Genesis}}, Music/GodspeedYouBlackEmperor, Music/{{Magma}}, Music/{{Panopticon}}, Music/PinkFloyd
to:
** Musicians: Ashenspire, Music/BlutAusNord, MusicDeathspellOmega, Music/DeathspellOmega, Music/{{Enslaved}}, Music/{{Genesis}}, Music/GodspeedYouBlackEmperor, Music/{{Magma}}, Music/{{Panopticon}}, Music/PinkFloyd
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Changed line(s) 185 (click to see context) from:
until we free the suffering child\\
to:
until we free [[spoiler:free the suffering child\\child]]\\
Added DiffLines:
*** Which, interestingly, [[TakeAThirdOption takes the precise third option]] that Wiki/TVTropes mentions, and that the story itself never brings up.
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** She also, of course, refers to Myth/EgyptianMythology in comparing the W’rkncacnter to [[Characters/EgyptianMythology Egyptian mythology’s Apep]], a GodOfChaos and GodOfEvil that wants to destroy existence itself. The parallels are pretty on point.
* In 1.3, as of August 2022, Durandal and Thoth make a few additional shout-outs in the ending.
** In discussing how the [[spoiler:Ascended Jjaro]] have effectively formed their society on the basis of [[spoiler:Hathor]]'s suffering, Thoth refers to Creator/UrsulaKLeGuin's classic short story "Literature/TheOnesWhoWalkAwayFromOmelas" (another source quoted in the codirector's Pfhorums signature):
---> "we must not walk away from Omelas\\
until we free the suffering child\\
at its core"
** Durandal refers to Myth/EgyptianMythology in discussing the mythical Hathor, Sakhmet, and Apep. Our [[Characters/EgyptianMythology Egyptian mythology characters page]] discusses all three in greater detail.
** Durandal also makes a final reference to Heraclitus' writings by mentioning enantiodromia, discussed above in both the level names section's discussion of the level of the same name; and in this section's discussion of "We Met Once in the Garden". As Durandal says,
---> "Call it enantiodromia, if you must: in the absence of balance, forces may become their very own equal and opposite reactions. Nature abhors a vacuum, even one of balance."
** In discussing how the [[spoiler:Ascended Jjaro]] have effectively formed their society on the basis of [[spoiler:Hathor]]'s suffering, Thoth refers to Creator/UrsulaKLeGuin's classic short story "Literature/TheOnesWhoWalkAwayFromOmelas" (another source quoted in the codirector's Pfhorums signature):
---> "we must not walk away from Omelas\\
until we free the suffering child\\
at its core"
** Durandal refers to Myth/EgyptianMythology in discussing the mythical Hathor, Sakhmet, and Apep. Our [[Characters/EgyptianMythology Egyptian mythology characters page]] discusses all three in greater detail.
** Durandal also makes a final reference to Heraclitus' writings by mentioning enantiodromia, discussed above in both the level names section's discussion of the level of the same name; and in this section's discussion of "We Met Once in the Garden". As Durandal says,
---> "Call it enantiodromia, if you must: in the absence of balance, forces may become their very own equal and opposite reactions. Nature abhors a vacuum, even one of balance."
Changed line(s) 183,187 (click to see context) from:
** Authors: Creator/KurtVonnegut, Creator/UrsulaKLeGuin, Creator/PhilipKDick, Creator/ThomasPynchon, Creator/TerryPratchett, Creator/AlanMoore, Creator/WilliamShakespeare, Creator/GeorgeOrwell, [[https://en.wikipedia.org/wiki/Emma_Goldman Emma Goldman]], [[https://en.wikipedia.org/wiki/Noam_Chomsky Noam Chomsky]], Frank Wilhoit (see above), [[Music/DeathspellOmega Christian Bouché]], Creator/FriedrichNietzsche, [[https://en.wikipedia.org/wiki/Heraclitus Heraclitus]]
** Musicians: Music/GodspeedYouBlackEmperor, Music/DeathspellOmega, Music/BlutAusNord, Music/{{Genesis}}, Music/{{Panopticon}}, Music/{{Enslaved}}, Music/PinkFloyd
** Films: ''Film/{{Moonlight}}'', ''Film/PansLabyrinth'', ''Film/{{Casablanca}}'', ''Film/BladeRunner'', ''Film/{{Brazil}}''
** Television: ''Franchise/StarTrek'', ''Series/{{Doctor Who}}''
** Creators or cocreators of several other mods also receive shout-outs, among them ''Tempus Irae'', ''Phoenix'', ''Apotheosis'', ''Yuge'', ''Rubicon'', and indeed ''Eternal'' itself.
** Musicians: Music/GodspeedYouBlackEmperor, Music/DeathspellOmega, Music/BlutAusNord, Music/{{Genesis}}, Music/{{Panopticon}}, Music/{{Enslaved}}, Music/PinkFloyd
** Films: ''Film/{{Moonlight}}'', ''Film/PansLabyrinth'', ''Film/{{Casablanca}}'', ''Film/BladeRunner'', ''Film/{{Brazil}}''
** Television: ''Franchise/StarTrek'', ''Series/{{Doctor Who}}''
** Creators or cocreators of several other mods also receive shout-outs, among them ''Tempus Irae'', ''Phoenix'', ''Apotheosis'', ''Yuge'', ''Rubicon'', and indeed ''Eternal'' itself.
to:
** Authors: Creator/KurtVonnegut, Creator/UrsulaKLeGuin, [[Music/DeathspellOmega Christian Bouché]], [[https://en.wikipedia.org/wiki/Noam_Chomsky Noam Chomsky]], Creator/PhilipKDick, Creator/ThomasPynchon, Creator/TerryPratchett, Creator/AlanMoore, Creator/WilliamShakespeare, Creator/GeorgeOrwell, [[https://en.wikipedia.org/wiki/Emma_Goldman Emma Goldman]], [[https://en.wikipedia.org/wiki/Noam_Chomsky Noam Chomsky]], Frank Wilhoit (see above), [[Music/DeathspellOmega Christian Bouché]], org/wiki/Heraclitus Heraclitus]], Creator/UrsulaKLeGuin, Creator/AlanMoore, Creator/FriedrichNietzsche, [[https://en.wikipedia.org/wiki/Heraclitus Heraclitus]]
Creator/GeorgeOrwell, Creator/TerryPratchett, Creator/ThomasPynchon, Creator/WilliamShakespeare, Creator/KurtVonnegut, Frank Wilhoit (see above)
** Musicians: Ashenspire, Music/BlutAusNord, MusicDeathspellOmega, Music/{{Enslaved}}, Music/{{Genesis}}, Music/GodspeedYouBlackEmperor,Music/DeathspellOmega, Music/BlutAusNord, Music/{{Genesis}}, Music/{{Magma}}, Music/{{Panopticon}}, Music/{{Enslaved}}, Music/PinkFloyd
** Films:''Film/{{Moonlight}}'', ''Film/PansLabyrinth'', ''Film/BladeRunner'', ''Film/{{Brazil}}'', ''Film/{{Casablanca}}'', ''Film/BladeRunner'', ''Film/{{Brazil}}''
''Film/{{Moonlight}}'', ''Film/PansLabyrinth''
** Television:''Franchise/StarTrek'', ''Series/{{Doctor Who}}''
Who}}'', ''Franchise/StarTrek''
** Creators or cocreators of several other mods also receive shout-outs, among them ''Tempus Irae'', ''Phoenix'', ''Apotheosis'', ''Yuge'', ''Rubicon'', ''Gemini Station'', and indeed ''Eternal'' itself.
** Musicians: Ashenspire, Music/BlutAusNord, MusicDeathspellOmega, Music/{{Enslaved}}, Music/{{Genesis}}, Music/GodspeedYouBlackEmperor,
** Films:
** Television:
** Creators or cocreators of several other mods also receive shout-outs, among them ''Tempus Irae'', ''Phoenix'', ''Apotheosis'', ''Yuge'', ''Rubicon'', ''Gemini Station'', and indeed ''Eternal'' itself.
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Changed line(s) 183 (click to see context) from:
** Authors: Creator/KurtVonnegut$b, Creator/UrsulaKLeGuin, Creator/PhilipKDick, Creator/ThomasPynchon, Creator/TerryPratchett, Creator/AlanMoore, Creator/WilliamShakespeare, Creator/GeorgeOrwell, [[https://en.wikipedia.org/wiki/Emma_Goldman Emma Goldman]], [[https://en.wikipedia.org/wiki/Noam_Chomsky Noam Chomsky]], Frank Wilhoit (see above), [[Music/DeathspellOmega Christian Bouché]], Creator/FriedrichNietzsche, [[https://en.wikipedia.org/wiki/Heraclitus Heraclitus]]
to:
** Authors: Creator/KurtVonnegut$b, Creator/KurtVonnegut, Creator/UrsulaKLeGuin, Creator/PhilipKDick, Creator/ThomasPynchon, Creator/TerryPratchett, Creator/AlanMoore, Creator/WilliamShakespeare, Creator/GeorgeOrwell, [[https://en.wikipedia.org/wiki/Emma_Goldman Emma Goldman]], [[https://en.wikipedia.org/wiki/Noam_Chomsky Noam Chomsky]], Frank Wilhoit (see above), [[Music/DeathspellOmega Christian Bouché]], Creator/FriedrichNietzsche, [[https://en.wikipedia.org/wiki/Heraclitus Heraclitus]]
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Added DiffLines:
* In a secret terminal in "Where Giants Have Fallen", the codirector mentions several creators and works as influences, including:
** Authors: Creator/KurtVonnegut$b, Creator/UrsulaKLeGuin, Creator/PhilipKDick, Creator/ThomasPynchon, Creator/TerryPratchett, Creator/AlanMoore, Creator/WilliamShakespeare, Creator/GeorgeOrwell, [[https://en.wikipedia.org/wiki/Emma_Goldman Emma Goldman]], [[https://en.wikipedia.org/wiki/Noam_Chomsky Noam Chomsky]], Frank Wilhoit (see above), [[Music/DeathspellOmega Christian Bouché]], Creator/FriedrichNietzsche, [[https://en.wikipedia.org/wiki/Heraclitus Heraclitus]]
** Musicians: Music/GodspeedYouBlackEmperor, Music/DeathspellOmega, Music/BlutAusNord, Music/{{Genesis}}, Music/{{Panopticon}}, Music/{{Enslaved}}, Music/PinkFloyd
** Films: ''Film/{{Moonlight}}'', ''Film/PansLabyrinth'', ''Film/{{Casablanca}}'', ''Film/BladeRunner'', ''Film/{{Brazil}}''
** Television: ''Franchise/StarTrek'', ''Series/{{Doctor Who}}''
** Creators or cocreators of several other mods also receive shout-outs, among them ''Tempus Irae'', ''Phoenix'', ''Apotheosis'', ''Yuge'', ''Rubicon'', and indeed ''Eternal'' itself.
** Authors: Creator/KurtVonnegut$b, Creator/UrsulaKLeGuin, Creator/PhilipKDick, Creator/ThomasPynchon, Creator/TerryPratchett, Creator/AlanMoore, Creator/WilliamShakespeare, Creator/GeorgeOrwell, [[https://en.wikipedia.org/wiki/Emma_Goldman Emma Goldman]], [[https://en.wikipedia.org/wiki/Noam_Chomsky Noam Chomsky]], Frank Wilhoit (see above), [[Music/DeathspellOmega Christian Bouché]], Creator/FriedrichNietzsche, [[https://en.wikipedia.org/wiki/Heraclitus Heraclitus]]
** Musicians: Music/GodspeedYouBlackEmperor, Music/DeathspellOmega, Music/BlutAusNord, Music/{{Genesis}}, Music/{{Panopticon}}, Music/{{Enslaved}}, Music/PinkFloyd
** Films: ''Film/{{Moonlight}}'', ''Film/PansLabyrinth'', ''Film/{{Casablanca}}'', ''Film/BladeRunner'', ''Film/{{Brazil}}''
** Television: ''Franchise/StarTrek'', ''Series/{{Doctor Who}}''
** Creators or cocreators of several other mods also receive shout-outs, among them ''Tempus Irae'', ''Phoenix'', ''Apotheosis'', ''Yuge'', ''Rubicon'', and indeed ''Eternal'' itself.
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Changed line(s) 33,34 (click to see context) from:
* Most of the terminal images on Italian levels include facsimiles of Leonardo's trademark backwards handwriting. Much of the second image in ''The Gates of Delirium'' (the page starting with "...the purpose, whatever it may be") is taken up by Creator/{{Petrarch}}'s ''Canzoniere'' #365. This sonnet also appears in the text of a terminal from "Hang to Dry", so it is described below.
* A secret terminal in "The Revealing Science of God" contains an excerpt of Petrarch's ''Canzoniere'' #22:
* A secret terminal in "The Revealing Science of God" contains an excerpt of Petrarch's ''Canzoniere'' #22:
to:
* Most of the terminal images on Italian levels include facsimiles of Leonardo's trademark backwards handwriting. Much Most of the second image in ''The Gates of Delirium'' (the page starting with "...the purpose, whatever it may be") is taken up by from Creator/{{Petrarch}}'s ''Canzoniere'' #365. This sonnet also appears in the text of a terminal from "Hang to Dry", so it is described below.
below. The first few lines are from ''Canzoniere'' #269 ([[MemeticMutation nice]]). They read (with words that are omitted from the image in parentheses):
---> (O nostra vita ch'è sí bella in) vista,\\
com perde agevolmente in un matino\\
quel che 'n molti anni a gran pena s'acquista!
** [[https://petrarch.petersadlon.com/canzoniere.html?poem=269 A. S. Kline]] translates this as:
----> O this life of ours, which is so fair, outwardly,\\
how easily it loses in a morning\\
what many years with great pain have acquired!
* A secret terminal in "The Revealing Science of God" contains an excerpt ofPetrarch's Creator/{{Petrarch}}'s ''Canzoniere'' #22:
---> (O nostra vita ch'è sí bella in) vista,\\
com perde agevolmente in un matino\\
quel che 'n molti anni a gran pena s'acquista!
** [[https://petrarch.petersadlon.com/canzoniere.html?poem=269 A. S. Kline]] translates this as:
----> O this life of ours, which is so fair, outwardly,\\
how easily it loses in a morning\\
what many years with great pain have acquired!
* A secret terminal in "The Revealing Science of God" contains an excerpt of
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Changed line(s) 33,34 (click to see context) from:
* Most of the terminal images on Italian levels include facsimiles of Leonardo's trademark backwards handwriting. Much of the second image in ''The Gates of Delirium'' (the page starting with "...the purpose, whatever it may be") is taken up by Creator/{{Petrarch}}'s ''Canzionere'' #365. This sonnet also appears in the text of a terminal from "Hang to Dry", so it is described below.
* A secret terminal in "The Revealing Science of God" contains an excerpt of Petrarch's ''Canzionere'' #22:
* A secret terminal in "The Revealing Science of God" contains an excerpt of Petrarch's ''Canzionere'' #22:
to:
* Most of the terminal images on Italian levels include facsimiles of Leonardo's trademark backwards handwriting. Much of the second image in ''The Gates of Delirium'' (the page starting with "...the purpose, whatever it may be") is taken up by Creator/{{Petrarch}}'s ''Canzionere'' ''Canzoniere'' #365. This sonnet also appears in the text of a terminal from "Hang to Dry", so it is described below.
* A secret terminal in "The Revealing Science of God" contains an excerpt of Petrarch's''Canzionere'' ''Canzoniere'' #22:
* A secret terminal in "The Revealing Science of God" contains an excerpt of Petrarch's
Changed line(s) 56 (click to see context) from:
* "Hang to Dry" quotes Petrarch's ''Canzionere'' #365 in full:
to:
* "Hang to Dry" quotes Petrarch's ''Canzionere'' ''Canzoniere'' #365 in full:
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*** And translates it as:
to:
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[[folder:''Tempus Irae'' Levels and Other Shout-Outs]]
to:
[[folder:''Tempus Irae'' Levels and Other Shout-Outs]]
Levels]]
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The terminals contain some of their own shout-outs. In order:
to:
[[folder:Other ''Tempus Irae'' shout-outs]]
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** Games: ''VideoGame/Doom64'', ''VideoGame/{{Marathon}}'' (big surprise), ''VideoGame/{{Quake}}'', ''VideoGame/TombRaider'', and ''VideoGame/TurokDinosaurHunter''
to:
** Games: ''VideoGame/Doom64'', ''VideoGame/{{Marathon}}'' (big surprise), ''VideoGame/{{Quake}}'', ''VideoGame/TombRaider'', and ''VideoGame/TurokDinosaurHunter''''VideoGame/{{Turok}}''
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Changed line(s) 8,13 (click to see context) from:
* "Ain't My Bitch" - named after the first song from Music/{{Metallica}}'s ''Load'' (1996)
* "Gates of Delirium" - named after the first song from Music/{{Yes}}' ''Relayer'' (1974)
* "Downward Spiral" - named after Music/NineInchNails' ''Music/TheDownwardSpiral'' (1994)
* "Brain Damage" - named after the penultimate song from Music/PinkFloyd's ''Music/TheDarkSideOfTheMoon'' (1973)
* "The Revealing Science of God" - named after the first song from Music/{{Yes}}' ''Tales from Topographic Oceans'' (1974)
* "Never Satisfied" - named after the seventh song of Music/JudasPriest's debut album ''Rocka Rolla'' (1974)[[note]]Nardo considered this as an unofficial motto, referring to their perfectionism[[/note]]
* "Gates of Delirium" - named after the first song from Music/{{Yes}}' ''Relayer'' (1974)
* "Downward Spiral" - named after Music/NineInchNails' ''Music/TheDownwardSpiral'' (1994)
* "Brain Damage" - named after the penultimate song from Music/PinkFloyd's ''Music/TheDarkSideOfTheMoon'' (1973)
* "The Revealing Science of God" - named after the first song from Music/{{Yes}}' ''Tales from Topographic Oceans'' (1974)
* "Never Satisfied" - named after the seventh song of Music/JudasPriest's debut album ''Rocka Rolla'' (1974)[[note]]Nardo considered this as an unofficial motto, referring to their perfectionism[[/note]]
to:
* "Ain't My Bitch" - named after the first song from of Music/{{Metallica}}'s ''Load'' (1996)
* "Gates of Delirium" -named after the first song from of Music/{{Yes}}' ''Relayer'' (1974)
* "Downward Spiral" -named after Music/NineInchNails' second album ''Music/TheDownwardSpiral'' (1994)
* "Brain Damage" -named after the penultimate song from of Music/PinkFloyd's ''Music/TheDarkSideOfTheMoon'' (1973)
* "The Revealing Science of God" -named after the first song from of Music/{{Yes}}' ''Tales from Topographic Oceans'' (1974)
* "Never Satisfied" -named after the seventh song of Music/JudasPriest's debut album ''Rocka Rolla'' (1974)[[note]]Nardo considered this as an unofficial motto, referring to their perfectionism[[/note]]
* "Gates of Delirium" -
* "Downward Spiral" -
* "Brain Damage" -
* "The Revealing Science of God" -
* "Never Satisfied" -
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* "KMG-365" - a reference to the TV show ''Emergency Squad 51''
* "Il grande silenzio" (secret level from 2020 remake) - reference to a 1968 spaghetti western directed by Sergio Corbucci and with a soundtrack by Music/EnnioMorricone, named ''Film/TheGreatSilence'' in English-speaking markets.
* "Mt. Vesuvius 2 - Electric Boogaloo" - play on ''Film/Breakin2ElectricBoogaloo'' (and of course a case of OddlyNamedSequel2ElectricBoogaloo). (Because the two "Mt. Vesuvius" levels are recombined into one level in the 2020 remake, this title only appears in the 1997/2006 release.)
* "For Your Eyes Only" - named after the Franchise/JamesBond [[Film/ForYourEyesOnly film]]
* "Il grande silenzio" (secret level from 2020 remake) - reference to a 1968 spaghetti western directed by Sergio Corbucci and with a soundtrack by Music/EnnioMorricone, named ''Film/TheGreatSilence'' in English-speaking markets.
* "Mt. Vesuvius 2 - Electric Boogaloo" - play on ''Film/Breakin2ElectricBoogaloo'' (and of course a case of OddlyNamedSequel2ElectricBoogaloo). (Because the two "Mt. Vesuvius" levels are recombined into one level in the 2020 remake, this title only appears in the 1997/2006 release.)
* "For Your Eyes Only" - named after the Franchise/JamesBond [[Film/ForYourEyesOnly film]]
to:
* "KMG-365" - a reference to the TV show ''Emergency Squad 51''
* "Il grande silenzio" (secret level from 2020 remake) -reference to a 1968 spaghetti western directed by Sergio Corbucci and with a soundtrack by Music/EnnioMorricone, named ''Film/TheGreatSilence'' in English-speaking markets.
* "Mt. Vesuvius 2 - Electric Boogaloo" - play on ''Film/Breakin2ElectricBoogaloo'' (and of course a case of OddlyNamedSequel2ElectricBoogaloo).(Because (Since ''Redux'' recombines the two "Mt. Vesuvius" levels are recombined into one level in the 2020 remake, one, this title only appears in the 1997/2006 release.)
* "For Your Eyes Only" -named after the Franchise/JamesBond [[Film/ForYourEyesOnly film]]
* "The Library of Babel" (interlude level added to ''Redux'' to link the main game and ''The Lost Levels'') - [[Literature/TheLibraryOfBabel short story]] by Creator/JorgeLuisBorges, originally published as "La biblioteca de Babel" in his collection ''El Jardín de senderos que se bifurcan'' (''The Garden of Forking Paths'', 1941), which in turn was reprinted in full in his widely-republished collection ''Ficciones'' (''Fictions'', 1944). It was first translated to English in 1962 - twice, as it turns out: one by James E. Irby in the collection ''Labyrinths'' and another by Anthony Kerrigan in a collaborative translation of ''Ficciones''.
* "Il grande silenzio" (secret level from 2020 remake) -
* "Mt. Vesuvius 2 - Electric Boogaloo" - play on ''Film/Breakin2ElectricBoogaloo'' (and of course a case of OddlyNamedSequel2ElectricBoogaloo).
* "For Your Eyes Only" -
* "The Library of Babel" (interlude level added to ''Redux'' to link the main game and ''The Lost Levels'') - [[Literature/TheLibraryOfBabel short story]] by Creator/JorgeLuisBorges, originally published as "La biblioteca de Babel" in his collection ''El Jardín de senderos que se bifurcan'' (''The Garden of Forking Paths'', 1941), which in turn was reprinted in full in his widely-republished collection ''Ficciones'' (''Fictions'', 1944). It was first translated to English in 1962 - twice, as it turns out: one by James E. Irby in the collection ''Labyrinths'' and another by Anthony Kerrigan in a collaborative translation of ''Ficciones''.
Changed line(s) 23,26 (click to see context) from:
* "The Library of Babel" (interlude level added to ''Redux'') - [[Literature/TheLibraryOfBabel short story]] by Creator/JorgeLuisBorges, originally published as "La biblioteca de Babel" in his collection ''El Jardín de senderos que se bifurcan'' (''The Garden of Forking Paths'', 1941), which in turn was reprinted in full in his widely-republished collection ''Ficciones'' (''Fictions'', 1944). It was first translated to English in 1962 - twice, as it turns out: one by James E. Irby in the collection ''Labyrinths'' and another by Anthony Kerrigan in a collaborative translation of ''Ficciones'' in its entirety. I
* "Prison Sex" - named after the second song of Tool's ''Undertow'' (1993)
* "This Is the First Day" - named after the first line of Music/NineInchNails' "Wish", the second track of their EP ''Broken'' (1992)
* "Big Man with a Gun" - another Music/NineInchNails song, the ninth track from the aforementioned ''Music/TheDownwardSpiral'' (1994)
* "Prison Sex" - named after the second song of Tool's ''Undertow'' (1993)
* "This Is the First Day" - named after the first line of Music/NineInchNails' "Wish", the second track of their EP ''Broken'' (1992)
* "Big Man with a Gun" - another Music/NineInchNails song, the ninth track from the aforementioned ''Music/TheDownwardSpiral'' (1994)
to:
* "This Is the First Day" -
* "Big Man with a Gun" - another Music/NineInchNails song, the ninth track
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** Which it translates as:
to:
** Which it And translates it as:
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To be seen by none but the stars \\
For one night, never to greet the dawn,\\
For one night, never to greet the dawn,\\
to:
To be seen by none but the stars \\
stars\\
For one night, never to greet thedawn,\\dawn;\\
For one night, never to greet the
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* "Hang to Dry" quotes Petrarch's ''Canzionere'' #365 in full. It reads:
----> I’ vo piangendo i miei passati tempi\\
----> I’ vo piangendo i miei passati tempi\\
to:
* "Hang to Dry" quotes Petrarch's ''Canzionere'' #365 in full. It reads:
---->full:
---> I’ vo piangendo i miei passati tempi\\
---->
---> I’ vo piangendo i miei passati tempi\\
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*** And it translates this as:
to:
*** And it translates this it as:
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* A secret terminal in "I Can Feel It" mentions several musicians, games, and films that inspired its designer (one of the game's most prolific level designers and artists, and also the director of ''Redux'').
to:
* A secret terminal in "I Can Feel It" mentions several musicians, games, and films that inspired its designer (one of the game's most prolific level designers and artists, and also the director of ''Redux'').''Redux''):
Added DiffLines:
* ''Redux'' reportedly uses some of Music/NineInchNails' actual music, though it's not yet confirmed which levels or tracks; however, Nine Inch Nails released ''Ghosts I-IV'' and ''The Slip'' under a Creative Commons Attribution Noncommercial Share-Alike license allowing distribution or reuse under certain conditions[[labelnote:Note]]Namely:\\
Attribution: the artist must be conspicuously credited without suggesting they actively endorse the work the material is used in;\\
Noncommercial: material cannot be used in for-profit works;\\
Share-alike: license applies recursively; that is, copies and adaptations must be licensed under the same or a similar license[[/labelnote]], so the songs are almost certainly from those albums.
Attribution: the artist must be conspicuously credited without suggesting they actively endorse the work the material is used in;\\
Noncommercial: material cannot be used in for-profit works;\\
Share-alike: license applies recursively; that is, copies and adaptations must be licensed under the same or a similar license[[/labelnote]], so the songs are almost certainly from those albums.
