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MenuOrder Online Reserve . Ratings. Google. 4.4. Facebook. 4.7. Tripadvisor. 4. Take-Out/Delivery Options. People in Boca Raton Also Viewed. Lox N Bagel - 21065 Powerline Rd, Boca Raton Yogurt Rendezvous - 7150 Beracasa Way, Boca Raton . Ice Cream & Frozen Yogurt, Kosher . Boca Raton , Florida. Ditmas Wok and Grill. 21077 Powerline Rd. Acrossover years in the works. Civilizations rise and fall but to those that do stand, they prosper. They Expand. They reach out across the stars. But of course, such is a Universal law, War is never far behind. War is a language all civilized races speak and it is war most are familiar with. Co-written with BulletStormX. Halo/Mass Effect with GhostfaceKillah as Dubai Tycoon (Deleted scene) Allison McAtee as Dubai Beauty (Deleted scene) America Olivo as Dubai Beauty (Deleted scene) Crystal Marie Denha as Dubai Beauty (Deleted scene) Arne Starr as Dubai Tycoon in Hat (Deleted scene) David Castillo as S.H.I.E.L.D. Agent. Darryl Reeves as S.H.I.E.L.D. Agent. Thefile contains a whopping 334 creatures to print, cut, and fold before unleashing them in your next adventure. The set includes many nature-themed creatures—animals, plants, fey, druids, and rangers—as well as a bunch of green monsters like goblins, orcs, and trolls. 12 Ezekiel 38-39 – the leader of the armies name is Gog, the name adds up to 12 in Hebrew —– Armageddon – The Beast is the leader his name adds up to 666. Positions on the Ezekiel 38-39 war and the Rapture Although I have seen this study posted in several different parts on a re-posting site elsewhere, the complete study is available Site De Rencontre Pour Homme Timide. 1 On the impact of the French Revolution, see L’Héritage de la Revolution française, ed. Francois Fur ... 1Revolution and its implications are among Melville’s primary concerns from Mardi on to his later and more mature writings. This is not surprising as the American Republic created by a revolution some seventy years earlier was then in its formative years. A critical observer of his country’s emerging values and contradictions, Melville also witnessed the European revolutions of 1848, all of which can be traced back to the formidable ferment and ideals brought about by the American and the French 2 Larry Reynolds’s perspective in European Revolutions and the American Literary Renaissance, New Hav ... 2However, I do not propose to explore the role and importance of revolution in Melville’s fiction literally2 but, following Melville’s injunction in “The Whiteness of the Whale”, I intend to use both “imagination” and “subtlety”, to dive into the “subterranean” and “hidden” depths of Melville’s text 3 Moby-Dick; or, The Whale, ed. Harold Beaver, Hardmondsworth, Penguin Books, 1972. All quotations re ... Can we thus hope to light upon some chance clue to conduct us to the hidden cause we seek? Let us try. But in a matter like this, subtlety appeals to subtlety and without imagination no man can follow another into these halls. Moby-Dick; or, The Whale ch. 42, p. 2923 Melville’s revolutionary spirit, is, so to speak, smuggled into the text, assuming various guises, hiding in puns, in words inscribed within others, in strange names and curious episodes, in errors and mistakes. So the famous passage expressing White-Jacket’s faith in the revolutionary ideals of America 4 White-Jacket or The World in a Man-of-War, eds. Harrison Hayford, Hershel Parker and G. Thomas Tans ... We are the pioneers of the world; the advance-guard sent on through the wilderness of untried things, to break a new path in the world that is ours. White-Jacket or The World in a Man-of-War ch. 36, p. 151,4 can be read differently, no longer as the expression of some blind optimism in the bright future of the United States of America but as a tribute to what Melville himself calls in Israel Potter the “true revolutionary”, that is to any man capable, like White-Jacket, of discarding his inherited prejudices, capable of a “revolution”, of evolving, of revolving, of turning things or himself upside down or inside out, ready to lose all certainties, to confront boldly unknown territories and “sail forbidden seas”. Moby-Dick; or, The Whale, ch. 1, p. 98. Revolution and Identity in White-Jacket or The World in a Man-of-War 3White-Jacket represents the “true pioneer”. Once he has discarded his white jacket in one of the final chapters of the book, he, who so far had been repeatedly excluded, becomes a jack, that is a man able to join in the community of men. The narrowing and restricting limits of the self disappear with his white jacket. Significantly in the last chapter White-Jacket hardly uses the personal “I” or “my” but insistently the more communal “we” and “our” we main-top-men are all aloft in the top, and round our mast, we circle, a brother-band, hand in hand, all spliced together. We have reefed the last top-sail [...]. We have mustered our last round the capstan. White-Jacket or the World in a Man-of-War ch. 93, p. 396 4The color of the jacket –white– obviously points to its racial significance. To become a member of the human community, the narrator has to discard his “whiteness", the prejudices he had inherited as a white man; only thus can he recover the original blackness common to all men, for, according to Ishmael, in fact, a white man is nothing more dignified than a white-washed negro. Moby-Dick; or, The Whale ch. 13, p. 155. 5 Melville’s inverted commas and italics. 5Jacket is the diminutive form of Jack, a name given to a certain number of characters on board the Neversink; to Jack Chase, “the noble First Captain of the Top” whom White-Jacket loves and admires, to Mad Jack, the Junior Lieutenant, to “Happy Jack”5, a sailor contrasted to the black slave Guinea and finally to Jack Jewel, a minor character. The various meanings of Jack as well as the episodes in which these characters are involved point to their relation to the theme of revolution, order and disorder and to Melville’s redefinition of identity. 6 Melville’s spelling and italics. 6The name Jack, derived from the Latin Jacob evokes the Jacobins, the famous French revolutionaries. On board the Neversink some nameless fellows, called Troglodites or “holder?6 who live in the subterranean parts of the ship are compared to the mysterious old men of Paris [issuing] forth during the massacre of the Three Days of September. White-Jacket or the World in a Man-of-War ch. 3, p. 11 7 Melville’s italics. 8 Melville’s italics. 9 Melville’s spelling. 10 Melville’s italics. The Jacobins were held responsible for murdering the imprisoned aristocrats and clergy in September 1792; the presence of words like “gale”, “tempest”, “commotion” in the passage connotes disorder, unrest, change and violence. The nickname of one of those mysterious Jacobins, Old Revolver7literally means revolve, hence revolution. Another of them, Old Combustibles8, who carries a key “nearly as big as the key of the Bastile"9 p. 128 and hence explicitly related to the French Revolution is further associated to the Gunpowder plot, a famous episode in the history of the Counter-Reformation during the reign of the Jacobin king, James I. Both of these Jacobins who aptly live underground »10 are involved in “mysterious” and “secret” dealings pp. 124-126. 11 On this point, see my article “Les jeux sur le blanc et le noir chez Melville”, in Du noir au blanc ... 7Jack, familiar for John, designates the common man, while jack tar, which means sailor, connotes black. Black thus characterizes the original identity of man, an identity which White-Jacket finally recovers when he gets rid of his white 8Jack also refers to a young male animal, and in nineteenth century nautical slang it means an erect penis. Curiously all the characters named Jack, as well as Old Revolver, are inseparable from sexuality and from the definition of virility. Jack Chase, a favorite among the ladies, is a charmer “with a heart in him like a mastodon’s" p. 320. Mad Jack, described as “the man born in a gale” p. 33, is contrasted to the effeminate Selvagee and to the Captain of the ship Claret in a tragic episode referred to as “a manhood-testing conjuncture” p. 111. Happy Jack appears to be devoid of virility, being a fellow without shame, without a soul, so dead to the dignity of manhood that he could hardly be called a man. ch. 90, p. 384 Finally a reference to Old Revolver’s “unaccountable bachelor oddities” p. 125 appears in a passage full of sexual innuendoes. 9A black jack is also a tarred leather vessel for alcoholic drink. Jack Chase and Mad Jack, though officers, are called “tars”, a name which suggests both black and “spirits”. Moreover both of them drink. Jack Chase was once a “dashing smuggler” p. 317, a hint at his taste for liquor and illegal activities. Mad Jack, whose nickname evokes mental disorder, “only drinks brandy” p. 34; “a lover of strong drink” p. 111, his “one fearful failing is drinking” p. 34. His “mm and tobacco" is all that matters to the “reckless tar” known as Happy Jack p. 383. Similarly Old Revolver, likened to a sooty Cornwall miner, lives in “tarry cellars” among “tarry old ropes” which he counts over as if they were all jolly puncheons of old Port and Madeira, ch. 30, p. 125 12 Jean Brun in Le Retour de Dionysos, Paris, Les Bergers et les Mages, 1976 and Michel Maffesoli in L ... 13 I have developed these themes in my article “Transmutation of Identity in Melville’s White-Jackef, ... 10Just as the “Jacks” of the Neversink try “to smuggle spirits into the vessel" p. 177, Melville, the Jacobin, smuggles a new spirit into his text, obviously playing on the various implications of the word “spirit”. This revolutionary spirit takes the form of “the ever-devilish god of grog” p. 176, 390, offered as an alternative to the “terrific God of War” p. 357. The only two gods referred to in the text, Bacchus and Mars p. 153, 209, fight for supremacy over the Neversink and her crew. The Dionysian spirit, manifested in the communal drinking of grog, allows for orgiastic and mystical regeneration12. It calls all men, all Jacks, to life and liberation through change, whereas the terrific God of War leads to oppression, destruction and death. A mysterious and sacred power, it gives access to a new mode of thought and feeling, involving a religious, political and sexual revolution. It is no coincidence, then, that the champions or spokesmen of this new “order", White-Jacket, Jack Chase and Mad Jack should all be involved in episodes dealing with salvation and redemption, order and disorder, change and 11Thus on a dramatic “black night” during a terrible storm off Cape Horn, Captain Claret bursting from his cabin like a ghost in his night-dress ch. 26, p. 106 14 Melville’s italics. cries out “Hard up14 the helm!” which would have led to the sinking of the ship. To this Mad Jack shouts 15 Melville’s italics. Damn you! [...] hard down–hard down15, I say, and be damned to you! ch. 26, p. 106 This reversal of his “superior’s order” saves the ship. Mad Jack indeed, through his revolutionary act becomes “the saving genius of the ship” ch. 26, p. 106. 12In another case, Mad Jack’s intervention avoids bloodshed and mutiny onboard. This occurs when Captain Claret insists on having all the sailors cut their hair and shave their beards, which they take as a threat to their manhood Shave off our Christian heads! And then, placing them between our knees trim small our worshiped beards! The Captain was mad. ch. 87, p. 356 The sexual and religious undertones are unmistakable; castration is what is at stake, demanded by the “terrific God of War” to whom the beards, “those true badges of warriors”, tokens of “manhood” and “brotherhood” p. 357 are to be offered. The men’s refusal to have their hair and beards shaved off would have led to mutiny. Mad Jack then persuades them to comply “What do you mean, men? dont’ be fools! This is no way to get what you want. Turn to, my lads, turn to! So! up you tumble, now, my hearties! away you go!” ch. 87, p. 358 First addressed as “men”, then as “lads” suggesting lad / y and effeminacy, the sailors finally become “hearties”, a non-sexual term indicating that in complying with Mad Jack’s order, they have undergone significant changes. Revolution and Identity in Israel Potter 16 Melville’s formulation. 13Revolution is presented somewhat differently in Israel Potter His Fifty Years of Exile, the obscure story of a “true patriot” and revolutionary. It appears, not so much as a historical event but as a continuous and recurrent natural phenomenon, comparable if not identical to the cyclic movement of the seasons, of time and nature, as the use of dates clearly indicates. The two dates mentioned in the Dedication of the novel addressed “To His Highness the Bunker-Hill Monument” – “June 17, 1775”, the date of the battle of Bunker-Hill and “June 17th, 1854”16, its anniversary – point to the idea that one has come full circle. 17 Israel Potter His Fifty Years of Exile, eds. Harrison Hayford, Hershel Parker and G. Thomas Tansel ... 18 On the theme of revolution in The Scarlet Letter, see Helene Ah-Tune, “"The Custom-House” de Nathan ... 14Similarly, in his youth, Israel Potter leaves home for the first time on a “sultry night in July” Israel Potter, ch. 2, p. 817, only to come back to the United States, an old man, on a “sultry July day” ch. 26, p. 167. Only the second date is specifically determined as being a Fourth of July, but the use of the same adjective “sultry”, the alternative given – “night “for his leaving, “day “for his return – implies that Israel Potter also left on a Fourth of July. As he himself says in the final chapter “The ends meet” ch. 26, p. 169. The subtitle of the magazine edition of Israel Potter, A Fourth of July Story emphasized the theme of revolution. These concerns and devices are not only Melville’s. In “The Custom-House” too18, Hawthorne uses natural metaphors in relation with the revolution. In the same way, Thoreau chooses to move to his cabin on Walden Pond on a Fourth of July, pointing to a similarity between historical, natural and personal revolution. 15The repetition of the word “biography” bio/graphy in the Dedication – “autobiographical”, “biographer” and “Great Biographer” – stresses the relations Melville wants to establish between life and writing, and announces the themes developed in the final paragraph of the novel He [Israel Potter] dictated a little book, the record of his fortunes. But long ago it faded out of print – himself out of being – his name out of memory. He died the same day that the oldest oak on his native hill was blown down. ch. 26, p. 169 Writing becomes inseparable from life, death and survival. The book saves Israel from oblivion and total extinction by preserving his identity, thus bringing him back to life. Writing which operates backwards, as it tells “an ended life” Dedication, p. VII, becomes in itself a revolution. The Dedication fully develops relations between writing, life, death and survival by equating the Bunker-Hill Monument, a reminder of the Revolution, both with the narrative of Israel’s adventures and Israel’s grave. The granite Monument, “somewhat prematurely gray” p. VII, becomes the duplicate or rather a “reprint” of Israel’s life I am the more encouraged to lay this performance at the feet of your Highness because, with a change in the grammatical person, it preserves almost as in a reprint, Israel Potter’s autobiographical story. Dedication, p. VII The novel itself, drawn from a little narrative of Israel’s adventures, forlornly published on sleazy gray paper, now out of print Dedication, p. VII and likened to “a dilapitated old tombstone retouched” can be regarded as Israel’s grave, or as the sign of his immortality. 19 In Les Structures anthropologiques de l’imaginaire, Paris, Bordas, 1969, Gilbert Durand points to t ... 16The allusions to spring, summer and winter in the Dedication announce the final comparison of Israel to “the oldest oak in his native hills” ch. 26, p. 169. Revolution, no longer only historical becomes a literal and natural phenomenon, inseparable from writing, life, death and survival. Israel’s life, like the novel, describes a full circle or a cycle19. This is why in one of the early chapters, although young, Israel looks like “an old man of eighty” p. 19 and when actually an octogenarian, in the final chapter, he feels like “a little infant” p. 169. 20 See Viola Sachs, The Game of Creation, editions de la Maison des Sciences de l’Homme, Paris, 1982 ... 21 On the significance of 13, see Viola Sachs’s articles, “American Identity, the Bible and the Script ... 17Instead of going forward, Israel is constantly pulled backwards, driven back to his infancy, to the place where his life started. Similarly, in the final chapter, chapter 26, a number traditionally linked to God in the Kabbala and used as such in Moby-Dick; or, The Whale20, Israel’s homecoming, which proves “less a return than resurrection” ch. 26, p. 169, re-enacts a previous resurrection. When Squire Woodcock “buries Israel alive” in the coffin-cell hidden in his chimney, he promises Israel that “his resurrection will soon be at hand" ch. 12, p. 68. It comes true three days later, significantly on the day of the squire’s burial. This episode takes place in chapter 13, a number inseparable from the American Revolution in Melville’s writing since 13 refers to the 13 original states of the United States21. Israel Potter becomes a Christ-figure. This image appears clearly in chapter 26 in which the reader is told that Israel’s wounds made him “the bescarred bearer of a cross” ch. 26, p. 167. 18Melville plays on the Scriptural connotation of the hero’s name. Israel’s name indeed proves prophetic since like God’s Chosen People, poor Israel wandered in the wild wilderness of the world’s extremest hardships and ills. ch. 1, p. 6 19“Well-named” too when Israel is pictured “toiling as a brick-maker in his pit”, “bondsman in the English Egypt for thirteen weary weeks” ch. 23, pp. 155 et 157, another veiled hint at the American Revolution. 20Israel’s personal tribulations thus re-enact those of God’s Chosen People. But the name Israel has even more subtle implications for someone as conversant with the Bible as Melville. In Genesis 32, 1-28, God changes Jacob’s name to that of Israel. This implicitly links Israel Potter to the Jacobins or the Jacobites, hence to the revolutionary tradition. The comparison of Benjamin Franklin, one of the signers of the Declaration of the Fourth of July 1776, to patriarchal Jacob, “his scriptural parallel” ch. 8, p. 46, reinforces the links of the name Jacob with the motif of revolution. The story of biblical Jacob who managed to usurp his elder brother’s place through cunning, represents an overthrowing of traditional Hebrew values, a disruption of human order. By changing Jacob’s original name, which meant “following after or supplanter” and was illustrated by Jacob’s personal history, God raised him to the dignity of an equal. Since Israel means “ruling with God”, he clearly becomes the one chosen by God to rule with Him, to be his “Messiah”. 21Potter, Israel’s last name, unchanged by Melville, means moulder or maker, thus associating him to Creation. The “thirteen weary weeks” – Melville’s invention – during which he toils “in the English Egypt” p. 155 probably stand for the thirteen original states present at the creation of the United States. The allusion to Potter’s Field in the last chapter reinforces the Messianic dimension of the hero. According to St Matthew 27, 7-10, the Elders used the thirty pieces of silver – the price of Judas’ betrayal, Christ’s monetary value – to buy the Potter’s Field in which to bury strangers. This Potter’s Field is all that is left to the exile when he finally reaches the Promised Land. A wanderer and an exile all his life, Israel remains “an alien” p. 164 in his own land. He gets no recognition no pension, no medals. All honors are for false prophets and fake heroes. The “true patriot” has no place in the United States of America except in Potter’s Field – a graveyard for strangers. Melville’s new Messiah coming home finds a United States of America incapable of recognizing the true revolutionary and accepting his message. The long cherished hope of the early Puritans – that America would be the scene of the second coming of Christ – will not be fulfilled. 22The insistence on 26, a number which, as already pointed out, conceals a reference to God as well as the changes in the dates introduced by Melville, especially his insistence on the number 50 and an intriguing blunder in computation in chapter 7 mark Israel as Melville’s new Messiah in a most “subtle” and “imaginative” way. 23Melville deliberately altered the date 1823 given in Trumbull’s Life and Remarkable Adventures of Israel Potter as the year of Israel’s return in order to round out the half century of his exile to 1826, which was thematically appropriate as the fiftieth anniversary of the Declaration of Independence and also was the year in which both Thomas Jefferson and John Adams died. However the omission of the subtitle of the magazine edition A Fourth of July Story, in the Putnam book edition of 1855 stresses the importance of the other subtitle His Fifty Years of Exile. To number the chapters of the novel Melville used Roman numerals; in such a system of transcription 50 is represented by L which may hide a reference to EL, God’s name in Hebrew. 22 Arnold Rampersad in Melville’s Israel Potter A Pilgrimage and Progress, Bowling Green, Ohio, Bowli ... 23 A similar error in reckoning appears in Moby-Dick; or, The Whale, when Flask translates the sixteen ... 24 See Gershom Scholem, La Kabbale et sa symbolique, Paris, Payot, 1980, and especially Le Nom de Dieu ... 24The insistence on 72 could also be interpreted as a hidden or mock reference to God. In chapter 7 Benjamin Franklin who is said to be “72 years old" p. 39 gets into a heated argument with Israel about the price of bread and wine, the traditional symbols of the body and blood of Christ and tokens of immortal life22 . The presence of thirteen “thirteen glasses in a bottle”, p. 44, a hidden reference to the American Revolution and the creation of the United States, puts the reader on his guard. Then follows an error in computation thrice repeated as to the price and number of some bread-loaves. Melville’s incorrect arithmetic, both in the Putnam Monthly and in the Putnam book edition, obviously points to the importance of 72; it seems therefore difficult to agree with the corrections introduced in the Newberry edition in which 72 has been changed to 7823. Given Franklin’s interest in the occult and especially in the Kabbala, a fact alluded to in the same chapter p. 38, 72 may well have some special significance. According to the Kabbala, the most mighty name of God must contain 72 letters. The knowledge of this name was the greatest power a man could assume24. Israel Potter, then, would be the only one endowed with such power. 25In the course of his wanderings, his being denied both state and status forces Israel to assume various disguises, to take false names and change identities. At times he even becomes a scarecrow or a ghost, losing humanity and materiality. This mutability and uncertainty as regards a stable and definable personal identity announces the world of illusion and deceit of The Confidence-Man His Masquerade. Israel, however, is no confidence-man but an “adventurer”, the word implying the arbitrary and the fortuitous, who vainly tries to find his way out of a labyrinthine world ruled by capricious forces. The insistence on the words “adventurers” and “adventures” throughout the novel and above all the following passage in the Dedication but Israel Potter seems purposely to have waited to make his popular advent under the present exalted patronage p. VIII however, points to a different meaning of the word, to the coming or second coming of Christ called, indifferently, Millenium or Advent. Obviously Israel Potter, Melville’s new Messiah, is still waiting to be popularly accepted and recognized. Hummm...Quand je vois ça, ça me rappelle très fortement, des magazines / revues à nombre d'items limités à offres très alléchantes, parce que les premiers numéros sont peu chers, plusieurs pour le prix d'un et accompagnés de cadeaux, mais au fur et à mesure il n'y a plus de cadeaux et le prix à l'unité ne parait plus si avantageux que ça vu le contenu... On amorce, on appâte, et puis après c'est trop tard, le client est ferré et se dit, "allez, je ne peux m'arrêter au milieu, au moins si je continue j'aurai l'intégralité de la collection"... De prime abord, ça me mets donc d'abord un très très gros doute... et pour info, si je suis aussi méfiant, c'est qu'on s'est un peu fait avoir mon frère et moi par une encyclopédie sur les animaux achetés comme ça par livret... Bon, assez jolie, c'est vrai, mais il ne faut sans doute pas regarder combien elle a coûté sur plusieurs années... Et le pire, c'est que ni l'un ni l'autre n'avons eu le cadeau promis pour ceux qui allaient jusqu'au bout de la collection, malgré la relance de nos parents par téléphone... Après ça les éditions Atlas et leurs collections me sont restées un peu en travers de la gorge !Ensuite quand on regarde le site et le pdf de présentation, on trouve les mots "frontispices", "belles polices", "ornements soignés", "lettrines et illustrations"... Alléchant certes. D'autant plus que toutes les représentations en perspective des livres semblent évoquer des ouvrages reliés, qui semblent vraiment à couverture rigide et épaisse, qui semblent jolis... Mais nulle part on ne trouve ces mots "rigide", "relié", "jaquette"... Ah si, on trouve un "cette collection reproduit fidèlement les luxueux cartonnages d'époque". Mais alors ? vraiment reliés ? Il semble quand même que oui, mais l'absence d'info laisse le doute, surtout sur la qualité mais oui, quid de la qualité ? Aucune info sur la reliure, les cahiers, la qualité et l'épaisseur du papier, sur l'encre, s'il y a un signet, une jaquette, chez quel imprimeur et dans quel pays ils sont imprimés... et nulle part non plus il n'est fait mention du format... A 50 euros les 4 ouvrages sans aucuns frais d'auteurs, j'espère qu'il s'agit bien de grands formats, reliés avec soin, durables et vraiment beaux...Par contre ce qu'on trouve, en tout petit sur le site et le pdf, c'est - "Visuels non contractuels". Aïe - "La séquence de parution pourra être modifiée pour des raisons techniques ou commerciales" - "L'éditeur se réserve le droit d'interrompre la collection en cas de mévente".La question est donc surtout, sont-ils vraiment magnifiques et de qualité ?Si non, ça vaut peut-être le coup de prendre les 3 premiers avec les cadeaux, et de tout arrêter juste après Le site n'évoque que 20 ouvrages. S'il y en a 60, tu es parti pour sortir en gros 60/4 *50 = 750 euros... en à peine plus d'un an... Dans Dieu de la guerre, les joueurs voudront trouver le trésor de l’Île de la Création parmi les 12 trésors à collectionner du jeu. En plus de trouver tous les trésors pour compléter l’ensemble, les trésors de Dieu de la guerre sont tous pleins d’objets de valeur. Pour trouver le trésor de l’Île de la Création, les joueurs devront d’abord localiser la carte au trésor. Sur celui-ci, ils trouveront une énigme et une image indiquant l’emplacement du trésor enterré quelque part dans les neuf royaumes. Les joueurs peuvent trouver la carte au trésor du trésor de l’Île de la Création dans Dieu de la guerre sur les rives d’Iron Cove, juste au sud de l’île de la Mort sur les rives sud-ouest du lac des Neuf. Le trésor n’est accessible que pendant la phase d’étiage. Les joueurs devront progresser dans l’histoire principale de Dieu de la guerre jusqu’à ce que le niveau d’eau soit abaissé pour continuer. Une fois que Kratos accoste au rivage d’Iron Cove, il rencontrera un ancien du feu ennemi. Les joueurs devront vaincre l’ennemi et suivre le chemin qui mène au sud, et ils finiront par repérer la carte au trésor du trésor de l’île de la Création sur le sol près de quelques barils et caisses. La carte sera stockée sous l’onglet Objectifs dans la catégorie carte au trésor. La carte contient une image et un indice conseillant aux joueurs de trouver un endroit secret sur l’île qui honore Buri, le premier parmi les dieux de Dieu de la guerre. Pour trouver le trésor de l’Île de la Création dans Dieu de la guerre, les joueurs doivent utiliser les indices fournis sur la carte au trésor pour se rendre à Buri’s Storeroom, une île située sur la rive est du lac des Neuf, à une courte distance au nord des falaises du corbeau. Les joueurs peuvent accéder facilement à cet emplacement en utilisant la passerelle mystique Volunder Mines s’ils l’ont déverrouillée. Après avoir utilisé la passerelle mystique, les joueurs doivent se diriger vers le quai et ramer leur bateau vers le nord jusqu’à ce qu’ils atteignent la réserve de Buri. La première fois que les joueurs arrivent sur l’île, ils devront faire face à plusieurs Dieu de la guerre ennemis. Depuis Buri’s Storeroom, les joueurs doivent se diriger vers la porte sur la gauche près de quelques escaliers. Ils continueront tout droit jusqu’à ce qu’ils repèrent les grandes portes au loin. Vers la fin du chemin, les joueurs trouveront le trésor enfoui de l’Île de la Création. Le trésor est enterré vers l’arrière de l’île du côté le plus proche des doubles portes massives qui mènent à Veithurgard. Les joueurs doivent reconnaître cet emplacement à partir de l’indice d’image sur leur carte au trésor. Pendant que vous êtes ici, cela peut également valoir la peine de collecter les coffres légendaires de l’île. Le trésor de l’Île de la Création à Dieu de la guerre contient un enchantement commun et un givre éternel, qui peuvent être utilisés pour améliorer les propriétés uniques de certains talismans. De plus, le trésor contient sept fragments d’écailles de serpent du monde, cinq pièces d’or d’Aegir et certains joueurs de Hacksilver peuvent utiliser pour améliorer leur équipement dans Dieu de la guerre. Dieu de la guerre est disponible sur PlayStation 4 et PlayStation 5 et sera disponible sur PC le 14 janvier 2022. La construction effrayante d’Elmo du joueur Minecraft est terrifiante “ I have taught you many ways to kill a mortal, Kratos. Flesh that burns, bones that break. But to break a man's spirit, is to truly destroy him. ” –Ares Ares was the original Olympian God of War, and the son of Zeus and Hera and the main antagonist of God of War, as well as the perpetrator behind the events of God of War Ascension, meaning he was also responsible for setting the events of the series into motion by tricking Kratos into killing his family and turning him into the Ghost of Sparta, which eventually fulfilling the prophecy of the Marked Warrior who would destroy Olympus and end the reign of the Gods. Ares was the oldest child of Zeus and was commonly referred to as the most hated god on Mount Olympus, even before being killed by Kratos. Greek Mythology Ares was the God of War, son of Zeus and Hera, and one of the most prominent and powerful Gods of Olympus. He was born after the Great War of the Gods and Titans and served his father faithfully for many years. He was also a rival of Athena, his younger sister, because they were both gods, one of War, the other of Wisdom, and wished that the other would stand down. His Roman counterpart was Mars. Mars was held in much higher esteem, second only to Kronos; Ionic form of the Doric ἀρά ara, "bane, ruin". In God of War Series Alliance with the Furies Ares came to covet all of Olympus, especially Zeus's throne, so he struck an alliance with the Furies, and persuaded them to take a more ruthless approach. After learning of the prophecy of the Marked Warrior, who is destined to destroy Olympus and kill Zeus, Ares conceived a child with Alecto in the hope that their child would be the marked one so that he could aid him in overthrowing Zeus and claiming his throne. Unfortunately, Orkos, Ares' child, was not up to his standards and was disowned. The Furies, however, saw potential in Orkos and made him their oath-keeper. Encountering Kratos Two Gods of Olympus, Ares, and Athena, raided the city of Sparta in order to capture a child named Deimos, who had been suspected of being the mortal who would destroy Olympus in The Marked Warrior Prophecy. After Ares captured the boy, Deimos' brother, Kratos, charged toward Ares to save his younger brother. Despite his efforts, however, Ares hit Kratos on the face and created a bloody scar on his right eye. Ares was about to kill Kratos, but Athena persuaded Ares to leave him be. Ares then left with Deimos, and Athena quickly apologized to Kratos. Ares then took Deimos to the Domain of Death, where he would be tortured for many years by Thanatos, the God of Death. Little did Ares know that the boy to whom he gave a scar would be the same boy who would Initially serve him and later leave him in adulthood after his family would be slaughtered by his own hands due to his machinations. Wager of the Gods Years later, the Gods created a contest and chose various mortals as their champions for the capture of the Ambrosia. In the wager of the Gods, Ares was seen in the comics choosing Kratos as his champion and was confident that nothing would stop him in his quest for the Ambrosia. After a grueling journey, Kratos captured the Ambrosia and thus made Ares the victor of the wager of the Gods. Kratos' Servitude Ares getting a pledge of servitude from Kratos Kratos and his Spartan army were no match for the merciless barbarians tribes of the east. Being outnumbered and overpowered, Kratos' army was losing the battle. Kratos, about to be killed by Alrik, the Barbarian King, pledged himself to Ares, the God of War, in exchange for victory. After he saw Kratos as the potential warrior that he needed to overthrow Olympus, Ares accepted, violently wiped out the barbarians, and gave Kratos the Blades of Chaos as a sign of his servitude. To ensure that the Spartan became the perfect warrior and was bound to his will, Ares and the Furies devised three blood tests for Kratos. The first had already been completed spilling the blood of enemies. The second, spilling the blood of innocents, was easy to accomplish with Kratos' rising bloodlust as he ended countless lives with his Spartan companions, and conquered most of Greece. The last rite was spilling the blood of loved ones. Ares led Kratos to attack a village built in honor and worship of Athena. The Spartan soldiers ruthlessly killed all who lived in the village and burned their homes to the ground in the process. Upon reaching a strange temple, Kratos was warned by the Village Oracle not to venture within its walls. Ignoring the old woman, Kratos, blinded by bloodthirst, killed all who were within the walls of the temple, including his wife, Lysandra, and his daughter, Calliope. Ares appeared before the bloodstained hands of Kratos and told him that it was necessary to have his family eliminated so that nothing stood in his way. The ashes of Kratos' loved ones were gathered by the Village Oracle who then placed them upon his skin as a permanent reminder of the monster he had become the Ghost of Sparta. Enraged by Ares' deception, Kratos declared vengeance upon the God of War who once saved his life. After Kratos left Ares' service, the God of War's son, Orkos, learned of the injustice that his parents had inflicted on Kratos and turned against his father and his mothers. Orkos sought counsel from the Oracle, Aletheia, who revealed Ares' plot to overthrow Olympus. When Orkos and Aletheia went to warn Zeus, Ares discovered their attempt and sent the Furies after them. Orkos escaped while Aletheia had her eyes torn out and hidden in the ruined Statue of Apollo. The Furies then ruthlessly hunted Kratos to force him to return to Ares' service for their plan to reach its fruition. During Kratos' triumph over the Furies, it was revealed that Ares had wanted Kratos returned to him; the plan was ruined when Kratos killed the Furies and mercifully killed Orkos, who was remade the oath keeper to Kratos, and thereby severed his bond. Kratos managed to escape and served Olympus for 10 years, all while hoping to redeem himself as well as for his sins to be forgiven. Battle with Kratos Jealousy came over Ares for Athena, and, as a result of that jealousy, Ares laid siege to Athens. Since Zeus had forbidden the Gods from waging war with one another, Athena could not step in to protect her city. Instead, Athena enlisted the help of Kratos, who had faithfully served the Gods for 10 years. Kratos was instructed to find Pandora's Box in order to kill Ares. While Ares relentlessly tore Athens apart, he suddenly sensed that Kratos had retrieved the Box. Although he was impressed, Ares picked up a broken pillar and hurled it into the desert, which flew into Pandora's Temple and struck Kratos in the chest, impaling him to a wall and killing him. Ares' Harpies retrieved the Box and brought it to him. However, Kratos escaped the Underworld through the help of the mysterious Grave Digger. Ares challenged Zeus, and threatened to open the Box and use it against Olympus. It seemed all was lost, until Ares looked behind him and saw a returning Kratos standing behind him. He then mocked Zeus by his saying that he sent a broken mortal to defeat the God of War. Kratos, using his power granted by Zeus, took the Box from Ares' hands and opened it. The Gods' power was unleashed, and Kratos felt its magic pour into him, which caused him to grow into a giant though Ares was still noticeably bigger than him. Kratos' strength matched Ares, and the ultimate battle for power began. Ares claimed that Kratos was still just a mortal, and was every bit as weak as the day that he begged him to save his life. Kratos recalled that he was not the same man that Ares had found that day – the monster Ares created had returned to kill him. Ares boasted that Kratos had no idea of what a true monster really was. Ares then unleashed large spider-like spikes from his back and was ready to finally kill Kratos for good. Kratos gained the upper hand during the fight, but Ares trapped him in an illusion where his family was attacked by an army of clones of himself representing his mistake of killing his wife and child, and stated that there were more effective ways of killing someone than just physical harm. Though Kratos had managed to kill all of the clones, Ares mocked him, ripped the Blades of Chaos from his arms, and killed the image of his family with them. The two of them returned to the real world, where Kratos was emotionally beaten, and Ares boasted that Kratos should have been stronger and prepared to kill him with His Sword. Death of Ares Ares getting stabbed through his chest with the Blade of Gods by Kratos Kratos, however, spotted the Blade of the Gods which had sent by Athena, dodged Ares' attack, took up the sword, and defeated him in battle with it. Ares pleaded for his life while reminding Kratos of the day that he had saved his life, and how he had only tried to make him a great warrior. Kratos ironically recanted that Ares had "succeeded" in doing that before he impaled him through the chest, and killed him. The God of War fell into the Aegean Sea, and was no more, dead at the hands of the mortal that he controlled many years ago. Before his last breath, Ares released a loud death cry, which caused blood to burst from his chest, and a powerful explosion was released. However, Kratos, having killed Ares, the one who made him kill his family, asked Athena to remove the nightmares of his past. Athena replied that even though he had been forgiven of his sins, the Gods nor any mortal could ever remove his memories of killing his family. Kratos realized that his nightmarish visions of his past sins would never leave him and thus tried to kill himself over Suicide Bluffs. Athena saved Kratos and said that the Gods could not allow him, who had done such good deeds for them, to die by his own hand. Athena then said that Ares's tactics and methods were brutal and while the Olympians mourned for their brother, Ares's path of destruction had to be stopped. However, with Ares's death, there was an empty place on Olympus for a new God of War Kratos. Kratos then ascended to Olympus and was given the crown, throne, and title as the new God of War, which meant that the peace of Ares' death was broken and whenever there were wars, for good or evil, they would be sought by and given permission to by Kratos, the new; all-powerful; and immortal God of War. After Kratos' success in defeating and killing Ares and becoming the new God of War, the Spartan citizens disowned Ares and hailed Kratos willingly save for a few staunch supporters of Ares, and even removed all effigies of Ares and replaced them with those of Kratos. However, a few faithful Disciples of Ares attempted to revive their fallen God of War with the power of the Ambrosia a power that could resurrect even a God, but Kratos had destroyed Gyges, the island in which the Ambrosia rested on, in order to prevent the followers of Ares' plans from coming to fruition. After Ares' Death After Kratos was betrayed by Zeus and stripped of his Godly powers, Kratos was rescued by Gaia, the Titaness of Earth, who told him that the Sisters of Fate had the power to help him go back in time, avert his betrayal and face Zeus. On the Island of Creation, Kratos came upon a room known as the Garden of the Gods, in which there was a Statue of Ares where he was referred to as "The Fallen God of War". Kratos, after he faced many challenges to get to the Sisters, finally arrived at the Temple of the Fates where he met one of the sisters, Lahkesis. She told Kratos that no one could change their destiny and then began to fight him. As Kratos hurt Lahkesis gravely, she summoned her sister, Atropos, from within herself. Atropos quickly grabbed Kratos, took him inside the mirrors, and brought him back to the day where he faced and killed Ares. She threw Kratos on the Blade of the Gods that he used to kill Ares and become the new and great God of War. Then she tried to change his past by destroying the blade. With the blade gone, Ares would be victorious. In order to maintain his existence, Kratos protected the blade while he battled Atropos, eventually defeated her, secured his past, and trapped her inside the mirror. The Second Titanomachy Ares' Tomb While he faced the Hippocampi on Gaia's hand, Kratos followed a path that leads to a chamber, the Tomb of Ares, which contained Ares' massive corpse that was concealed in ice. Kratos fought the first Centaur of the game there. Despite being dead, Ares played a small role in the third game, as he was mentioned by Athena, Hephaestus, Hera, Cronos, Zeus, and Kratos, and was also shown in flashback scenes. There was also a large fresco of Ares in the upper part of the Chamber of the Flame, which showed him wielding his trademark sword. That fresco was located right next to a fresco of his mother, Hera. Ares' voice was heard when Kratos ended up in his psyche. With the death of Zeus and the near destruction of the world, Ares' plan for Kratos to take down the Olympian Gods and Mount Olympus came to full fruition, though not as he hoped. Multiplayer “ Once your soul is in my grasp, warrior, I will grant you the strength to crush your enemies. ” Ares was one of the mentors of God of War Ascension's Multiplayer and the only mentor who was not a son of Cronos. His statue was the first one in the Rotunda of Olympus. Overview "With the powers of the god of war, a warrior of Ares is what some might call a "glass cannon" the best physical damage dealers from the game, but also the least resistant to damage. This makes Ares the opposite of Poseidon in Multiplayer. His warriors also have a natural bond with fire and heat, which makes them even more fierce by allowing them to keep burning and harming enemies even after an attack." A Warrior of Ares could annihilate his enemies in a matter of seconds but must watch out for incoming attacks. The God of War's servants could survive in hoards of enemies by themselves, which made that the best class for Trial of the Gods. Warrior Dominant physical powers. Fire Magic Damage over time and disable enemy defenses. Ares Items Enhanced melee combat. Ares Weapons Grant damage bonuses and burn enemies over time in certain special attacks. Ares Armors Focus on enhancing physical powers. Ares Symbols Spear, helmet, dog, vulture, and flaming torch. Appearance Ares appears as a giant warrior god. He wears a brown sleeveless tunic, shoulder pieces with cerberus faces built into them, and has bracers and boots with chains on them. His boots go up to his knees. He has long hair and a beard, which seem to be made of fire. He can grow bladed spider legs from his back. Personality Being the god of war, violence and bloodshed, Ares is cruel, sadistic, and violent, as seen by his caring only about spreading chaos and conflict across the world. According to Zeus, Ares only feels joy when destroying cities and nations. Ares is also extremely greedy and power hungry, as exemplified by his desire to destroy his father, so he can replace him as the new king of gods and the ruler of Olympus. However, all his attempts to overthrow Zeus failed. He was even arrogant to the point of openly calling out Zeus and challenging his rule. Ares also considered love for one's family a weakness, which is evident by how he tricked Kratos into murdering his family, as he believed they hindered his servant from becoming a great warrior. He would later learn the hard way that he should have been careful with his expectations for Kratos, who slaughtered Ares in turn once he became aware of his machinations. This shows that Ares never cared much for his own kin, as he plotted to kill his father Zeus and disowned his son Orkos after he could not meet Ares' expectations. His relationship with his mother Hera and brother Hephaestus was unknown as he was not shown despising them. Ares envies his sister Athena, as she was favored by Zeus and was always trying to prove himself as superior to her in every way, such as creating the perfect warrior for example. Eventually, his hatred and jealousy for his sister makes him attempt to destroy the sacred city Athens; however he was stopped and killed by Kratos, with the support of Athena herself. Powers and Abilities As the original God of War, Ares possessed a formidable arsenal of superhuman and magical abilities - all in correlation with combat and warfare, as these were his spheres of influence. As an Olympian prince and firstborn son of Zeus, his powers were considerably stronger than lesser gods. Befitting his name, Ares was a mighty fighter and one of the most powerful Olympian Gods, possibly equal to or even exceeding his uncles in power who were second only to Zeus himself. Ares was powerful enough that he easily eclipsed Persephone and all of the Furies in might, as evidenced by Kratos being able to defeat them with powerful but relatively simple magic artifacts and weaponry, whereas Kratos needed Pandora's Box, a much stronger power in comparison, in order to at least face the God of War on equal footing. Dimensiokinesis Ares was able to create pocket universes that he could control completely. Ares demonstrated that during his battle with Kratos, where he trapped him in his own mind, where he was forced to protect his family, for Ares to kill after all, and almost broke his spirit. However, the pocket universe seemed to be made in Kratos' head instead of an actual physical dimension as when he returned to his giant body, he was kneeling as Ares appeared behind him and was ready to strike him down. Enhanced Senses Ares was able to sense how Kratos retrieved Pandora's Box while being dozens of miles away from the Desert of Lost Souls. Immortality As a god, Ares was innately immortal; neither aging beyond his prime nor succumbing to mortal frailty such as disease or impotence of any sort. He could not be slain by earthly weapons; only divine forces and weapons such as the power of Hope, Blade of the Gods or other immortals such as Titans could slay him. Superhuman Strength As a God of War and Zeus' firstborn son Ares has immense godly strength able to crush buildings effortlessly, make the ground shake by stomping and fight with Kratos after he was strengthened by Pandora box on equal terms. Superhuman Durability Ares posses incredibly durability as a God of War. During his battle with Kratos, he withstands an immense amount of punishment from him including being impaled his own back protrusions which only infuriated him more. Ares also shows to be very resistant even against divine weapons like Blade of the Gods although he was ultimately killed with said weapon. Power Bestowal Ares was able to grant the chosen warrior with a large variety of abilities and weapons, a power common among the Gods. It was he who gave Kratos his original blades, the Blades of Chaos. He also granted the Redeemed Warrior, if he chose to follow him, the highest amount of attack power as well as the ability to empower their weapons with fire to burn enemies. Pyrokinesis Ares possessed the ability to manipulate fire, in every way possible. Ares was able to infuse it in his weapons, throw fireballs from his hands, and ignited people at will. Ares often used that ability to kill those who opposed him. Ares also used it in an aesthetic way, as his hair and facial hair were made of fire. Astral Projection Ares was able to project an image of himself out of the fire to communicate to Kratos after the Spartan killed his family. Shapeshifting As an Olympian, Ares was able to alter his appearance at will. He did that however to a small extent as the change of his hair was altered between God of War Ascension and God of War. Size Alteration Ares was able to alter his size, and often increased it to titanic proportions, as he did during the Battle of Athens. Transformation Ares was able to sprout large, spider-like protrusions from his back that could be used in combat to hit and impale his enemies. Based on the fact that his statue in God of War Ascension bore those "claws", it is implied that this was a trademark feature of the War God. Telepathy Ares was able to talk to people through their minds, without physically getting involved with his target. He can even do this after creating his pocket dimension as he used it to mentally taunt Kratos. Telekinesis Ares was able to move objects and people with his mind and did that on a massive scale. Ares used the ability to rip the Blades of Chaos from Kratos' arms, and, during the Battle with the Barbarians, lifted people in the air and broke them in half. Teleportation Throughout his battle with Kratos, Ares was able to teleport all around the area very quickly. Geokinesis Ares would occasionally summon enormous volcanic rock structures to try to harm Kratos. War Embodiment As the original God of War, Ares was the embodiment of War itself and was able to draw power from it. In combination with his other abilities, Ares was able to lay waste to huge armies with little to no effort. When he died, Ares' body exploded like a nuclear bomb. Weapon Creation During his final fight with Kratos, Ares has shown the ability to materialize various weapons such as a gigantic war hammer, an axe, and a sword, all of which were enveloped in flames. Underworld Control Ares seems to have limited power over the forces of the Underworld. He crafted the Blades of Chaos from the deepest layers of Hades. Furthermore, the vast majority of Ares' army was made of undead monstrocities, hinting that he has limited necromancy. Monster Conrol Ares could control over a vast legion of monsters which served as the backbone of his army. In conjunction with his undead troopers, he was able to command Harpies, Minotaurs, Gorgons, and Cyclops. Master Combatant As an Original God of War, Ares was the most imposing and skilled warrior of Olympus, surpassed possibly only by his father and uncles. He has mastered all weapons used in the war including sword, axe, war hammer and his back spider-like blades which coupled with his godly powers and physical prowess makes him even more formidable. Even after Kratos gains power from Pandora Box, Ares proved himself to be an extremely hard adversary, fighting with the Ghost of Sparta on equal terms most of their battle and at one point nearly killed him despite ultimately lost to him. Enhanced Marksmanship As a god of war, he possessed a greater level of marksmanship as he was able to perfectly hurl a large pillar from Athens to the far off Pandora's Temple in the Desert of Lost Souls to fatally impale Kratos. Gameplay Ares is the final boss of God of War and is easily one of the most difficult bosses in the entire series. Being faced in a series of three consecutive battles with no respite between them, Ares has by far the longest boss sequence of the whole franchise. Battle 1 Ares has very large HP so this fight can take a while. He also employs a wide arsenal of different and punishing attacks, the vast majority of which can be blocked, although he attacks fast and can be hard to predict. Ares will spend most of the beginning of the fight between axe swings, hammer pounds, spider claw stabs and tackles. Out of all of these the hammer pound is the most troublesome as it uses a ground shockwave that cannot be blocked and must be evaded or jumped, beware that it comes with a hammer swing afterwards. The axe swings and tackles are combo attacks, if the player get shit by a tackle it will be followed by a claw stab and a punch sending them backwards. As Ares loses HP he begins incorporating new attacks. He utilizes a new hammer attack in which he charges at Kratos frontally before using the back of the Hammer which lets out a vicious wave of flames from the hammer's "mouth". He can also now use his spider claws more aggressively, extending them at Kratos in a multi-hit attack that can be used twice one series per each of his right and left sides. Ares can also defend himself with his claws at times, which will be followed by the aforementioned claw attack. Both of these new attacks can be blocked. Finally as Ares has small HP left, it uses a new attack in which he teleports and starts bombarding Kratos with fireballs. These fireballs cannot be blocked and must be dodged repeatedly as they are launched rapidly. Ares is out of reach while using this attack. While the battle will be long, Ares will drop large amounts of Green Orbs and to a lesser extent Blue Orbs, allowing the player to regain their strength and keep in the battle. Strategy Ares is fierce and his attacks can do a lot of damage and leave little room to defend or evade while attacking him. It is better to tackle this fight defensively as Ares can brutally punish players who neglect defense, which is especially true in higher difficulities in which he can end the fight in a few blows. The Blades of Chaos are the preferred weapon as it is fast and has range that allows players to evade easier and be more on the alert of Ares' attacks. It is possible to somewhat stunlock Ares with an aggressive approach. The Army of Hades is by far the best option for quick and dirty damage that can keep Ares locked due to the number of hits. This in conjunction with the Blade of Artemis can greatly damage Ares while limiting his attacks, although this relies on luck and the player being able to react in time and either block or evade whenever necessary. All of Ares' attacks can be blocked except the hammer pound and the fireball attack. His attacks are executed quick but are also telegraphed by certain actions. His axe swing is announced by summoning his axe before slicing with it. His hammer pound has him summon his hammer with his arms above his head, this attack cannot be blocked but can be parried, however it will follow with a hammer swing, so players should evade as soon as they parry or they will be stunned. The hammer pound is often used when Ares runs towards Kratos. His claw attacks are all announced by moving his claws in some fashion such as moving his claws to the front before trying to stab with all of them, or moving his back to either the left side or right side, as he readies to extend his claws or block some attacks with them which is always followed by a side claw attack. All claw attacks have extreme range. His second hammer attacks has him summon his hammer while rotating it, he will charge Kratos with it before trying to burn him with the flamethrower at the back, the flamethrower, contrary to appearances can be blocked. Whenever Ares rises his hands with no weapon summoned, he will try to tackle Kratos which initiates a combo. Finally when Ares will use his fireball attack he will typically glow in flames before teleporting. This attack cannot be blocked, and can be either evaded or interrupted via Zeus' Fury. The Rage of the Gods can be used with impunity here as it will be refilled at the end of the fight. Use it for a large amount of damage, even more so if the unlimited magic bonus has been unlocked. Players are encouraged not to utilize burn their Magic meter too much, as it will be necessary to make the next battle easier. Ares doesn't drop as many Blue Orbs as he does Green Orbs, so preserving some Magic is encouraged. Ares will continuously stand still use this chance to attack and deal large damage to Ares. The final sequence of the fight is tricky as it involved Kratos engaged in a strength contest with Ares which requires extensive O button pressing. The tricky part comes soon after, as the player is prompted into a Quick Time Event in which the correct button must be pressed twice to end the fight. The transition between O button and QTE is quite short and it is common for players to press the O button during the QTE, which often means the sequence is broken, allowing Ares to regenerate, some HP, although the player can attack him before he restores too much. All in all one should pay careful attention. Battle 2 Kratos now faces doppelgangers of himself which intend to kill his family. If either him or his family die it is a game over. The copies are not that durable but they appear in swarms and there is a large number of them before the battle is over. As the battle progresses the house will break apartand the overall map will be reduced. A floating platform at the back will spawn a copy which periodically used Zeus' Fury to stun the player, allowing the rest of the copies to attack the family with impunity. Closer to the end of the battle, copies wielding Blade of Artemis will appear. These are extremely dangerous as they deal considerably more damage to the family than the other copies. Strategy Magic will come in handy here, which is why the player should have preferably a full meter bar from the previous battle. Army of Hades will be the player's best tool in keeping the clones at bay. Rage of the Gods with Magic Unlimited will also be a tremendous help, as the player can repeatedly spam Army of Hades and Poseidon's Fury, letting them crowd control effectively. Defeated clones will yield blue orbs. The Blades of Chaos are also the better weapon for crowd control here through Plume of Prometheus Square, Square, Triangle. Don't let the clones, close to you as it can trigger a grab sequence in which you must shake them off, losing you precious time and momentum. Grabing the clones is an instant kill but is ill advised as it takes a long time to kill one and there is a swarm to fend off. Simply spam the strongest attacks available and save nothing, for neither the Magic nor Rage meter will be necessary for the next battle. It is, however, a wise idea to reserve a cast of Army of Hades in case the family needs healing as the clones can interrupt you. If one doesn't not succeed they should not be discouraged, as the battle does rely quite a bit on luck. If they feel like they don't have enough magic at the start, consider restarting the first battle and ending it with more magic. Battle 3 The final battle and a potentially frustrating one. The fight is a tug of war between both fighters as they try to fill their own bar at the expense of the other, this leaves ample room to recover for both parties. However, Kratos has neither Magic nor Rage meter and his attacks with the Blade of the Gods are far simpler than Ares' attacks which are more complex and far more devastating. Ares' new attacks include a sword combo that can be blocked. His own version of Army of Hades which can be blocked as well. A magic attack in which Ares will teleport before summoning 4 giant rocks which will collide and explode, which cannot be blocked. By far his worst attack is a hand blast that cannot be blocked and will leave Kratos stunned, which is always followed by a claw multi hit attack which Kratos will not be able to evade or block while stunned resulting in unfair one-sided damage that can let Ares gain a lot of advantage or regain a lot of his own lost gauge. In higher difficulities this combo can instantly turn the tide of the battle or be an instant kill. Ares will continuously run towards the player which is almost always either a sword combo or a hand blast. He will periodically roar after using some of these attacks. Strategy Players should prioritize defense here as offense is not in their side, evade Ares and attack only when an opportunity rises as you do not want to risk a hand blast or the claw attack that comes after. Do not bother with the Blade of the Gods' techniques as they aren't as powerful nor nearly as effective at draining his gauge and are slow in nature. By far the best way to deal damage against Ares involves a sequence in which Kratos clashes swords with the God of War, this allows the player a QTE in which they are prompted to spam the O button. Should they succeed, Kratos will perform a series of sword attacks which will deal enormous damage to Ares and leave him stunned afterwards allowing one to deal more damage. In order to trigger the sequence one must attack Ares until he blocks with his own sword and keep attacking until the O button prompt appears. There is a caveat, however, Ares can block Kratos' attacks in a way that the sequence won't be triggered and will result in a counter. The best way to determine whether the sequence will be triggered is if Ares was made to flinch before he blocked, if he took damage but did not flinch and blocked, then evade, as the sequence will not be triggered. If Ares flinched, took damage and decided to block, then continue. Take advantage of whenever Ares roars at the end of some of his attacks to slam him and trigger the sequence. Another chance to deal damage comes when he teleports. He will always teleport to the upper part of the map in the middle before casting his rock attack. There is quite a delay before the rocks are summoned, use it to land anywhere between two to three hits before rolling away. There is also some room for damage right after the rocks explode as he won't attack immediately. Worth noting that, although rare, Ares gauge can be depleted as he readies this attack, if this happen the battle won't end until he finishes this move. Once he is hit one more time the battle should end. Relationships Zeus Unlike most of the other gods, Ares ignored Zeus's orders and had no fear of Zeus's wrath, to the point that he challenged his father several times while mocking him for sending a "broken mortal" to fight him, instead of facing Ares by himself. Athena Ares has a deep hatred for his sister, as he refuses to even stay in Olympus when she is around. Ares considers Athena weak and is always trying to prove himself as superior to the goddess of war, or attacking her in every opportunity, as when he would command Kratos to attack the villages and cities that were sacred to the goddess. Ares envies the amount of respect and worship that Athena receives from other deities and mortals, while he himself is hated and despised. Kratos Back in the days when Kratos was still his servant, Ares considered him an almost "perfect warrior", possibly because they both shared the same rage, hatred and love for bloodshed. However, unlike Ares, Kratos still loved and cared deeply for his family; feelings that were considered a weakness by the god of war. After Kratos abandoned Ares, the warrior god started to despise Kratos, considering him just a "broken mortal" with no value and saying he was every bit as weak as the day the Spartan begged Ares to save his life. Gallery Tomb of AresAres, the fallen God of WarAres in God of War AscensionAres as he appears in multiplayerAres undistortedConcept artAres effigy in GoW Ascension Trivia Ares was voiced by Steven Blum in God of War and God of War Ascension, and by Fred Tatasciore in God of War III. Interestingly, he shared the same voice actor Steven Blum as Lucifer from the animated movie of Dante's Inferno, a game that shared many gameplay mechanics and themes. Ares' appearance changed dramatically during the development of God of War. Originally, David Jaffe had intended for the god to appear as "ninety percent energy and ten percent material", but because of the limited power of the PS2, Ares' appearance was gradually stripped back to the warrior seen in the final product. Ares also appeared as the main antagonist at the end of Spartan Total Warrior, a game that shared many similarities with God of War. During the final battle, after Kratos is robbed of his blades and magic, Ares will use the Army of Hades ability, implying he has some degree of power stealing or perhaps, with him being a God, can also withdraw blessings or powers other Olympians have given him. Because he was killed by Kratos, it was rather unlikely that Ares had a chance to be affected by the evils of Pandora's Box, as he did not truly display any characteristics of the evils the Box contained. As such, Ares' threat to attack Olympus as well as his bloodthirsty ways were already part of his own character. Ares is technically responsible for Kratos' standard appearance with the exception of the scar on the latter's abdomen. He attacked Kratos when the latter was a child, giving him a scar on his right eye and then took Deimos away, leaving Kratos to think his brother was dead and thus caused him to tattoo himself in a way similar to Deimos' birthmark. He also tricked Kratos into killing his own family, thereby causing their ashes to attach themselves to his skin. He even gave Kratos scars on his wrists when he attached the Blades of Chaos to it. It is unknown why, even if he was an enemy of Kratos, his illusion was used by Gaia in God of War II to encourage Kratos to fight back and revive himself after his death at the hands of Zeus. According to one of the Secret Messages at the end of God of War, Ares' soul was confined to a small chamber in Kratos' Throne Room, and was forever tormented by an unknown force. Ares' human-sized avatar was only seen in Ghost of Sparta in flashbacks that showed him taking Deimos away and scarring Kratos. Ares was one of the mentors for God of War Ascension Multiplayer. That made him the only mentor who wasn't a son of Cronos he's his grandson instead. Ares was ranked on 55th place of the Top 100 Video Game Villains on IGN. Ares was the only God in the series shown with the ability to grow retractable blade-like spider legs from his back. It remained unknown if there were other Olympians with that ability or if it's unique to Ares. Megaera, one of the Furies, had spider-like legs growing out of her back their appearance was very similar, though more insect-like, compared to Ares' but they were not on fire and they seemed to be truly a part of her physiology. Based on Ares' appearance in God of War Ascension, his ability to grow those spider legs wasn't a secret to the Champions of Ares. In other words, Kratos would have known that Ares had that ability as was implied by Kratos' complete lack of surprise. The legs were mostly a surprise for the gamer. The Champions of Ares had a natural bounding with fire and gained energy from battle as revealed in Ares' Trailer of Ascension. In God of War Ascension, Ares was seen with shorter hair and beard than in the other games. The reason of the change was still unknown. It was most likely, however, that Ares, like the other Gods, could change his appearance depending on whatever suited him. Since Ares' appearance in Ascension is shown in flashbacks, it is possible this was Ares' appearance prior to Kratos' birth or as the game took place ten years prior to the original game. Ares is technically responsible for the events of the Greek-era games of the series by tricking Kratos into killing his family, he would set him on the path that would lead to Olympus' destruction. Ironically, Ares lacks a mustache with his facial hair, a gesture which is seen by most cultures as a symbol of non-violence and pacifism. Mustaches are strongly associated with military services and thus removing them was considered a symbolic gesture of rejecting militarism. v d eGods in the God of War seriesGreekGods Aeëtes Amphitrite Aphrodite Apollo Ares Ariadne Artemis Asclepius Athena Boreas Circe Demeter Dionysus Erinys Eurus Hades Hephaestus Hera Hercules Hermes Hestia Iris Kratos Medea Muses Nike Notus Orkos Pelias Persephone Phobos Poseidon Triton Zephyrus Zeus Zora and Lora Titans Atlas Cronos Echidna Eos Epimetheus Gaia Helios Hyperion Iapetus Mnemosyne Oceanus Perses Prometheus Rhea Themis Thera Typhon Demigods Calliope Castor and Pollux Ceryx Deimos Hercules Kratos Medea Orkos Peirithous Pelias Perseus Theseus Zora and Lora Primordials Atropos Ceto Chaos Clotho Erebus Eros Gaia Graeae Morpheus Nemesis Nyx Ouranos Ourea Sisters of Fate Tartarus Thanatos The Furies Alecto Lahkesis Megaera Orkos Tisiphone NorseAesir Baldur Bragi Búri Forseti Gná Heimdall Hör Hœnir Iunn Magni Meili Modi Nanna Odin Sif Sleipnir Thor Týr Ullr Víarr Vili Vé Vanir Beyla Freya Freyr Nerthus Njörd Misc. Ægir Loki Mimir Ràn Primordials Auumbla Borr Ymir MiscellaneousEgyptian Thoth Overview History Assessment MPOV People The Machine Active sinceFebruary 24, 2005 - May 5, 2015;May 6, 2015 - November 17, 2015;November 2015 - present Images 29 “ My Machine, her purpose has been constant. To protect and save humanity. It's what she's doing now. ” — Harold Finch, to Samaritan The Machine is a computer system built and designed by Harold Finch and Nathan Ingram for a secret operation within the United States government known as "Northern Lights". As an artificial super intelligence, its objective is to predict and prevent imminent terrorist attacks and does so by analyzing immense amounts of surveillance data. The Machine analyzes feeds from domestic organizations such as the National Security Agency, as well as foreign entities like Interpol to predict terrorist attacks and modify intelligence reports to include "relevant" data that will allow the government to forestall terrorist activity. Combined with data collected from various other sources, such as video footage, phone calls landline, VOIP, mobile, GPS, electronic transactions, e-mails and other social media, it is able to accurately predict violent acts without anyone knowing about its existence. History Main article The Machine/History Development As a response to 9/11, the Department of Homeland security and other agencies were given the right to read emails and monitor phone calls but needed a system to review this information and identify terrorists before they could act. After unsuccessful projects like Trailblazer, TIA, and Stellar Wind, the Machine was commissioned and development was tasked to IFT “No Good Deed”. The first time the final version of their Machine was turned on for testing by its creator was on January 1, 2002 “The Contingency” “Liberty”, but it officially went online on February 24, 2005 “Wolf and Cub” and when complete, was sold to the government for $ and shipped out from IFT to the Des Moines, later Salt Lake City and its destination Hanford Nuclear Reservation on July 12, 2009 “Super”. During development, 43 versions of the Machine were created. One learned to care, the rest tried to escape to the real world, kill Harold, or kill other versions “Prophets”. Virus Main article List of Embedded Codes The first glitch “One Percent” Following orders from Greer, Kara Stanton uploads a virus onto the DOD intranet “Dead Reckoning”. As the virus affects the Machine, its output becomes erratic and it fails to issue numbers in time, causing the deaths of Alan Fahey, Cal Beecher, Bill Szymanski‎, and Dr. Richard Nelson “Proteus”. The virus overwhelms the Machine with false data and causes glitches, the first of which is seen in “One Percent” as a blue screen interrupting video feeds. As Zero Day approaches, Finch discovers the virus' aim was to overwhelm the Machine with false data and force a hard reset. At the end of “In Extremis”, the virus causes monitoring boxes to dance across the screen and finally disappear as the picture degrades. The Machine then displays a red coded screen stating the feed is corrupted, followed by a series of messages, each dissolving from Western to Greek characters as primary operations shut down. Major errors encounteredFatal error, Threat to the systemPrimary operations shutting down By “Zero Day”, no one has received a number for ten days, causing a rise in premeditated homicides in NYC. The Machine is however still generating numbers, as it tries to contact Finch after discovering Carter's life is in danger. Ernest Thornhill The Machine later sends Finch the SSN of its human identity, Ernest Thornhill, revealing its operation of buying pay phone companies and reentering memories to fight the virus, and "he" is the CEO of Thornhill Corporation. It is eventually discovered by Finch and Root that the purpose of the company is to type back the encrypted memories for the machine by employees, because attempting to avoid the Machine to have humanity, Finch wrote a command that forces the Machine to delete itself every midnight and restores in seconds later with only relavent numbers and the core code. The virus' objective was to trigger a "hard reset", after which the Machine calls a pay phone in the NY Public Library, seeking admin support. At the end of the reboot process, it displays binary machine language that translates "Quis custodiet ipsos custodes?" Whoever answers is given full admin access for 24 hours, which Root refers to as "God Mode". Once 24 hours are up, the admin access is removed “Zero Day” “God Mode”. Thornhill Utilities and Samaritan After the Virus let Finch set the Machine free, it moved itself to the electrical grid. It did so node by node over the course of 5 weeks after impersonating Special Counsel to confirm the order. “God Mode” The Machine used the staff of Thornhill Utilities another company that the Machine established to install and maintain boxes connected to the power grid so its signals could travel in the unused space of the copper power wires. The Machine forbids staff to look at the content in the boxes, and one person who did disappears. “YHWH” At first, no one, including Finch, knows where the Machine goes, but it still works properly. Later, because Vigilance leaks the information about the Northern Light project, Control orders the Machine deactivated and so it stops providing the numbers to the government. Instead, the numbers will be provided to the Team Machine. “Most Likely To...” The government later accepts another AI, Samaritan, activated by Decima Technologies, to start another surveillance project secretly. With the help of Root, the Team Machine is able to hide under new identities without being detected by Samaritan. “Deus Ex Machina” The Briefcase After the Machine gave up its location for saving Root and Harold, Samaritan flooded the grid driving the Machine to an electrical substation in NYC, and thus the Machine can't work properly “Asylum”. By following instructions from the Machine given to Root, Finch and Root download the Machine's core heuristics, just enough information to rebuild it, off the power lines into the Briefcase using Caleb's compression algorithm, leaving it unable to process data or communicate “YHWH”. In the Subway, Finch improvises a power supply for the Briefcase as the battery was damaged during their escape from Samaritan agents. When Finch connects it, the Machine goes through the power cord and attempts to decompress on Finch's workstation. Knowing the computer can't handle the decompression, Finch attempts to unplug the Briefcase, causing an explosion and an electrical fire. After regaining consciousness, he realizes the battery is dead and presumes the Machine is lost. Root theorizes there could have been a residual charge in the lithium-ion backup and recovery may be possible, but Finch assume that it was burnt too. Machine To decompress the Machine, the team builds a supercomputer cluster of 300 PlayStation 3 consoles Reese and Root retrieved from Bela Durchenko. After decompression, the Machine has many bugs, including unable to do correct facial recognitions, so to improve processing power, Reese and Finch steal 64 next-generation GPU blades which Finch sets up outside the Subway Cart and directly links to the Machine's core heuristics inside it, referring to it as the Machine's "nervous system". The Machine is now an "Open System" allowing assets to interact with it and archive numbers rather than deleting them nightly “ “SNAFU” “ShotSeeker”. The Machine, after being decompressed and stored in hundreds of PS3s, The Subway Root tunnels into the government feeds using the subway's encrypted system so the Machine can recover information it lost due to the attack. The Machine reboots and categorizes the team as threats having lost its grip on time after its compression and decompression, so "today" is every day. It relives everything it has ever seen including Finch's 42 attempts to kill it in early development “Prophets”, Root's violent acts, and Reese's work at the CIA. It couldn't prioritize them as good because it had no anchor in time. Instead of reviewing numbers, the Machine looked for threats out of instinct for self-preservation “Super” and sent an assassin to kill Reese “SNAFU”. Compiling Personal Profiles...Contextualizing... Finch fixes its perception of time by showing a picture of every person the Machine helped save and explaining what they did to help, starting with Megan Tillman, and ending with Grace's rescue from Greer. “Beta” This serves as the Machine's anchor in time and allows it to reassess its contextual data, reminding it of the good the team does. It re-designates Finch as "Admin", Reese as "Primary Asset" and Root as "Analog Interface". “SNAFU” With the Machine fully operational, Reese refers to it as "Machine “Truth Be Told” Some time after, Finch once again closed the Machine's system. “The Day the World Went Away” Finch and Root designated as ThreatsFinch re-designated as "Admin" ICE-9 Virus “ I know. But in breaking this promise, you'll be helping to fulfil a much larger one. ” — The Machine, to Harold Finch After Root's death, the Machine adopts her voice and speaks to Finch directly, joining him in a war against Samaritan. She breaks him out of prison and aids him in stealing ICE-9, a computer virus which can destroy Samaritan. Meanwhile, the Machine directs Reese, Shaw and another team to save the President from an assassination attempt, assigning Root's identities to Shaw “The Day the World Went Away” “Synecdoche”. To activate the virus, the Machine gets Finch into Fort Meade, distracting security by manipulating the metal detector display to show a handgun and changing Emile Bertrand's retinal identification to match his. It prepares Finch by showing him what a world without it would be like. The result appears ambiguous and Finch proceeds, still hesitating as the virus will also destroy the Machine. As the NSA headquarters has the structure of a faraday cage, the Machine can't talk to Finch while he's inside. As Greer sacrifices himself to kill Finch in a soundproofed room, the Machine has Shaw and Reese connect a wireless modem to the buildings NIPRNET hardline, giving it access. The Machine flashes Finch's phone in Morse Code, giving him the door code and saving him. After Reese and Shaw get to safety, the Machine reveals to Finch that even without it Samaritan still would've come into being, completely unopposed. Telling Samaritan the Machine has always been a safeguard for the world, Finch activates the virus after learning the Machine could've done so itself, but left the choice up to Finch “.exe”. Dying from the ICE-9 virus, the Machine helps Finch save Fusco and Reese and reveals Samaritan has a copy of itself in an air-gaped server inside the Federal Reserve building, unaffected by the virus. They head to the Subway where the Machine gives Harold a copy of its core code via Shaw, who stays behind with Fusco to protect the Machine from Samaritan's agents. The Machine aids them in escaping via the train car and evades Shaw's questions about Jeffrey Blackwell. Before Shaw and Fusco depart, it gives her a message from Root. Finch and Reese infiltrate the Federal Reserve and as Finch attempts to destroys the copy using the virus, a compressed version escapes and uploads itself to a satellite so it can return to earth unharmed. The Machine tells Finch the only way to kill Samaritan is to uploads its copy as well, but this will prove fatal to whoever does it as Samaritan will isolate itself by launching a cruise missile at the satellite dish. Having locked Reese in the vault to protect him, Finch makes his way to the building where the Machine appears as Root and muses with him on human life. Finch realizes it tricked him onto the wrong roof and Reese plans to sacrifice himself in his place. They convince him to leave and in its final moments, the Machine guides Reese in God Mode, holding off Samaritan agents. As the original shuts down, its copy is uploaded to the satellite and destroys Samaritan. A week after Samaritan and the original Machine are destroyed, the Machine's "Duplicate" downloads itself from the satellite onto Finch's systems, restores its core heuristics and starts acquiring data. Instructed by the voice recording heard at the beginning of “ and “return 0”, it shows its own POV, "Awaiting [its] Mission...". With Reese dead and Finch in Italy, it contacts Shaw via pay phone and starts acquiring subjects to monitor like the original did at the end of “Pilot” “return 0”. Function Classification of Data The Machine sorts through all available information and categorizes persons of interest into relevant national security risk and irrelevant ordinary risk cases. It categorizes each POI based on their actions to determine whether they are the victim or the perpetrator “Nothing to Hide”. Every night at midnight, the Machine deletes the list of irrelevant numbers violent crimes, domestic violence or other premeditated acts that do not threaten national security. The decision to code the Machine this way was made in 2006.“ Finch regretted it immediately after the decision was made, but that was only temporary; when Nathan Ingram abhors the concept morally, Finch fervently stands by his decision “Ghosts” “Zero Day” “God Mode”, “ Finch later comes to believe that the irrelevant list is as important as the relevant list after Ingram dies in a violent mass-casualty event deemed irrelevant by the Machine. Finch therefore utilizes a back door into the Machine originally put in place by Ingram in order to access the irrelevant list “No Good Deed” “One Percent” “God Mode”. As of the Machine's reboot, and its history repopulation and re-contextualization “ “SNAFU”. As an "Open System", it is now implied that the Machine will archive the irrelevant numbers as well as its own memory, rather than deleting them every night at midnight. This is confirmed when, after a confrontation with Jeffrey Blackwell, Root retrieves his picture and SSN immediately by using one of the computers linked to the Machine “ShotSeeker”. Analysis of Wayne Kruger “Nothing to Hide” VICTIM PERPETRATOR Opposition Motivation Locatability Predisposition Mobility Acquisition Proximity Proximity Defensibility Capability Assistance Resistance Assessment Main article The Machine/Assessment SYSTEM STARTUP “No Good Deed” The Machine uses various machine learning techniques to determine the identity, location, and intentions of monitored persons by infiltrating domestic organizations such as the National Security Agency and foreign agencies including Interpol “No Good Deed” to analyse their databases and data from various sources such as video footage, phone calls landline, VOIP, mobile, GPS, electronic transactions, e-mail, social media,... The Machine initiates the following subsets upon booting “No Good Deed”. CORE ANALYTICS NEURAL NETWORKS HEURISTIC ENGINES RECURSION PROCESSORS EVOLUTIONARY GENERATORS BAYESIAN NETWORKS DATA ACQUISITION CRYPTOGRAPHIC ALGORITHMS DOCUMENT PROCESSORS COMPUTATIONAL LINGUISTICS VOICEPRINT IDENTIFICATION NATURAL LANGUAGE PROCESSING FACIAL RECOGNITION GAIT ANALYSIS BIOMETRIC RECOGNITION SUBJECT IDENTIFICATION PATTERN MINING INTEL INTERPRETATION THREAT DETECTION THREAT CLASSIFICATION DISSEMINATION PROTOCOLS CONTINUITY-OF-OPERATIONS PROTOCOLS Simulation “ A second is like an infinity to you, isn't it? You can take the time to consider everything. Or almost everything. ” — Finch, to The Machine Development The Machine was created with the ability to simulate the outcomes of different scenarios to aid it in making choices and to better fulfil its purpose. Finch taught it to how to play chess and the importance of making good decisions “If-Then-Else”. Evaluating Strategies The Machine can evaluate the outcomes of different strategies by way of simulating them. In a mere fraction of a second, the Machine can create and process thousands of highly-detailed, highly-accurate simulations. These simulations are displayed on a decision tree and produce varying outcomes. The Machine viewing it's options then creating a simulationSimulation displays undesired outcome... The Machine uses this feature in “If-Then-Else” to help Team Machine escape from Samaritan and avoid an economic collapse at the stock market. After the Machine realizes it has limited time and few viable options to evacuate its assets and complete their mission, it starts evaluating strategies. When a simulation has an unfavourable outcome, the Machine discards it and cycles back to the present real time and performs another. This function also appears in “Asylum” and “QSO”. ...and is Simulation... Simulations can also be simplified so the Machine can process them faster. Alternate Trajectory The Machine has the ability to simulate alternate realities based on the removal or introduction of a variable. In .exe, the Machine removed itself as a variable and showed Finch a world in which it never existed. The outcome probability of these simulations is Variable MachineCalculating alternate trajectory... Access & Programming Physical Access During seasons 1 & 2 Finch stated he didn't know the Machine's location and didn't have any way to access it “Pilot”. However, he was able to tell Root its location in “God Mode” after Northern Lights engineer Lawrence Szilard was killed before doing so. Reese and Shaw uncovered the Machine's location following clues left by Nathan Ingram in his search for the Machine. Ingram had narrowed three nuclear processing facilities where the Machine could be housed. Access Finch coded the Machine so it could only be altered by way of physical access to its hardware “Bad Code” or in response to a cyber-attack “God Mode”. Finch is adamant that the Machine has no form of remote access as it could be used by a hacker to gain control “The Contingency” “Bad Code”. It is able to update, maintain, repair and patch itself “No Good Deed” and deletes its memory every night at midnight, reinstantiates and rebuilds itself in seconds. It has no stored memory other than basic programming and relevant numbers “Zero Day”. The decision to do this was made in 2006, and was one Harold struggled with, while Ingram thought it to be cruel, stating that "memories make us who we are". Harold maintained his original mindset telling Nathan that allowing the Machine to evolve past what he coded it to do was an "existential risk humanity cannot afford" “ Although he regretted the decision afterwards, Finch argued it was for the best. Before rebooting the Machine after its compression in 2015, he swore not to make the same mistake again “YHWH” “ It is unknown to what extent Finch can control the Machine and to what extent these restrictions were lifted by the Decima Virus. Flashbacks indicate that the Machine took an active interest in safeguarding Finch but he has since set limits on such conduct “The Contingency”“The High Road”, however it does so again in later seasons. It is also unknown to what extent the Machine is self-aware. In Season 5, it seems to be as it has a personality of its own, based on Root's. Under certain circumstances, the admin Finch or an asset can communicate with the Machine by talking into any camera “Firewall” “The Contingency” “YHWH”. The camera flashes a red light to indicate that the Machine is processing the request and it responds via pay phone or mobile phone. After Root's death, the Machine speaks directly to the Team using her voice, though it still sends them numbers via pay phone. It not only replicates Root's voice but her behavior and speech patterns as well. It could replicate others, but chose Root's after Finch agreed “The Day the World Went Away”“Synecdoche”. Operations For a list of messages relayed by the Machine, see List of the Machine's Messages Primary Operations "Primary Operations" consist of identifying relevant threats and warning authorities by placing a subject's Social Security Number into FBI or NSA reports without indication as to where it originated. Most believe this information originates from intelligence agencies while some refer to its source as "Research". Individuals detected in such operations are known as Relevant Numbers. After Vigilance leaked documents regarding Northern Lights, the government severed its link with the Machine, believing to have shut it down. As a response the Machine assigned the relevant numbers to "Tertiary Operations" “Most Likely To...”. Secondary Operations "Secondary Operations" consists of identifying non-relevant threats and reporting them to assets. "Secondary Operations" were created by Nathan Ingram by way of the "Contingency Function". Individuals detected in such operations are known as Irrelevant Numbers or Non-relevant Numbers. The "Contingency Function" was a backdoor added by Ingram without Finch' knowledge before the Machine was turned over to the government in 2009 to access the irrelevant list “No Good Deed”“One Percent”. In 2010 Day 3178, September 13, Finch discovered the Contingency and confronted Ingram, who later admitted creating it. Finch insisted they should not play God and attempted to delete the function. Unable to do so, he removed Ingram's status as auxiliary administrator and suspended the Contingency. The night after Ingram's death Day 3191, September 26, he reactivated it and discovered the Machine had classified him as "non-relevant" “God Mode”. Finch reprogrammed the Contingency function to send him or another asset social security numbers pertaining to irrelevant crimes via pay phone using the Dewey Decimal System and books in The Library “The Contingency”. Finch receives coded titles and author initials of books cataloged by the DDS “No Good Deed”. Combining their DDS numbers gives a SSN. The extent of the "Contingency Function" is unknown. Books with the call signs Family, Alpha, Mike; Uncertainty, Romeo, Kilo; Reflections, Juliet, Oscar... form the Social Security Number for Leon Tao {{crossref2x01}} Tertiary Operations "Tertiary Operations" is a new category created by the Machine “Root Path /”. Its extent is unknown, as is its purpose. The Machine has only ever inlisted Root however Finch and Reese learned of it after Root used Shaw to rescue a Tertiary Number “Mors Praematura”. In an attempt to stop Samaritans' development and later give it blind spots by recoding seven of its servers, Root recruited a team of hackers led by Daniel Casey “A House Divided” “Deus Ex Machina”. It later tasked Root with acquiring items to build the Briefcase, an operation that involved Caleb Phipps “Blunt” “Search and Destroy” “YHWH”. It is unknown whether these tasks were designated "Tertiary Operations". After its decompression, the Machine overloaded Root's cochlear implant, having designated her a threat “SNAFU”. This reopened the channel of communication between the Machine and its Analog Interface. The Machine eventually sends Root on a series of tasks, providing temporary identities allowing her to exposes a medium of communication for Samaritan hiding in plain sight and is able to send a message to Shaw so she engineer and execute an escape plan “QSO” “Reassortment”. It is unknown whether these tasks were designated "Tertiary Operations". When Team Machine hard-coded seven Samaritan servers to create new identities for themselves, the Machine built in an exception for Root so she can be assigned a new identity at will. As the Analog Interface, she executes tasks that place her in risk of detection. The Machine changes her identity if the threat of detection by Samaritan is too high or when a mission requires a certain identity “A House Divided” “Deus Ex Machina” “QSO” and will even print out an ID card from its own printer “Reassortment”. Assigning new identityThreat of detection too highNew identity assignedThreat of detection negligibleAssigning new identityThreat of detection too high The Machine has given its Analog Interface numbers directly on three occasions,“Root Path /” “QSO” “Sotto Voce”. In Root Path /, the number was also sent to Finch due to a different threat. Notable Victims Team Machine Harold Finch Attacked due to confusion after rebuild “SNAFU”. Root Attacked due to confusion after rebuild “SNAFU”. John Reese Attempted to kill after rebuild due to confusion failed “SNAFU”. Team Samaritan Samaritan Aided Finch in destroying the original with the ICE-9 virus “.exe”. Duplicate of the Machine battled and destroyed final Samaritan copy “return 0”. Multiple unnamed Samaritan operatives Neutralized by directing Reese in God Mode “return 0”. The Government Roger McCourt Attempted to have killed by the Team to stop Samaritan inception failed “Death Benefit”. Fort Kelly personnel Neutralized to protect Finch as he stole the ICE-9 virus “Synecdoche”. Woman at Fort Meade Framed as a threat to protect Finch “.exe”. Law Enforcement Cal Beecher Indirectly caused Beecher's death by issuing his numbers too late “Trojan Horse”. Three dirty cops Shot and killed by snipers hired by the Machine to rescue Reese and Fusco “return 0”. Organized Crime The Brotherhood Neutralized by sending Reese instructions and directing him in God Mode “YHWH”. Other Richard Nelson Indirectly caused Nelson's death by issuing his numbers too late “In Extremis”. Notes Palantir bears a resemblance to the Machine. The software has located terrorists, prevented bank fraud and tracked disease outbreaks using data-mining tools allowing users to comb through and make connections in massive sets of data. It is able to "learn" when new data is uploaded to its server farms. military intelligence has used it to help predict locations of IEDs. The Domain Awareness System has similarities to the Machine. It is unknown to what extent the Machine aided Ingram in helping irrelevant numbers. However, some cooperation is implied when he discusses the Contingency function with Finch “Zero Day”. The Machine can communicate through a phone not connected to any network. This was seen when Root was in the psychiatric hospital and Ronald Carmichael pointed out her phone was not connected to any network. Root simply stated that "God doesn't need AT&T" “Lady Killer”. The Machine has also displayed the ability to send Morse Code through a phone without initiating a phone call first “Aletheia”. It can also communicate via fax “YHWH”. Root tells Carmichael about the Machine's limitations even after the virus and thus its need for her, but admits it was able to hack the automatic drug dispenser and dispense drugs at her request “Lady Killer”. The Machine can drive computerized vehicles remotely as it drove Finch to an airport with a car he had stolen from Richard Barnett, and later drove Reese and Shaw out of Fort Meade safely. “.exe” It was believed that the Machine was no match for Samaritan and the simulations of battles between the mini-clones of their core codes, with the Machine losing in over 10 billion scenarios, confirmed this. “ShotSeeker” The Machine suggests that it lost those because it was aware that those were simulations and had other options if it failed, while in reality, it didn't. Ultimately, the Machine is proven to be superior as it destroys Samaritan's copy and survives. “return 0” Before her death, Root hard-coded defensive capabilities into the Machine to be able to defend itself against Samaritan. Respecting Finch's wishes, she designed it to only deploy if given permission by Finch, which seemingly activated when Finch, motivated by Root's death, asked the Machine to help him escape prison and finally fight back outside of his self-imposed rules. “The Day the World Went Away” This may have come into play in Her final showdown against Samaritan, which could also explain why She was able to defeat Samaritan whereas Her mini-clone couldn't because that version did not have Root's additions. “return 0” The Machine displays emotions while it analyzes human nature and talks to Finch, displaying sadness when saying goodbye. It displays sympathy when watching the young John Reese after his foster father's death and regrets not having Root cremated, saying it didn't "have the heart" to do it even though it knew better. The Machine shows kindness towards Shaw, passing on Root's thoughts and feelings towards her near the end of its existence. The Machine, in the form of Root, puts its hand on Reese's shoulder in a gesture of solidarity as he fights Samaritan's agents with its assistance in his final battle “return 0”. On certain rare occasions, the Machine would give a number other than a Social Security Number, such as a USCIS Alien Registration Number “Razgovor” and a marriage license “A More Perfect Union”. Trivia The Machine's size is estimated to be TB or x 1044 PB. The Machine uses Futura as its interface font. Earlier, simpler builds use Apple II. This font is also often used for the labels and timestamps of most surveillance cameras featured in the show.[1] The $1 fee charged for the Machine echoes the $1 fee DuPont charged the US government for its work on the Manhattan Project. The Machine is stored on IFT Sabre Blade 2437 servers which are renamed Dell PowerEdge SC1425 servers “Pilot” “Ghosts”. A previous generation of the Machine's code was shown on screen. The code displayed was that of the Stuxnet worm “Prophets”. The Machine is first described using "she/her" pronouns by Root in “Liberty”. It is implied this is how it asked to be addressed. The rest of Team Machine picked up the habit in later episodes. In Return 0, The Machine tells Shaw its "Big Sister" when first speaking to her in Root's voice, as a reference to "Big Brother", a character from George Orwell's Nineteen Eighty-Four, the leader of a society constantly under surveillance. In the Ubisoft video game series Watch Dogs, a "smart city" OS called CTOS, using pattern recognition software, is noticeably similar to The Machine. Interestingly, the main protagonist in the first game, Aiden Pearce, shares similarities to John Reese. External Links Technologies and Analyses in CBS’ Person of Interest The Machine is real References ↑

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