Second circle

To discover π.After duplicating π, The Second Coming splits his duplicate into cos(τ) and sin(τ). He plays around with the functions like swords, then taps a point on the circle with sin(τ), making the point rotate around the circle and forming a sine wave traveling to the right. He taps the point with cos(τ), stopping the wave. He then taps the point with cos(τ), and it forms a sine wave upwards. He stops the wave again. He taps the point with both functions, and both waves appear again. He multiplies sin(τ) by i, turning the horizontal wave 90 degrees counter-clockwise and forming a ribbon-like pattern. He puts the functions together, adding them and replacing τ with π, and Euler's identity appears again.Euler's identity runs away again, The Second Coming grabs him and then Euler's identity creates a math sword, while The Second Coming grabs a part of circle. Euler's identity and The Second Coming then fight each other, until Euler's identity's math sword evolves, throwing The Second Coming onto the ribbon-like pattern. The Second Coming then grabs out his bow, shooting at Euler's identity. However, Euler's identity evolves into its Taylor's series and shoots a math rocket at The Second Coming, causing The Second Coming to evade. The Second Coming then dodges the rockets. He then makes a shield out of the circle, giving him protection. He then multiplies his shield by 8, turning into a cylinder hitting Euler's identity. They get hit back into the , so they then rearrange the symbols and insert themselves into the equation to make . Seeing this, they continually rotate the radius inside of the theta on the left side of the equation to make theta larger, basically making the circle larger. This circle pulls The Second Coming in. The Second Coming, seeing this, divides his cylinder by 8 so it's more portable. When Euler's identity lunges at The Second Coming, he puts a negative sign on himself, effectively teleporting him to the opposite side of the circle. Euler's identity gets mad, so they evolve into its Taylor's series and starts shooting math rockets at The Second Coming again. He sees the point on the side of the radius. The Second Coming then grabs a part of the circle and multiplies it by 4, so he can reach the point. He then grabs it off and strikes it with the . This generates

A sine wave that knocks Euler's identity out of the circle. Euler's identity then devolves into their original form and turns into , then transforms into , which clones Euler's identity by 4. These Euler’s identities devolve into cos(π) and then proceeds to multiply into four again, making sixteen of Euler’s identities. It can be further assumed that these Euler’s identities did this process many more times to make a massive hoard of them. Meanwhile, The Second Coming builds a function gun of . The Second Coming shoots at the horde of Euler's identities which attack him back. During the fight, The Second Coming manages to grab an infinity symbol from an Euler's identity in Taylor's series form and affixes it onto his function gun, dramatically increasing its power and allowing the stick figure to easy eliminate the Euler's identities. The remaining Euler's identities retreat outside the circle and combine to form a huge entity that absorbs the function gun's blast into an integral. The Second Coming is no match for it and gets knocked back into the circle. The Second Coming moves the circle upward in the imaginary axis and places the function gun at the center of the circle, which he hits with the sine and cosine hammers repeatedly to cause the circle to emit powerful blasts at the huge Euler's identity entity. Finally, after increasing the radius of the circle, The Second Coming destroys much of the Euler's identity entity, and the original Euler's identity attempts to retreat to the imaginary dimension. However, The Second Coming grabs a smaller circle, places some numbers with a multiplication sign, and rolls into Euler's identity into the imaginary dimension. Upon seeing cracks forming in the dimension, The Second Coming panics and escapes the dimension with Euler's identity. He asks for a truce, and Euler's identity agrees. The Second Coming then asks for a way out of this void. Eventually, using the circle earlier, Euler's identity turns off its beam, decreases its radius, and sends The Second Coming out of the void. Zeta, Phi, Delta, and Aleph then show up, and they walk away together with Euler's identity.Characters[]Protagonists[]The Second ComingAntagonists[]Euler's identity (debut/only appearance)Euler's identity's Clones † (debut/only appearance)Numberzilla † (debut/only appearance)Other characters[]Zeta (debut/only appearance)Phi (debut)Delta (debut/only apperance)Aleph (debut/only appearance)Gallery[]GalleryThe first teaser.The second teaser, The Second Coming fighting Euler's identity.1 equals 1.1 plus 1 equals 2.1 plus 1 plus 1 equals 3.The

The second circle of hell is depicted in Dante Alighieri's 14th-century poem Inferno, the first part of the Divine Comedy. Inferno tells the story of Dante's journey through a vision of the Christian hell ordered into nine circles corresponding to classifications of sin; the second circle represents the sin of lust, where the lustful are punished by being buffeted within an endless tempest.The tempest of lust, with Minos in the distance, as illustrated by Stradanus The circle of lust introduces Dante's depiction of King Minos, the judge of hell; this portrayal derives from the role of Minos in the Greek underworld in the works of Virgil and Homer. Dante also depicts a number of historical and mythological figures within the second circle, although chief among these are Francesca da Rimini and Paolo Malatesta, murdered lovers whose story was well-known in Dante's time. Malatesta and da Rimini have since been the focus of academic interpretation and the inspiration for other works of art.Punishment of the sinners in the second circle of hell is an example of Dantean contrapasso. Inspired jointly by the biblical Old Testament and the works of ancient Roman writers, contrapasso is a recurring theme in the Divine Comedy, in which a soul's fate in the afterlife mirrors the sins committed in life; here the restless, unreasoning nature of lust results in souls cast about in a restless, unreasoning wind.A 19th-century depiction of the second circle of hell by William BlakeInferno is the first section of Dante Alighieri's three-part poem Commedia, often known as the Divine Comedy. Written in the early 14th century, the work's three sections depict Dante being guided through the Christian concepts of hell (Inferno), purgatory (Purgatorio), and heaven (Paradiso).[1] Inferno depicts a vision of hell divided into nine concentric circles, each home to souls guilty of a particular class of sin.[2]Led by his guide, the Roman poet Virgil, Dante enters the second circle of hell in Inferno's Canto V. Before entering the circle proper they encounter Minos, the mythological king of the Minoan civilization. Minos judges each soul entering hell and determines which circle they