#Narrative labyrinth

[blueheartbookclub]

"Navigating the Celestial Odyssey: Apollonius Rhodius' 'The Argonautica' in the Lyrical Rhythms of R. C. Seaton's Translation"

"The Argonautica" by Apollonius Rhodius, elegantly translated by R. C. Seaton, emerges as a literary gem that weaves the tale of the heroic quest for the Golden Fleece into the fabric of ancient Greek epic poetry. This classical masterpiece, written in the third century BCE, invites readers into the mythical world of heroes, gods, and maritime adventures. The title itself hints at the epic journey undertaken by the Argonauts and the rich tapestry of myths that unfold in Seaton's poetic rendering.

Seaton's translation captures the spirit of Apollonius Rhodius' original work, breathing life into the archaic verses while maintaining fidelity to the poetic essence of the ancient Greek epic. The title serves as a prelude to an odyssey that transcends mortal realms, navigating the cosmic expanse and the turbulent seas that define the Argonauts' quest. Seaton's lyrical craftsmanship transforms the narrative into a symphony of words, each stanza resonating with the echoes of antiquity.

At the core of "The Argonautica" is the heroic journey of Jason and his companions, the Argonauts, as they embark on a perilous expedition to retrieve the Golden Fleece. Seaton's translation masterfully conveys the heroism, camaraderie, and divine interventions that characterize this mythic voyage. The title acts as a compass, guiding readers through the labyrinthine narratives that unfold in the wake of the Argo's sails.

One of the notable features of Seaton's translation is his ability to preserve the nuances of Apollonius Rhodius' language, allowing readers to savor the intricacies of the poet's narrative technique. The title becomes a doorway to the ancient Greek world, beckoning readers to immerse themselves in the vibrant imagery, divine interventions, and the cosmic forces that shape the destiny of the Argonauts.

The multifaceted characters of "The Argonautica" come alive in Seaton's translation, each imbued with distinct personalities and motivations. From Jason's quest for glory to Medea's complex role as both lover and sorceress, the title encapsulates the ensemble of characters whose fates intertwine amidst the celestial currents. Seaton's translation skillfully navigates the emotional depths of these characters, breathing humanity into the larger-than-life figures of Greek mythology.

As the Argonauts encounter mythical beings, face treacherous challenges, and traverse uncharted waters, Seaton's translation maintains a delicate balance between the epic and the lyrical. The title becomes a beacon, illuminating the narrative twists and turns that mirror the celestial constellations guiding the Argo through the cosmos. Seaton's poetic rendering captures the awe-inspiring beauty and perilous nature of the ancient mariner's journey.

"The Argonautica" is not merely an adventure tale; it is a tapestry of myths interwoven with themes of destiny, love, and divine intervention. Seaton's translation accentuates the nuanced connections between mortal aspirations and the whims of the gods. The title beckons readers to explore the mythic undercurrents that flow beneath the surface of the narrative, inviting contemplation on the intersection of mortal agency and divine influence.

In conclusion, R. C. Seaton's translation of Apollonius Rhodius' "The Argonautica" is a poetic voyage that resonates with the majesty of ancient Greek epic storytelling. The title encapsulates the essence of this celestial odyssey, promising readers an immersion into the mythical realms that have captivated audiences for centuries. Seaton's lyrical prowess breathes new life into the age-old verses, ensuring that the adventures of the Argonauts continue to inspire awe and wonder in the hearts of contemporary readers.

"The Argonautica" by Apollonius Rhodius is available in Amazon in paperback 12.99$ and hardcover 20.99$ editions.

Number of pages: 219

Language: English

Rating: 9/10                                           

Link of the book!

Review By: King's Cat

[blueheartbooks]

"Navigating the Celestial Odyssey: Apollonius Rhodius' 'The Argonautica' in the Lyrical Rhythms of R. C. Seaton's Translation"

"The Argonautica" by Apollonius Rhodius, elegantly translated by R. C. Seaton, emerges as a literary gem that weaves the tale of the heroic quest for the Golden Fleece into the fabric of ancient Greek epic poetry. This classical masterpiece, written in the third century BCE, invites readers into the mythical world of heroes, gods, and maritime adventures. The title itself hints at the epic journey undertaken by the Argonauts and the rich tapestry of myths that unfold in Seaton's poetic rendering.

Seaton's translation captures the spirit of Apollonius Rhodius' original work, breathing life into the archaic verses while maintaining fidelity to the poetic essence of the ancient Greek epic. The title serves as a prelude to an odyssey that transcends mortal realms, navigating the cosmic expanse and the turbulent seas that define the Argonauts' quest. Seaton's lyrical craftsmanship transforms the narrative into a symphony of words, each stanza resonating with the echoes of antiquity.

At the core of "The Argonautica" is the heroic journey of Jason and his companions, the Argonauts, as they embark on a perilous expedition to retrieve the Golden Fleece. Seaton's translation masterfully conveys the heroism, camaraderie, and divine interventions that characterize this mythic voyage. The title acts as a compass, guiding readers through the labyrinthine narratives that unfold in the wake of the Argo's sails.

One of the notable features of Seaton's translation is his ability to preserve the nuances of Apollonius Rhodius' language, allowing readers to savor the intricacies of the poet's narrative technique. The title becomes a doorway to the ancient Greek world, beckoning readers to immerse themselves in the vibrant imagery, divine interventions, and the cosmic forces that shape the destiny of the Argonauts.

The multifaceted characters of "The Argonautica" come alive in Seaton's translation, each imbued with distinct personalities and motivations. From Jason's quest for glory to Medea's complex role as both lover and sorceress, the title encapsulates the ensemble of characters whose fates intertwine amidst the celestial currents. Seaton's translation skillfully navigates the emotional depths of these characters, breathing humanity into the larger-than-life figures of Greek mythology.

As the Argonauts encounter mythical beings, face treacherous challenges, and traverse uncharted waters, Seaton's translation maintains a delicate balance between the epic and the lyrical. The title becomes a beacon, illuminating the narrative twists and turns that mirror the celestial constellations guiding the Argo through the cosmos. Seaton's poetic rendering captures the awe-inspiring beauty and perilous nature of the ancient mariner's journey.

"The Argonautica" is not merely an adventure tale; it is a tapestry of myths interwoven with themes of destiny, love, and divine intervention. Seaton's translation accentuates the nuanced connections between mortal aspirations and the whims of the gods. The title beckons readers to explore the mythic undercurrents that flow beneath the surface of the narrative, inviting contemplation on the intersection of mortal agency and divine influence.

In conclusion, R. C. Seaton's translation of Apollonius Rhodius' "The Argonautica" is a poetic voyage that resonates with the majesty of ancient Greek epic storytelling. The title encapsulates the essence of this celestial odyssey, promising readers an immersion into the mythical realms that have captivated audiences for centuries. Seaton's lyrical prowess breathes new life into the age-old verses, ensuring that the adventures of the Argonauts continue to inspire awe and wonder in the hearts of contemporary readers.

"The Argonautica" by Apollonius Rhodius is available in Amazon in paperback 12.99$ and hardcover 20.99$ editions.

Number of pages: 219

Language: English

Rating: 9/10                                           

Link of the book!

Review By: King's Cat

[incomingalbatross]

Sooo... I just watched Labyrinth, and I remember seeing some posts of yours talking about how it's good and similar to other stories (like OTGW). And in some ways, I see that? But also like.... I need a little help making any sense of it, lol

Sorry, I know this is super random, but I was just curious to find out why you like it and what you see in it, so I thought I'd ask!

Of course, I'm happy to talk about Labyrinth! :) Thank you for the ask!

(Disclaimer that I haven't watched it in a year or two, but I still remember it fairly well.)

In terms of similarity to OTGW: both stories center on a teenage protagonist who is a dreamer, but too caught up in themselves, and to some extent running away from their life. This manifests PARTICULARLY in their neglected and/or rejected responsibility to their younger half-brother. They end up in a liminal, otherworldly space that operates on much more narrative logic than they're used to, and can only save their lives/souls and make it home again by saving said younger brothers first.

Sarah rejects her brother at the beginning of her story, while Wirt abandons his care for Greg near the end, but you can see the similar beats there, right? They're both dealing with normal teenage stress + the stress of parental divorce (probably) and remarriage, and seeing their younger brothers as an emblem of Everything Wrong In Their Lives. In reality, their younger brothers are forcing them to live in reality, where they have duties and connections to other people, and can only find maturity/fulfillment through embracing that.

Jareth and the Beast are also very similar figures, I think; Jareth is a more seductive tempter figure, playing to Sarah's ego and to romance tropes, while the Beast plays with hope and despair. But they are both trickster figures who use bargains -- seeming windows of hope -- to entrap vulnerable mortals (Wirt and Greg, in the Beast's case).

AND. Both Jareth and the Beast are defeated by someone calling them out as empty and powerless! Wirt says, "this is dumb," and demolishes the Beast's entire facade -- he's not keeping souls in the lantern, he's the one dependent on the lantern, and he can't keep Wirt or Greg if they're ready to go home. Sarah's "You have no power over me" has the exact same weight -- it's wrapped up in theatrics of these being Specific Magic Words, but it's the meaning of them that shatters Jareth's power and sends her and Toby home.

In both stories, evil tries very, very hard to convince these kids that they need it. Jareth wraps it up in a lot more complicated temptations -- I'll make you happy, I'll make you powerful, I'll give you glamorous parties and material comfort and everything you ever wanted if you fall down and worship me -- while the Beast sticks to a brute-force message of despair, with the crumbs he offers as all that there is -- "There is only my way." But in both cases, the message is: you need me.

And in both stories the protagonists go: No. I don't need you. I don't need anything from you. In fact, you have nothing to give.

At which point it's revealed that evil needed them. Needed them to buy into its strength, its ability, its substance -- or it doesn't have any. It crumbles away, and they go home.

...So! Those are the big similarities between them, I think, for me? I like Labyrinth, as its own movie, because I like the classic fairy-tale structure of "the fairies/goblins/elves took my loved one because I messed up, and now I gotta get them back the hard way." I love the atmosphere of the Labyrinth and Sarah's friends (though your mileage may definitely vary on this movie, depending on your tolerance for Henson Creations ;P). I love Sarah, who messes up, but who is still plucky and brave and kind through most of her trials! The friendship between her and Hoggle (...a Woodsman parallel?) is my favorite. And while I'm very much in the minority of this fandom in not really feeling Jareth's appeal, as a villain I think David Bowie does an excellent, glittery job. And we get music.

[calamitycodified]

the story of c!wilbur and lmanburg is a love story if you're not a coward

[honestlyvan]

(Crossposted to Dreamwidth)

The thing that makes me the most "run around in circles" crazy about Initiation is that Alan wrote the Casey of the Dark Place into the story to help him, and then made it so that Casey knows even less about what is going on than Alan does.

Alan never gives Casey the opportunity to get past step fucking one to help him, explains nothing to him, and Casey ends up with no idea what he's even doing here, no idea what his assigned purpose is, no idea what his narrative goals are. He's an actor given no script, no stage direction, to the point that Casey doesn't even know they're in a story, and it makes him sink deeper into depression with every passing loop with no knowledge to ground him.

And it's impossible to tell if this is because Alan didn't realise that he had the perfect opportunity to write Casey like the Diver, a living repository of Alan's accumulating knowledge about the Dark Place, a seeing-eye dog to guide him through the dark -- or if Alan did try that, and it somehow went so horribly wrong that now he and Casey can't both survive in the same narrative line without trying to kill each other -- or if Alan did try that, and it went horribly right, and now the Dark Presence can't let Casey live because Alan's bespoke perfect little detective is too good at finding out useful things.

And instead, in the story we currently have, Alan made up a guy for a specific purpose of helping him, but because Alan is the protagonist, because it's his story, his fault, his duty and his job to get himself out of it, he doesn't even let Casey fulfil his narrative purpose. What the hell else is Casey supposed to do, Alan, other than the thing you literally made him for? He's the detective -- he's supposed to solve things.

[doublefreegames]

A sneak peek at Lydia's Labyrinth... Mwah Darlings!

It's day 2 of the Spooktober VN jam! Here's a quick image drop to show off the look we're going for in Lydia's Labyrinth!

As always, royalty free photos from pixabay are doing the heavy lifting for backgrounds and graphic design. I add a lot of colouring and effects to make it look more vampy.

I've also started the coding in Renpy and Robert is working on the writing, maze design and sound effects. So it's all go and I hope we can get this dangerous labyrinth finished!

Hope your all having a great Spooktober and keep healthy during the jam!

[maxiwaxipads]

some people put charms around their house like the cross to ward away evil spirits… do you think pikero hangs bargain jeans to keep tuxam away but it only works for a little while until tuxam has gathered the courage to clean up

[megatraven]

doodle of a concept ive been playing around with, titled hera's daughters

[dayurno]

Kevjean that spend years without talking to each other out of the pure irrational fear of not having anything in common now that they are both free of Riko – If they don't look then the change isn't there

AGH....... theyre so fucking stupid but i think so much about how important riko is to their relationship and how much of a space he could be given even as a dead man if kevin and jean don't make a point out of ignoring him...... but how can you rid a relationship of its primal creator if its also both parties' first and worst abuser........ how do you get rid of riko without getting rid of each other..... its really. ah

i think a big part of kevjean to me is that both of their separate, new support systems (the trojans and the foxes in this case, though i use the term support system loosely) absolutely dont agree with this relationship at all GHDFGDHGJDFG when all your friends think your relationship is a grudge you cant let go of..... when everyone in your life thinks the only reason you could stay together is out of a misguided sense of codependence........ when no one wants you together and no one understands and it feels like youre a cult of two :) when id rather remember every time ive ever been wronged and abused than let go of you :) when you look at him and you think hes just something you invented when you were scared and needed to be rescued :))))

anyway heres my kevjean vision moodboard

[repurposedmeatlocker]

It honestly surprises that people are not talking enough about the symbolism of Jareth in Labyrinth (1986) as a form of adolescent sexual awakening, and how Sarah's authority over herself represents the acceptance of maturity and rejection of harmful patterns of escapism.

[sunlabyrinth]

Thank you for The Last of the Lords of Ice walkthrough! I couldn't get Endings 1 and 3, and I didn't have any idea how to do it!

You are welcome! :-)

I'll aim to get to Winter's Trumpet's walkthrough, too, this weekend. It's not as easy to look at the internal game logic/variables for that one so it may take a little longer.

[laughableillusions]

If they ever make Labyrinth into a video game it should either have like Elden Ring and Horizon Forbidden West level graphics OR shitty Ps1 polygon type graphics no in between

[sprolden]

ok thinking about the infernal devices again. i think the reason why tid is almost a cult classic or at least very much adored by ppl who read it once 10 years ago is definitely because of the way it twists common ya tropes. it takes those tropes and adds extra elements to them or changes them in a way to make them more three-dimensional, which makes it interesting to read for anyone who grew up reading ya and is overly familiar with the genre and its clichés. obviously the conflict-free love triangle is the best example of this but there's also the way jessamine fits the pretty mean girl/dumb blonde trope when she is introduced, but only becomes a genuine villain when she sheds both of these roles (and eventually becomes something of an anti-hero when she falls back into them); how will fits the tortured bad boy trope but one of the main antagonists (nate) does too from jessamine's pov (and, additionally, how jessamine effectively acts as tessa's foil for their respective romances); how will/jem are introduced and function as polar opposites/counterparts but throughout the series have more and more moments where they're revealed to be very much alike to the point where will explicitly refers to them as being the same person (in the most literal sense, something that's stated at the very start of the series too but takes on a different meaning as it goes on); the way the first book seems to set up for sophie/jem but ultimately does not deliver on it; etc. etc. it's genuinely very clever but ONLY to girls who have read like 60 ya novels in the past 5 years bc it requires a knowledge of how these tropes often function in ya lit and how tid subverts them. if it did this for literally any other genre it would be a classic

[teddypdf]

methinks mercedes from pans labyrinth deserves the miss honey from matilda treatment

[calamitycodified]

do you think they've ever explored each other's bodies

[strikeslip]

Love a dream of a labyrinth, running. It's one of my most common dreams. Tonight's maze was made of parking lots and cheap art galleries and obelisks. It was full of bums and crustpunks and people who looked like mormon missionaries gone feral, every one of 'em a sorcerer or creature of some kind. The lion guardian, the man who throws you sideways in time, a woman who did some kind of lights and veils tatterdemalion magic, someone with authority over passes and the like. Passes were packing tape and cardboard, but I went through three or four in the maze, one of which was East <dream language> Mafia, and the others I never got to hold, but were nontheless significant. At the beginning and end of the maze was my family, celebrating some kind of very mundane event for the youngest child, possibly a birthday. My family was about twice as large as usual, and also extremely magical. I woke up right as the apparent husband/bodyguard of my third grandma told me I had passed a trial of apprenticeship and could pick who would take me on.