#Tragic Creator

[blueheartbookclub]

"Resurrecting Prometheus: Mary Shelley's Haunting Masterpiece, Frankenstein"

Mary W. Shelley's "Frankenstein: Or, The Modern Prometheus" stands as an immortal testament to the enduring power of gothic literature and its exploration of the human condition. In this haunting tale of scientific ambition gone awry, Shelley weaves a narrative that transcends time, challenging our notions of morality, creation, and the pursuit of knowledge.

Victor Frankenstein's reckless quest to defy the boundaries of life and death results in the birth of a creature both wretched and sublime. Shelley's evocative prose takes us on a journey through the icy landscapes of the Arctic and the darkest recesses of the human soul. The novel's layered narrative, framed within the letters of an ambitious explorer, adds depth to the overarching tragedy, creating a sense of impending doom.

As the creature grapples with his identity, rejected by society and his own creator, Shelley compels us to confront themes of isolation, prejudice, and the consequences of playing god. The moral ambiguity of Victor Frankenstein and the sympathetic portrayal of his creature blur the lines between good and evil, challenging readers to ponder the ethical implications of scientific innovation.

"Frankenstein" is more than a cautionary tale about the dangers of scientific hubris; it is a profound exploration of the consequences of unchecked ambition and the responsibility that comes with creation. Shelley's narrative mastery, coupled with her intellectual depth, makes this novel a timeless classic that continues to resonate with readers, inviting them to ponder the boundaries of human knowledge and the price of playing with the forces of life and death.

"Frankenstein: Or, The Modern Prometheus" by Mary W. Shelley is available in Amazon in paperback 12.99$ and hardcover 20.99$ editions.

Number of pages: 266

Language: English

Rating: 10/10                                           

Link of the book!

Review By: King's Cat

[blueheartbooks]

"Resurrecting Prometheus: Mary Shelley's Haunting Masterpiece, Frankenstein"

Mary W. Shelley's "Frankenstein: Or, The Modern Prometheus" stands as an immortal testament to the enduring power of gothic literature and its exploration of the human condition. In this haunting tale of scientific ambition gone awry, Shelley weaves a narrative that transcends time, challenging our notions of morality, creation, and the pursuit of knowledge.

Victor Frankenstein's reckless quest to defy the boundaries of life and death results in the birth of a creature both wretched and sublime. Shelley's evocative prose takes us on a journey through the icy landscapes of the Arctic and the darkest recesses of the human soul. The novel's layered narrative, framed within the letters of an ambitious explorer, adds depth to the overarching tragedy, creating a sense of impending doom.

As the creature grapples with his identity, rejected by society and his own creator, Shelley compels us to confront themes of isolation, prejudice, and the consequences of playing god. The moral ambiguity of Victor Frankenstein and the sympathetic portrayal of his creature blur the lines between good and evil, challenging readers to ponder the ethical implications of scientific innovation.

"Frankenstein" is more than a cautionary tale about the dangers of scientific hubris; it is a profound exploration of the consequences of unchecked ambition and the responsibility that comes with creation. Shelley's narrative mastery, coupled with her intellectual depth, makes this novel a timeless classic that continues to resonate with readers, inviting them to ponder the boundaries of human knowledge and the price of playing with the forces of life and death.

"Frankenstein: Or, The Modern Prometheus" by Mary W. Shelley is available in Amazon in paperback 12.99$ and hardcover 20.99$ editions.

Number of pages: 266

Language: English

Rating: 10/10                                           

Link of the book!

Review By: King's Cat

[stateofgraice]

Hang up, give up And for the life of us we can't get back.

[astrolotte]

listen guys I love Peri a lot too, I think there's a lot about his character worth studying and that he's a good guy but you all have GOT to stop blaming Dev here when Peri is arguably more at fault!

Sure, Dev was mean to him, but Peri was mean back! And Peri is an adult while Dev is a ten year old child, Peri should have the capacity to not complain about him directly to his face, especially considering Dev has been emotionally abused all his life.

Ultimately, I don't consider it to be either of their faults. Sure, Peri was bad at this, but he straight up didn't have any experience except for Timmy, where he took up the role of a brother instead of a parent, a VERY different dynamic. Peri should've gotten like at least 3 different godkids before someone like Dev, to give him a feel for how different kids can be, and how you need to deal with different situations in their own ways. And that's just the lowest I'd advise going, he should've definitely had more.

So I blame the system for throwing him to the wolves fresh out of schooling, especially considering, iirc, Fairy Academy is canonically pretty terrible, as it's more like a military academy than an actual school. He had no proper experience, no way of knowing how to help a kid that doesn't seem to want to be helped...

But if you're going to blame anyone, blame Peri. Not the child that he was supposed to help, the child that he failed.

Mind you, 10 year olds literally don't even have fully developed minds yet, of course his sense of morality is a bit twisted. His brain isn't fully grown!

[imissthembutitwasntadisaster]

While I recognise that the boy and the heron is making deeply nuanced and complex statements I personally refuse to be sympathetic towards the greatuncle because he did that to the pelicans and I am on the side of the pelicans.

[ssseashell]

how tragic they are

this tik tok trend is killing me so i had to do this lazy (and terrible) edit to lock in my thoughts, u get the vision tho

[myokk]

Okay, question for you- is Eloise’s hair tied at the end and curly, or in a ponytail and curly, or is there no tie and I’m just blind?

I was going to answer this quickly but I am EXTRA & had to do a write-up of her hair (sorry🙏)

First, she normally does wear her hair in a braid!💓 I do NOT know how to draw braids nor do I want to learn, so I do my weird way that looks terrible and I really should spend like 30 min researching😔🙏

When I remember, I like to add the bow but I forget a lot🥲

Her hair is CRAZY and thick, and has been the bane of her existence her whole life. I’m just channeling her inner Black (she is like a great-aunt or something of Sirius and Bellatrix) so OBVIOUSLY i had to give her amazing hair.

Since she is a Proper Young Victorian Lady™️ who spent the last 5 years at a muggle finishing school, she NEVER wears her hair down, and felt scandalized the first weeks at Hogwarts, seeing girls her age wearing TROUSERS😨 and having their hair DOWN😳 and although she’s used to it now, she still feels uncomfortable thinking of herself doing it.

Sebastian daydreams about it all the time though😇🙏

Some quick doodles I sketched up for this así.

1) her crazy hair when it’s down💓🫶

2) Imelda LOVES doing Eloise’s hair. She’s never really had girl friends before, and the ritual of gossiping/doing hair/hanging out reminds Imelda of her childhood bc her mom used to do her hair and tell stories����🥹 and Eloise has NEVER had friends before OR the experience with her own (awful) mother so she LOVES IT TOO💓💓💓 (Imelda teaches her Spanish some nights)

[6utterfly3ffect]

There needs to be more content of what happened after Chloe and Max got out of town in the bae over bay ending. Like how did they recover from all that. How did Max deal with the fact she pretty much killed everyone in the town that her and Chloe knew and loved while her and Chloe got out of it. How did Chloe feel about her mom dying and the town she’s always lived in being destroyed because of Max’s choice to not sacrifice Chloe for the wellbeing of Arcadia Bay. That yes they have each other but to have each other they destroyed everything else that mattered to them. How did they like. Move on from that. Ever.

[reluctantcheesecake]

Still mad about how anything post SL characterizes Circus Baby as this skinny scary daddy's girl who's cunning and charismatic and kills for her daddy . While Baby in SL she's much more of a antagonist-but-tragic-in-a-way-you-sympathize-with figure. TFC when I fucking get you

[dazais-guardian-angel]

I'm finding it difficult to reconcile the fact that what I've always wanted and envisioned for Nikolai and his relationship with Fyodor based on fanworks and the very very little canon information we've had to go off of so far, will very likely be very different from what we actually get.

While I understand the appeal of Fyodor taking over Nikolai's body via his blood ability, and the inherent, romantic, ironic tragedy of that — for Nikolai, the person who yearned for freedom, to meet an end by having his soul eternally trapped in the body of the person he loved the most, while Fyodor lives on in his body, never truly knowing how much he was adored by him — I would just hate the idea of that happening now? It just feels far, far too soon for Nikolai to be dead, for his character to no longer have a role or a purpose; his mind and behavior is so utterly fascinating in all its bizarre contradictions, there's so much more to explore and discover with him, he's one of BSD's most complex characters, or at least he's set up to be, and I really hope Asagiri wouldn't throw him away this soon without doing anything more with him.

I never really thought that Nikolai would be the one to end Fyodor for good, way down the line (that can only ever be Dazai's job, to me, since he's his foil), but I always imagined he'd at least have some kind of role in attempting to kill him, since that's his ultimate wish. I imagined that it would be ugly, frenzied, unhinged, desperate, Nikolai finally being forced to acknowledge the horrible truth that's always been buried within his subconscious but he's never wanted to accept: that going against all human reason and killing someone he cares so deeply for will not, in fact, simply make those feelings go away, and will instead make them unable to ignore in his despair. The realization that he'll always be chained to human emotions, to love, no matter how much he thinks he can be free of them. And then, the ensuing breakdown from that. Yes, it's extremely fanficky lmao, but that kind of drama makes sense to me for him and them. It's interesting.

There was also the angst angle of Fyodor being immortal, and Nikolai's agenda perhaps stemming from wanting to save him from that, and being able to finally free him from it in the same way he himself wants to be freed. Killing being the ultimate expression of love, not too dissimilar to Mushitarou killing Yokomizo, both putting on an act of being hateful/vengeful/hostile towards the other in order to cope with the fact that deep down they can't bear the thought of them being gone.

But then we got Fyodor's "death" here, and Nikolai's reaction to it was so unbelievably underwhelming and calm that it made me question everything I thought I knew about Asagiri's writing skills him, and what the story is going for with him. And combined with this revelation now that Fyodor is (unsurprisingly!) immortal, but specifically in the way that he can be killed but supposedly resurrects endlessly (which I really like in of itself, don't get me wrong)... it makes me question what exactly Nikolai knows, or will know, and it somewhat destroys the potential angst we could get with them in the end, or at least drastically changes it.

If Nikolai already knows Fyodor can't be killed, that means we'll never get a moment where he tries to kill him and then has to face the fact that he did the deed and it didn't make him feel freed, and he instantly regrets it. It also means we'd never get a moment where he tries to kill him and then discovers he can't truly die, and the ensuing insanity that would occur from that. It also makes me even question the legitimacy of his reaction to Fyodor's "death" here... was it so damn apathetic and lukewarm because he already knows it wasn't permanent? I mean, I'd like an explanation for it feeling so ooc, it would make me feel better about that, but I can't deny that it would be disappointing to have yet another part of this arc that was just an act and not genuine feelings....

Now, that isn't to say that it's impossible to do anything interesting with Nikolai already knowing the truth. He could be wishing to try to attain free will through the illogical pursuit of an impossible task: in this case, killing Fyodor. There's a beautiful, tragic paradox in him wishing to attempt something to gain his freedom that he and we know is impossible, especially if subconsciously he takes solace in the fact that he'd be able to kill Fyodor without actually losing him for good. If Nikolai doesn't already know, assuming he's not dead he's likely going to find out the truth soon when he next sees Fyodor alive and kicking — I can't imagine a way he wouldn't find out. In that case, we wouldn't get the aforementioned scenario where he tries to kill him and discovers it's futile, which is the most juicy to me I won't lie, but I am still fascinated by the idea of how Nikolai will respond just seeing him suddenly alive again and having to process this after having just mourned him. It's interesting to imagine how he might respond to and treat Fyodor after at last knowing how it truly felt to lose him, and realizing how much he didn't want that, and then suddenly having him back. It might cause him to finally understand that his desire for freedom is unobtainable, and cause him to spiral, and fundamentally change their relationship going forward. An eventual tragic end for him such as Fyodor taking over his body would not feel out of place to me in that case, perhaps, but still not until we've had more time to see Nikolai reflect and see his possible change in perspectives.

I don't know, I'm just rambling at this point lmao. I know very well that so much of my expectations and desires for Nikolai and Fyolai are built up from fan content over the years just because there's been nothing else to work with, and that it's unfair to judge what Asagiri decides to do with him/them based on preconceived notions. Whatever he does could still be interesting in the end, even if it's not what I initially wanted or expected, and being open to being surprised is always a good thing. At the end of the day we still know barely anything about Nikolai, so it's not completely fair for me to judge something as ooc for a character we still know so little about.

But... it's because we know so little about him and have gotten so little of him, that at the very least, I'm gonna be really upset if he does die here from being possessed by Fyodor like people are worrying about. I really don't think he will, because I'm pretty confident the helicopter pilot is the one Fyodor swapped with/resurrected in the body of as per soup's theory, and again I'm not saying it wouldn't be fitting eventually... but I really don't want it to happen now. :/ I just think Nikolai still has so much potential as a character and so much more we need to see of him before his likely inevitable and tragic demise (however it happens), so whatever Asagiri decides to do with him I just really, really hope we don't lose him so prematurely; it would honestly be such a tremendous waste imo.

[three--rings]

So I've talked a lot about this in the past (see my tag for this topic) but I've never really talked about one of the BIG things that makes me prefer gay romance to straight.

When I first started trying to read romance novels, after disparaging them a lot as a teen, I ended up turning my nose up a lot at them for one reason in particular.

Straight romance would be like single woman meets single man and they are Instantly Attracted to each other in an undeniable way BUT THEY CANNOT BE TOGETHER BECAUSE REASON. And the reason was always really lame and forced. Like, oh no I have to focus on More Important Things or My Family Won't Approve and honestly those reasons always felt like ....so you don't actually like this person or value them too much then? And there would be hundreds of pages of increasingly hard to swallow obstacles to them just....getting together and being in love.

So it was the very rare het romance where I felt like the obstacles were valid and earned and worked. I really stuck to period romances where at least you could believe a class divide or "being betrothed to someone else" was valid.

Then I started reading gay romance, and IN PARTICULAR gay HISTORICAL romance and got ADDICTED. Because now it worked. Now you can have family disapproval and professional concerns and added not-accepting-your-own-sexuality issues and it's emotionally believable. Now I could get my love-triumphing-over-obstacles cake and also not have to turn my brain off to eat it.

And when I moved into danmei it was just Gay historical but in China and that was fantastic.

It's also why, I think, when we're talking about modern gay love stories, I very much prefer "complicated plot/setting with high drama" rather than "fluffy coffee shop/high school setting" because it's more likely to give those actual sources of conflict I like to see. Like yeah I want one half of the ship to think "maybe he's secretly an evil spy and just using me" or whatever instead of "oh no I should focus on studying" because one may be more COMMON of a setting but I find the other more emotionally satisfying.

But either way, queer love stories still feel like they have more believable obstacles to being quickly resolved. Otherwise you get romances entirely focused on poor communication and misunderstanding and I want to fucking strangle the writer.

So that's one of the big reasons why I find the "hit rate" of gay romances in whatever form much higher than straight ones for me.

[juliart-107]

you know what, these ideas have been plaguing me for long enough. here's some hcs of charlie: the hero and sneeg: the hero from these genloss swap ideas and what goes through their head in their final moments

this is rambling time, so apologies if it makes half sense

what if i told you that glhero!charlie's goggles block out the color green, rendering him colorblind and seeing in red hues both in reality and whenever he tried to visualize something. in his final moments, he is finally able to remember the color green. the color of traffic lights, emeralds, fruit, and nature. his life outside. he remembers a person sitting among green, lush grass. he remembers her eyes; green, too. and when the audience decides he's no longer useful, a toy they have gotten tired of, he tries to think of as much green as possible in a desperate attempt to capture that idea of individuality that has been stolen from him for so long. he holds on to that color, to those familiar eyes, to that person who's name is just on the tip on his tongue ("it's similar to the word green, right? gre—thats not right. c'mon charlie, think. you don't have much left, what was her name? you have to remember her, you have to.") as the metal digs into his ribcage. stubbornly, he refuses to give showfall the satisfaction of completely bleaching his mind. he dies with the color green, the color of grace's eyes, in his mind and no one can take that away from him.

you know what else? glhero!sneeg's in-ear tech constantly bombards him with white noise to stop him from acting out of line. when he wakes, that sound has finally stopped, but is replaced with hetch monologuing and, just to mess with him, an obnoxiously loud clock ticking in the room. he begs for the peace of a quiet death. he is able to move his arms so he plugs his ears and for the first time his brain is silent. thats when he realizes, wow, now he can hear what his voice sounds like. he has never truly recognized his own voice, it never felt like it was his own. for some reason, he can only find himself repeating the word "hannah" over and over again, the name coming to him easily like he used to say it out of habit. then, in his head, a memory of a familiar voice, louder than any previous ringing or static, calls a name he assumes that is his—his subconscious flooding with past moments with hannah faster than he can comprehend. as the walls close in he thinks about how no one will mutter his real name again. he thinks about other sounds he will never hear again as well. car horns, dogs barking, laughter, whispered promises... a baby's cry.

anyway, can you tell i slept well? /s

(edit: also, while ive mostly been on twitter, i feel like tumblr is more rambling-friendly, so i may do more waffling about headcannons because the brain rot is strong and i now have a place i can dump it somewhere lmao)

[agendratum]

canon lesbian pairing in my russian comics? it's more likely than you think

...in 2016

[seraaphism]

do i look like him?

[jjoelswatch]

Always amuses me (read: exhausts me) when people are surprised and angry when Star Wars creators refer to Thrawn as a villain and act like it’s the end of the world because the creators don’t ��get” the character.

[fischiee]

at the end of the day church and tex are pygmalion and galatea and we just have to accept that. like the story of the sculptor who fell in love with his own art

bc she really is just his own creation that he loves and wants to love him back and wants to be whole but she’s.. not. she’ll never be anything outside of him, she’d never exist if it weren’t for his imagination (since she isn’t truly allison she is his concocted version of her) and because of that she can’t be human

he loves her as some fucked of version of loving himself (he loves who he was when he was with her and loves that he created her and that she is wholly his)

the difference is that alpha is no god, no aphrodite, and he cannot create life, he can only fragment himself which is why they do not get the happy ending of pygmalion and galatea, they instead are doomed to repeat and echo the agonies of the people they mimic