#forgotten saga

[90sfantasyanimestuff]

Forgotten Saga

[offense-is-the-best-defence]

OK no one said Dokkerland would slowly roast me alive..

[pardonmydelays]

forgotten saga is so scary, i wish i knew what im doing but i dont

[morganbritton132]

Eddie’s live-streaming in his studio when Steve comes into the room like, “Did you hear about Lydia Martinez?”

Eddie: Who?

Steve: Lydia… Dude, she sat behind you in Click’s class

Eddie: ????

Steve: Tuesday/Thursdays?? 1985????

Steve: Big Farrah Fawcett hair. Green eyes. Great… *gestures* boobies. She was sweet! Really cute. Let you copy her homework. You know.

Eddie:

Eddie: Yesterday, you forgot what the password on your phone was but you remember a random person we went to high school with?

Steve, rolling his eyes: You know her though, right?

Eddie: Clearly not!

Steve: Well, she died. Heart attack.

[greenieart]

I was inspired.

[odysseus-of-lthaca]

so, do you think odysseus is gonna see all 108 suitors fighting for penelope's hand and be like 'babe, i'm not like other suitors. i have angered and befriended gods in ways they can't even think of ' and try to re-rizz his wife?

[shannonsketches]

Why is the anime so weird, it's not even the same series dude?? It's like,

Anime:

GOKU: I have a great idea to bring peace to the universe, and my leadership and compassion alone will unite us all. I have No Flaws and am A True Relatable Everyman :)

VEGETA: NO! I AM THE BEST AND I WILL CAUSE PROBLEMS UNTIL I AM RECOGNIZED AS SUCH!!!!

Manga:

GOKU: Vegeta what's cornmeal made of? I know it's what the corn eats, but what's it made of? VEGETA: Hey Kakarot let's play the quiet game until one of us dies.

[dreamerslovechaos]

*wakes up in a cold sweat* the reason the black rose arc had to be forgotten by everyone is because its foundational tenet operated on giving the Brides agency to protest against their role in the dueling system and seek to leave it, further exemplified by its final shot being that of anthy's complicitness in the dueling game. the black rose arc gives a 'voice to the voiceless' and exploits their rage against their lives into rage against the Bride - which though it furthers ohtori's system of oppression (the dueling game is built upon exploiting the internal conflicts of the duelists after all), the methodology of giving 'voices' to the Brides by allowing them to Speak Their Mind within the framework of 'self improvement' via seeking out therapy is shown to be antithetical to ohtori academy as a whole because true self actualization of the bride will mean the end of ohtori academy as a system. in this essay i will

[papa-evershed]

Rob James-Collier as Saul Silva FATE: THE WINX SAGA

[wildfairies]

enter the...

hiiiii 👉👈 i got a tumblr community approved without a plan... but i want it to be for interactive fiction fans !!

most discords are if-specific, so i think it'd be fun to have a place on tumblr to discuss all our favorite ifs! a cozy spot for casual posting, theories, mc development, and random thoughts <3

invite link

tagging some favorite IFs but all are welcome!

[princefleabitten]

Drizzt goes unhinged part 1 (sketches of Legend of Drizzt: Gauntlgrym)

[embroideredequations]

"We can't just sit and stare at our wounds forever..."

Marya Week Day 1: Post-war

[hanzajesthanza]

i feel like i just got so used to ciri and how natural ciri and geralt’s relationship left, via being introduced to the witcher via witcher 3, and then reading the middle of the saga before i finished the short stories…

that i never really innately picked up on the fact that ciri turning out to be geralt’s daughter and not his son was… uhm, part of the entire surprise, let’s put it that way :’)

geralt and ciri are just soooo natural as a father and daughter duo that i can’t imagine it any other way, if ciri had been a boy this would have been way less remarkable as a series, there would be no witcher series as we know it. so to me ciri being a girl was the normal and default, expected way things were supposed to go.

even when i read a question of price-sword of destiny-something more for the first times, i was like “ok” when ciri being a girl was a switch of expectations: geralt (and, supposedly, the reader) having expected pavetta to have a son. like… “alright, it’s a girl, so what.”

i had to be informed about how this was an intentional shock… not only because i’m not a parent, but i mean, well, ultrasounds get mixed up all the time, right… it’s not so uncommon to have a kid and be surprised by the gender…

and because of this, i was more inclined to eyeroll at blood of elves being preachy with going over ciri’s biological sex what seemed like ten million times in chapters two and three… what with the whole “daughter has her first period” subplot, ciri upset over her lack of potential strongmanship, and the witchers mostly relying on triss for guidance in raising a girl. the moral being both “just raise her like any other child” and “be sensitive to her needs that you’re blind to…”

although i still think these segments have visibly aged and date the series (not inherently a bad thing, just a quality of it)… they do make more sense when i try to empathize more with the perspective of a new father… who didn’t know he was receiving a girl… who thought she died… who only got her back through a miracle… and having to raise a girl… that’s not a young child anymore, not yet a teen, but is very shortly going to start going through puberty?! it’s like growing up in the desert, just learning what water is, and then getting thrown into the ocean.

because “having to raise a girl” still doesn’t seem that strange to me, but then i remember geralt didn’t see a woman and only had heard about them as a concept until he was an adult (because “warrior-monk” realness), he grew up with a hole in his heart that his absent mother bore, he lives in a highly gendered society, he experiences hostility from everybody of course but especially from women and girls, who take fright at him for… specific reasons explained by the old women in edge of the world…

no, geralt’s not helpless, but i forget, because he acts normal, but… (i mean, although he has issues, he could have really gone off his rocker with regards to women, a little sacrifice confirms this and vilgefortz embodies this) i forget that geralt’s inexperience with women… mostly manifesting in anxiety and both uncertain and impulsive behavior… like ghosting with a nosegay of flowers, the “dear friend” and all… would affect his view of the gender as a whole, including how he sees ciri. and it does.

in his situation, yes, having to raise a girl does intensify the element of “what the fuck am i doing”. especially as a single dad.

and although i do like it when the pov shifts from geralt in the saga but just to another person in the room, for how he becomes more of a distant and enigmatic figure, seeing him through others’ eyes always makes fills me with this uncertainty. buuuut, i would fucking adore blood of elves chapters two and three through geralt’s eyes just for how much of an emotional wreck he must have been… and trying not to show it to her :(

[fantasy-nerdddd]

Is Epic A Tragedy?

I've seen a couple people here question whether epic is a tragedy or a celebration of ruthlessness. I'll try to answer that by checking the criteria of definitions of ancient greek tragedies and tragic characters and the modern interpretation of tragedy.

Tragedy in ancient Greece was not defined as something bad or what we call tragic. It's actually, according to Aristotle:

"Εστίν ούν τραγωδίαν μίμησης πράξεως σπουδαίας καί τελείας, μέγεθος έχουσιν, ηδυσμένω λόγω, χωρίς εκάστω τών ειδών έν τοίς μιριοις, δρώντων καί ού δι' απαγγελίας, δι' ελέου καί φόβου περαίνουσα τήν τών τιούτων παθημάτων κάθαρσιν." (Yes, I did copy the ancient Greek definition. No, I don't know why)

We'll go over Aristotle's points one by one:

Imitation of actions (μίμησης πράξεως): The tragedy must imitate and show actual actions. Of course it is. Even if we don't count the animatics, Epic will become a play, or a circus play, or whatever it will become at some point. Still in progress Epic does have both animatics and imitations purely by the music.

Has a certain length (μέγεθος έχουσιν): The tragedy needs to have a length not too short in order to relay every message and meaning, but not too long in order to keep the audience focused and entertained. Epic fulfills both, at least to me. I don't think you could say Epic is boring.

Cleansing (κάθαρσιν): The tragedy should satisfy the audience. The hero can't be way too bad, because the audience won't sympathise with them and will think of their punishment as inevitable and deserved. However, they can't be too good, because the audience won't understand the Gods and their punishment will be met with anger. The main character should be ambiguous. Odysseus manages that well; look at all the people defending him and all the people defending Poseidon, Circe and Polyphemus. He's not the best morally, but he is not hated by everyone and a devil upon earth.

Serious and important (σπουδαίας): Ofc, the tragedy must be serious and important. I think Epic is both. I mean, the Odyssey is a very serious matter, and taking 10 years to return to your homeland is pretty important. It wouldn't have been the second most well known epic if it wasn't important.

Finished (τέλειας): The tragedy must have everything that happened, the reasoning, the consequences and the excuses presented in some way. I'm not an objective judge because I knew the Odyssey before Epic, but there are no plot holes like that from what I know.

Seasonings (ηδυσμένω λόγω): The tragedy must have something to make it more interesting and entertaining. Yes, Aristotle used a parallel to cooking, but he mainly meant rhythm and music. I think the title shows that, yes, there's both. Epic The Musical is a musical after all.

Correct me if I'm wrong or missing anything, but for now the answer is yes, according to Aristotle, Epic is a tragedy.

That's going to be short, but tragedy is generally interpreted as a misfortunate event in general. Yes. I'm pretty sure Epic is a tragedy in this kind.

Now, let's see whether or not Odysseus is a tragic character. According to my Helen by Euripides professor, a tragic character has to:

• Fight with Fates and Gods generally but also other humans, sometimes even themselves.

• Go from ignorance to knowledge through facing tragic dilemmas, contradicting situations and dead ends. It also has to include the consequences of these actions (guilt, loneliness, woe, defeat or redemption)

• Result in moral freedom, which shows the personality of the tragic character

Okay, so, point 1. Odysseus fights with all 4 in some ways. In No Longer You, he hears that he won't make it back, misinterprets it and decides to change his personality in order to fight fate, making No Longer You a self-fulfilling prophecy. Gods are numerous. Poseidon in Ruthlessness, Get In The Water and Six Hundred Strike. Zeus' will in The Horse And The Infant. Athena, if we stretch it, in Warrior Of The Mind, Remember Them and My Goodbye. Calypso in Love In Paradise. Humans is Luck Runs Out and especially Mutiny, as well as the upcoming song Odysseus. Himself and his morals is one of the additions from Jorge, and a constant theme of Epic. Just A Man and Monster are centered around that however there are hints everywhere.

Point number 2 might be controversial, but I'll take as knowledge the "Ruthlessness is mercy" mentality and Odysseus' belief that it works as the story goes on. Odysseus starts with the Open Arms mentality, and in later songs starts to accept, even welcome and hunt ruthlessness. He starts to believe that ruthlessness will make him achieve his goal, showcased in Different Beast, Scylla, Thunder Bringer and, most of all, Six Hundred Strike and Odysseus. Does it work? For him and his family, his main priorities, yes. I'll take that as growing knowledge it will. He even says so in Monster:

"Ruthlessness is mercy upon ourselves

And deep down I know this well"

Are his words to be trusted? No, not really. But it's just one more point. As for the tragic dilemmas, contradicting situations and dead ends, I think I've got at least one example for each. Dillema is obviously the infant, Astyanax. Do you kill an innocent soul because you were told it will kill your family? Or do you spare it and hope for the best? Contradicting situations could be the lyrics from Just A Man and Puppeteer:

"Deep down I would trade the world to see my son and wife"

"There's no length I wouldn't go if it was you I had to save"

Up until Thunder Bringer, that's possible. But not both can happen when Zeus makes Odysseus choose. He'll either see his son and wife, or he'll save his brother-in-law, Eurylochus. I know he didn't really want to save Eurylochus at this point (though I don't believe he wanted him dead), but those promises are contradicting. Love In Paradise is a dead end for Odysseus. If Athena didn't care for him, he would have been left in Ogygia for eternity as Calypso's plaything. Odysseus thought it was a dead end. He saw death as his only way out. Hell, he almost acted on his suicidal thoughts (that was a very, very stressful part of the musical for me). And is anyone going to argue Odysseus doesn't feel guilt, woe, loneliness, defeat or redeemed at some point in the story? I thought so.

EDIT: I forgot point 3 for Tragic Odysseus, let me add it. The story hasn't ended yet, so we can't tell for sure. But I believe he'll have the choice, after killing the suitors, to soften down and live in peace or continue the ruthless, cold path. From the snippets we've heard, it's going to be the former. Which also reveals a thing or two about his character: he didn't want to be ruthless or cause pain. He has always wanted peace with his family, and he'll get it.

Odysseus is a tragic character, at least in Epic.

So why isn't the Odyssey classified as a tragedy? Or Odysseus by Homer a tragic character? There are two reasons.

a) It has no music or rhythm. Which means it doesn't fulfill all the criteria for a tragedy (look to the seasonings section)

b) In Homer's time, the word tragedy didn't exist. The word was created centuries later to fit plays like Prometheus Bound by Aeschylus, Antigone by Sophocles and Medea by Euripides. I'm not going to analyse those, but they involve acting and music, not just a guy reciting a poem.

Anyways, I didn't expect this to get this long. Tell me if I've missed anything or made a mistake :)

[slythereen]

you mean to tell me williams didn’t even give logan his car back and instead are giving him alex’s repaired mess…… im going to do something drastic

[kai-ice]

I miss then fighting one and other but damn if I don't think then fighting side by side is cool!