#maybe they can get some more ask

[goomyloid]

got uty au pilled again, sorry... more info under the cut

an AU where ceroba, in the end, refuses to inject kanako with the serum. even after all her research, she just can't trust that it's totally safe. while kanako accepts this, she still wishes she could eventually be of use somehow, and indirectly blames herself for her father's death.

despite all this, with kanako alive, ceroba is able to grieve chujin in a far less desperate way, still having her daughter by her side. as the years go by, ceroba devotes more and more of her time to finishing chujin's research in hopes of finally making a serum that can save the underground. kanako is determined to help, too -- together, they clean up chujin's lab and make it a far nicer place to work, because they're in this together now. well, in theory.

ceroba still certainly takes care of kanako and does her best to be a good mother, but as time passes, ceroba spends more and more time in the lab trying to find an answer. kanako, being the social butterfly that she is, can't bring herself to always stay shut inside like her mother; she travels daily to Oasis Valley, making friends and becoming the town darling. as ceroba spends more time working, kanako spends more and more time taking care of the estate, trying to spend time outside whenever possible.

but it gets kind of lonely. the ketsukane estate is off outside of Oasis Valley, and not many people come by. she's worried about her mother, who's been shutting her out as she becomes more desperate to find a solution. there's only so much to do at the house.

then, clover falls into the underground and explores the dunes. there are barely any other kids at this spot in the underground -- finally, someone around her age! she's immediately entranced by them and determined to become their friend, even after finding out they're a human -- that just makes them cooler...!

but there's a problem; kanako has seen her father's tapes, she knows that a human soul would be extremely valuable to producing the serum. of course, she wants to help save the underground, and she wants her mother to finally be rid of stress and be able to spend time with her again... but after spending time with clover, kanako knows there's no way she can let clover die. they're like the sibling she never had...

and kanako can't even let her mother know that clover exists, either; she knows exactly what will happen if ceroba finds out there's a human here. and yet, a secret part of her wishes and hopes that maybe, just maybe, ceroba could find value in clover as a person and then they could all live in the ketsukane estate together. it would be a dream come true! maybe there's even some way clover can help ceroba without having to give up their soul...?

but things aren't destined to work out that way. any number of things could happen.

clover could peacefully move on in their quest through the underground, leaving a sad and lonely kanako behind.

or, ceroba finds out about clover in one way or another, and things are not looking good. but would she choose to take clover's life at the cost of her daughter's one and only friend?

what if clover didn't come in peace, but in vengeance?

or maybe ceroba somehow accepts clover, growing to respect them after all is said and done, and she tries to experiment on a living human soul?

or maybe, wracked with grief and loneliness, kanako discards her mother's warnings and takes the new, updated serum herself, determined to become the hero for her family like she always wanted...?

or, something else could happen.

what if, after an unhappy ending, kanako wakes up on that same day again, waiting for clover to come by the ketsukane estate for the first time? she doesn't even know how it's possible, reliving the same few weeks over and over. she just wants to find her happy ending, and she'll search and search for as long as she needs to.

how long can she watch the same endings play out over and over?

[fifthnailinstevesbat]

thinking of a new steddie fic/au hmmm.

It’s just the classic, Steve buys weed from Eddie in season 1 era, he and Tommy meet him at the bench in the woods behind school. Steve and Eddie have some playful banter and clearly get along, but it’s dismissed as just a drug deal and they go on about their lives.

Next time they meet is when a frantic Steve comes and finds Eddie after he’s just fought off the demogorgon for the first time. He’s rattled, and skittish, wearing a nasty black bruise on his eye, and just overall not acting like himself. He snaps at Eddie multiple times to just ‘hurry up’ and ‘get him his stuff’, and sure he’s being an asshole, but more than anything Eddie is just concerned. He has never seen The King Steve Harrington lose his cool like this. So Eddie cautiously gives him the weed, making sure not to give too much, and lets him go about his day, but not before asking if he’s alright. Steve clearly wasn’t expecting this and brushes it off defensively, but that doesn’t mean he’s not thinking about it for the rest of his week. How the hell did Eddie Munson notice something was wrong, when his own parents didn’t? Nor his “friends”?

They cross paths again a year later, the beginning of season two. Steve is still with Nancy and has freshly dumped his old douchebag crew of superficial friends. He is still sitting quite comfortably on the higher ranks of popularity, but there is no denying his status is not what it used to be. He comes to buy weed from Eddie in the first week back at school, and it’s a casual interaction. He’s still as charmingly stuck up as he ever was, but now without Tommy there to judge his every move, he seems a little more at ease when making casual conversation with Eddie. Eddie doesn’t mention the year before and Steve is so glad for it, secretly very embarrassed that he went to Eddie for some refuge after arguably his most traumatic experience to date. He gets his stuff, giving Eddie a smirk when he notices he’s dropped the price significantly for Steve when it’s just him alone. Eddie gives him a challenging smile back, almost daring him to call it out, but he doesn’t. They both just laugh and part ways.

The next run in is tina’s halloween party. They notice eachother when Steve first arrives, making eye contact and giving a polite nod. Maybe Eddie lifts his drink up to Steve in a silly salute. They don’t speak at all or make any effort to hang around eachother. That is, until Steve storms down the stairs in a rage after he’d gone up there with Nancy Wheeler. But then are those- tears? Eddie was standing on the front porch smoking a cigarette, trying to discreetly hide from one Billy Hargrove to avoid having to sell him anything, but staying visible enough that he won’t lose all chances of making any money tonight. Steve storms right past him and hits his shoulder. Eddie whips around and is about to call him a dick before he sees who it is.

Steve tries to quickly wipe his face, he won’t make eye contact with Eddie, and he’s clearly trying to get out as fast as he can. Eddie doesn’t let him, though, since he’s obviously not thinking very clearly and is most likely about to do something emotional and stupid. He asks if Steve’s alright, and his answers are all short and rushed, so he’s definitely not. They’re not really friends, but Eddie’s not an asshole.

— “Did you drive?” Eddie asks

“Yeah”

“Well, you’re drunk, Steve. You can’t get behind a wheel right now. And if I knowingly let you, then that makes me an accomplice. I’ll take you home.”

Steve tries to protest, attempting to push past him, but Eddie interjects. “Yeah, yeah, alright! Don’t thank me yet, Steve’o. This is not for you, see, I’m not trying to get a criminal record, here. I cant go to prison, Steve. Do you know what they’d do to a pretty guy like me in prison? Nope, let’s go hot stuff.” —

Eddie takes Steve home. They don’t talk much. By the time they reach Steve’s drive way and Eddie has put his van in park, Steve is making no attempt to exit the vehicle just yet. Eddie doesn’t know what to do, he didn’t really plan this far, so he’s just tapping away awkwardly at his steering wheel while Harrington stares down the dashboard so clearly lost in thought Eddie fears his head might explode. Steve tells Eddie what happened, says it’s ‘relationship troubles’, and he’s not quite sure what compelled him into being so honest with Eddie Munson, but he’s blaming the alcohol. Eddie wasn’t expecting that. They chat for a bit, Eddie makes Steve laugh and considers the whole night a success after that. Then they start cracking jokes about their shared hatred for Hargrove, and Steve looks and sounds a bit more ok to go inside. He thanks Eddie, quite sincerely actually, and it throws him a bit. He stutters a ‘yeah, for sure. It’s no problem.’ And Steve goes home.

After that, it’s a little different. Steve, doesn’t actually really have anyone, anymore. When they go back to school he’s now greeting Eddie here and there in the hallways, making conversation when they find themselves alone together, in the lunch line or at the bathroom sink. He doesn’t approach Eddie when there’s too many people around, though. As much as he’s grown, Steve Harrington still carry’s some prejudice in him about how certain things may make him look. But it doesn’t bother Eddie too much. It’s not like they are really friends, they’re just like, strange acquaintances. And Steve would never deny that they get along, that really Eddie’s ‘not so bad’. So that’s a win.

Steve finds Eddie again not long after the party to buy some more weed, a plan that sparked purely out of boredom. Eddie says yes, of course, but tells him if he wants it today he will need to wait till after school and meet Eddie at his place, since he was busy. So Steve takes a trip to the Munson trailer to make his deal. Eddie invites him inside and they sit together on the couch as he gets Steve’s bag ready. They end up making quite pleasant conversation, joking around and ultimately finding they are really enjoying each other’s company. They enjoy it so much so, that Steve ends up smoking there, with Eddie. So now they are kind of like, hanging out? And it’s fun, so they do it again. Still they’re not, friends friends, they just get along. Eddie just sells Steve weed sometimes and they keep it civil.

He doesn’t hear from Steve for a while, and the next time he sees him it’s from a distance, in passing. The man has the most roughed up face Eddie has ever seen, bruised and swollen in multiple areas, stitches and bandages all over. It’s really, concerning? completely metal, but alarming. This is the second time Eddie has seen the guy all beaten up like that. He knew that boys fight, but surely not that bad? As worried as he was, Eddie doesn’t approach him to ask questions, because they don’t know eachother like that. So he goes on about his day, and he doesn’t see Steve again after that for quite some time.

Then it’s summer, Eddie isn’t graduating again, and he’s not really sure what to do with himself over the break. The new mall has just opened up, and there’s a cool music store up on the second floor that he likes to visit sometimes with his band friends. And wouldn’t you know, working at the Scoops Ahoy located directly across from his favourite store, is Steve Harrington. The guy hasn’t come to Eddie for any weed since last year, and then there was that sighting where he looked like he’d just fallen face first into a flying fist or two, so it’s been a minute since Eddie’s seen him. And he’d be lying if he said it wasn’t a nice surprise. He only goes into scoops once. He’s curious, okay? Sue him. And, he knows the girl who works with him, Robin. So he plays it off like he had no idea he’d see Steve there. And to his surprise, Steve actually acknowledges him. He doesn’t act like Eddie is a total stranger just because they’re not in school anymore. The interaction is quick, they make very casual conversation, Eddie says hi to Robin, grabs his milkshake and goes home. That’s all. He doesn’t go back, and he doesn’t really plan to. Steve’s nice, and he knows Eddie’s around if he needs to buy from him again, and that’s really as far as their relationship goes. That’s all it ever was. It’s been fun getting to know Steve Harrington a little bit better, even if it was just for a short time. Eddie liked having the chance to see in past the quaffed hair and pressed polo shirts to learn that Steve was really just a person under it all. He never thought he’d say it, but Harrington wasn’t so bad. It was a nice little eye opening experience for Eddie.

Eddie was ready to write off his little blips of interaction with Steve Harrington as a thing of the past, no hard feelings, and move on with his life. That is, until he gets a knock at his front door in the middle of the night afew days after the big mall fire. And it’s Steve on the other side. And he looks awful, his face is the worst Eddie’s ever seen it. And he wasn’t really knocking, more like pounding. He says he needs Eddie’s help.

What the fuck?

[vinceaddams]

Any tips on learning to make buttonholes? I've been putting it off for.... *checks notes* like three years.... but better late than never and all that. I don't have any fancy machines so I gotta do it by hand but that seems right up your alley.

Thanks!

It IS up my alley, yes, I do most of my buttonholes by hand!

I'm actually part way through filming an 18th century buttonhole tutorial, but I expect it'll be a few more weeks before I finish that and put it on the youtubes, so in the meantime here's the very very short version. (The long version is looking like it'll probably be about 40 minutes maybe, judging by how much script I've written compared to my last video?)

Mark your line, a bit longer than your button is wide. I usually use a graphite mechanical pencil on light fabrics, and a light coloured pencil crayon on dark ones. (I have fabric pencils too, but they're much softer and leave a thicker line.) You may want to baste the layers together around all the marked buttonholes if you're working on something big and the layers are shifty and slippery. I'm not basting here because this is just a pants placket.

Do a little running stitch (or perhaps a running backstitch) in fine thread around the line at the width you want the finished buttonhole to be. This holds the layers of fabric together and acts as a nice little guide for when you do the buttonhole stitches.

Cut along the marked line using a buttonhole cutter, or a woodworking chisel. Glossy magazines are the best surface to put underneath your work as you push down, and you can give it a little tap with a rubber mallet if it's not going through all the way.

I'm aware that there are some people who cut their buttonholes open using seam rippers, and if any of them are reading this please know that that is abhorrent behaviour and I need you to stop it immediately. Stop it.

Go get a buttonhole cutter for 10 bucks and your life will be better for it. Or go to the nearest hardware store and get a little woodworking chisel. This includes machine buttonholes, use the buttonhole cutter on them too. If you continue to cut open buttonholes with a seam ripper after reading this you are personally responsible for at least 3 of the grey hairs on my head.

Do a whipstitch around the cut edges, to help prevent fraying while you work and to keep all those threads out of the way. (For my everyday shirts I usually do a machine buttonhole instead of this step, and then just hand stitch over it, because it's a bit faster and a lot sturdier on the thin fabrics.)

I like to mark out my button locations at this point, because I can mark them through the holes without the buttonhole stitches getting in the way.

For the actual buttonhole stitches it's really nice if you have silk buttonhole twist, but I usually use those little balls of DMC cotton pearl/perle because it's cheap and a good weight. NOT stranded embroidery floss, no separate strands! It's got to be one smooth twisted thing!

Here's a comparison pic between silk buttonhole twist (left) and cotton pearl (right). Both can make nice looking buttonholes, but the silk is a bit nicer to work with and the knots line up more smoothly.

I've actually only used the silk for one garment ever, but am going to try to do it more often on my nicer things. I find the cotton holds up well enough to daily wear though, despite being not ideal. The buttonholes are never the first part of my garments to wear out.

I cut a piece of about one arm's length more or less, depending on the size of buttonhole. For any hole longer than about 4cm I use 2 threads, one to do each side, because the end gets very frayed and scruffy by the time you've put it through the fabric that many times.

I wax about 2cm of the tip (Not the entire thread. I wax the outlining/overcasting thread but not the buttonhole thread itself.) to make it stick in the fabric better when I start off the thread. I don't tend to tie it, I just do a couple of stabstitches or backstitches and it holds well. (I'm generally very thorough with tying off my threads when it comes to hand sewing, but a buttonhole is basically a long row of knots, so it's pretty sturdy.)

Put the needle through underneath, with the tip coming up right along that little outline you sewed earlier. And I personally like to take the ends that are already in my hand and wrap them around the tip of the needle like so, but a lot of people loop the other end up around the other way, so here's a link to a buttonhole video with that method. Try both and see which one you prefer, the resulting knot is the same either way.

Sometimes I can pull the thread from the end near the needle and have the stitch look nice, but often I grab it closer to the base and give it a little wiggle to nestle it into place. This is more necessary with the cotton than it is with the silk.

The knot should be on top of the cut edge of the fabric, not in front of it.

You can put your stitches further apart than I do if you want, they'll still work if they've got little gaps in between them.

Keep going up that edge and when you get to the end you can either flip immediately to the other side and start back down again, or you can do a bar tack. (You can also fan out the stitches around the end if you want, but I don't like to anymore because I think the rectangular ends look nicer.)

Here's a bar tack vs. no bar tack sample. They just make it look more sharp, and they reinforce the ends.

For a bar tack do a few long stitches across the entire end.

And then do buttonhole stitches on top of those long stitches. I also like to snag a tiny bit of the fabric underneath.

Then stick the needle down into the fabric right where you ended that last stitch on the corner of the bar tack, so you don't pull that corner out of shape, and then just go back to making buttonhole stitches down the other side.

Then do the second bar tack once you get back to the end.

To finish off my thread I make it sticky with a bit more beeswax, waxing it as close to the fabric as I can get, and then bring it through to the back and pull it underneath the stitches down one side and trim it off.

In my experience it stays put perfectly well this way without tying it off.

Voila! An beautiful buttonholes!

If you want keyhole ones you can clip or punch a little rounded bit at one end of the cut and fan your stitches out around that and only do the bar tack at one end, like I did on my 1830's dressing gown.

(I won't do that style in my video though, because they're not 18th century.)

Do samples before doing them on a garment! Do as many practice ones as you need to, it takes a while for them to get good! Mine did not look this nice 10 years ago.

Your first one will probably look pretty bad, but your hundredth will be much better!

Edit: Video finished!

And here's the blog post, which is mostly a slightly longer version of this post.

[cubbihue]

When you said that the unluckiest person is most hopeful, it reminded me of Nagito Komaeda. If the universe were combined, do you think he would fair well having Anti Cosmo as his anti fairy?

Funnily enough, I feel like it would be Hajime who would have an anti-fairy companion. I mean, he’s surrounded by extremely skilled people! That would attract bad luck in some way for him. Nagito wouldn’t be good food for anti-fairies. Or Fairies. Or Pixies.

...Honestly, Fairies aren’t quite sure what food he produces. It’s like a weird amalgamation of luck, desire, greed, and all sorts of emotions they can’t disentangle. Like a crockpot gone horribly horribly wrong. Eating any bit of that would make any fairy sick.

Eugh. The hell is wrong with that one.

Bitties Series: [Start] > [Previous] > [Next]

[xxplastic-cubexx]

me Omw to annoy you about more Francesca content 😼😼

you and my entire inbox my friend strap in everyone this is gonna be The Francesca Mega Collection. part one The Bed Collection ft You HAVE To Click/Tap To Read Anything ESPECIALLY The Asks

thank you for joining me for the Francesca Bed Collection im going to pass out

[ruporas]

asking and receiving (bonus below readmore)

[ID: A black and white, digital Trigun comic of Vash and Wolfwood. In the first panel is a close up of Wolfwood's mouth as he says, "Vash". Accompanying it is a close up shot of Vash's eye, widen and cheeks flushed. Wolfwood presses a knee against the open space between Vash's legs and says, "Tell me everything you want from me." Wolfwood's face is equally as flushed. He continues to say, "I'll give it to you. Everything." As he talks, a wide shot shows the both of them in white space. Vash is sitting, leaning a little back with both hands pressed against the surface he's sitting on. Wolfwood is in his white dress shirt, stripped of the blazer. He's still leaning in with one knee in between Vash's spread legs, his right hand touching Vash's lips and his left hand behind his back.

The shot closes in on Vash's mouth and Wolfwood's hand against it, pressing down on the lower lip as he says, "You have to ask though. Go on." His hand moves down to Vash's chin, gently holding it. With a shy and uncertain expression, Vash hesitantly asks, "Um... K... Kiss... Please?" Wolfwood, without wasting a second, leans in and kisses him and indulges by pressing deeper, eliciting a small noise of surprise from Vash.

Wolfwood moves away from Vash first and with a smile, asks, "What else?" Vash tugs on Wolfwood's left sleeve, wordlessly budging Wolfwood to give him his hand that was still behind his back. In the next panel, Vash utters, "Hold me..?" He's holding Wolfwood's left hand with his own while his right hand is reaching for his waist. Wolfwood complies, moving his left hand to Vash's shoulder and his right hand continues to touch Vash's cheek. Wolfwood asks again, "What else?"

More comfortable now, Vash leans in to kiss Wolfwood. Wolfwood catches him immediately, pressing his thumb against Vash's lips to stop him before demanding, "Hey. Ask." Vash looks back in surprise and Wolfwood meets his eye with a quiet, insistent look. They're quiet for a moment before Vash leans in again and curtly requests, "Kiss. Me." Wolfwood says "Good", smiling as he lifts his hand away, and meets Vash's lips. In the next shot, Wolfwood had adjusted his position, sitting on Vash's thigh. The hand that was once on Vash's cheek has moved its way to Vash's nape, pushing away the collar of his jacket with his pinky. His other hand continues to grip on Vash's shoulder. Still kissing, Wolfwood asks again, "What else?"

In the next shot, Vash is starting to turn, moving Wolfwood with him. Vash asks, "Let me on top of you?" Wolfwood says, "Mhm" before asking again, "What else?" The next panel shows a close look of Vash's face. He's looking down, flushed and shy just as he had been at the beginning, but now, more decisive. Vash asks, "Wolfwood... Let me have you..?" A panel of Wolfwood taking Vash's hand into his, pulling it towards his chest. The next panel shows Wolfwood lying down where Vash had laid him. Vash's hand is on Wolfwood's chest, covering the cross of his rosary while Wolfwood's hand lingers against his, loosely pressing Vash's hand in place. He looks up at Vash with a shy smile of his own, flushed cheeks. He says, "All yours."

A panel shows a close up of Vash's tender gaze before he leans down to be closer to Wolfwood. The final shot is a front view of their positions, Vash's face turned away from the viewer; Vash is leaning over Wolfwood who's lying down with his right leg draped over Vash's legs. Wolfwood's left hand holds onto Vash's left arm. With finality, Vash says, "...Mine." End ID]

[ID: A follow up bonus comic in a looser, sketchier style. They're laying comfortably in bed when Vash asks, "What was that earlier?" referecing to the start of the previous comic. Wolfwood glances away and says, "To get you used to it. Asking. And getting what you ask for. Since you're alwasy hesitant about it." Vash's eyes widen, tight lipped. Wolfwood continues, "Knowing you, it'll be a tough habit to break..." When he says this, Vash can't help but laugh, unable to deny it. Wolfwood slowly brings a hand to Vash's cheek and continues to say, "So I'll keep trying -- whatever ways I can... to get it through your thick skull." Vash takes Wolfwood's hand with his, kissing the the palm gently. Wolfwood's eyes soften and holding onto Vash's cheek, he leans in to try for a kiss. Vash says, "Hey..." before stopping Wolfwood's lips with the back of his hand, a smug look on his face, "Ask." Wolfwood's embarrassed and with little irritation, asks, "Really?" Vash smiles, saying, "You're in need of practice too." They pause for a moment, Wolfwood looking contemplatively, before he's leaning in again, asking, "May I please kiss you?" Vash looks him in the eyes and says, "Yes." The comic ends with a "chu", indicating an off-panel kiss. End ID]

[puppyeared]

you are umasou

[marzipanandminutiae]

so help me god if I tanked the chance for a well-paid job with full medical benefits, sick leave, paid vacation time, etc. because I hardly ever do machine seam-finishing

I'm going to be. really really really upset

[cherubchoirs]

in the tomb of saint gabriel

(may your woes be many)

[feather-bone]

Have you made any art of orcas? I can't seem to find any with Tumblr's broken tag search, so I figured I'd ask in case you haven't. Thank you, and I love all your art! It always puts a smile on my face when I see it. c: ❤️

I have! I was a couple years ago, I also can't find the original post. Broken website lol ;w; So here's a re-upload of The Whale because I am quite fond of this guy !!

[ID: a digital illustration of an orca facing to the right on a simple ocean background. Sunlight is filtering in from above, and there are small fish surrounding it. End.]

[lunarharp]

if i just told you i love you would this world change

[lilac-set]

Reminder: even if trump wins, we’ll be ok. The presidency isnt the only political position that matters, he wont be a dictator, the president doesnt have the power to remove every other part of government that keeps the president’s power in check. Also politics isnt the only thing that matters. Even if we lose some rights (which he cant singlehandedly do) we still have community, we still have activism, we’ll always be ok. We survived one trump presidency, we can survive another. We survived before gay marriage or transitioning were legal, if we have to survive that again we will. Please, no matter what happens, promise to stay alive. Youre valuable, youre important, and youre going to be ok. Its better to be overprepared than underprepared. Im not asking you to lose hope (im doing the opposite of that), im asking you to practice coping ahead, get all your coping skills ready, determine now to stay alive, because i dont want any of you to make any rash decisions later in case we get bad news and emotions are high. Make a safety plan if you need to. Make sure you’re gonna be ok

[d8tl55c]

oh boy !! ! ! ! !!! ! thANK y0u all for the kind words on my last art posts. you all get it and i was/still am so happy about it

as promised, here's some close-ups of the comic for image quality's sake, and other screenshots i rescued from the community whiteboard (and something else)

first up another sketch of mystery gender-ambiguous being. (please send me more name ideas for them if you got one- i like to hear em! (reminder it's the side character that appeared for <10 seconds in AvM Ep. 30))

a few fav scenes

emotional support cwab

they weren't meant for this purpose exactly, but i do have countless "fluffy sticks" loose in my notes and homework sheets from the school years.

papery critter.

even when i wasn't confident in fur or feathers, they helped me practice posing and create some satisfying gradients/flowing poses. (im a sucker for good tail poses) (oh yay! i found a good pic...)

and finally, little sneak peak for you for reading so far ;3

i realized that whiteboardfox is pretty great for my working needs. simple and to the point and all. feels nice with the mouse and the tablet.

so i started hashing out a big project idea just to see if it holds up and

[

several hours later ...

]

oh

oh man

it's a little bigger than i expected

<next>

[felassan]

.

[gingermintpepper]

As usual I read your tags always and so you said Apollo did not ask for resurrection of Asclepius and Hyacinthus so i just wanted to share this. About Asclepius death I read it on theoi.com, that earlier authors don't make him resurrect as a god but that's a later development mentioned only by Roman authors like Cicero, Hyginus and Ovid. But still Apollo has a role in Ovid's version

Ovid, Fasti 6. 735 ff (trans.Boyle) (Roman poetry C1st B.C. to C1st A.D.) : Clymenus [Haides] and Clotho resent the threads of life respun and death's royal rights diminished. Jove [Zeus] feared the precedent and aimed his thunderbolt at the man who employed excessive art. Phoebus [Apollon], you whined. He is a god; smile at your father, who, for your sake, undoes his prohibitions [i.e. when he obtains immortality for Asklepios].

So here it is actually because of Apollo the decision was taken to resurrect him as god. And with Hyacinthus, I don't think I've read about Artemis playing the primary role. I know in Sparta there was a picture of Artemis, Athena and Aphrodite carrying Hyacinthus and his sister to heaven.

This is not on theoi.com but I saw on Tumblr it's from Dionysiaca by Nonnus

Second, my lord Oiagros wove a winding lay, as the father of Orpheus who has the Muse his boon companion. Only a couple of verses he sang, a ditty of Phoibos, clearspoken in few words after some Amyclaian style: Apollo brought to life again his longhaired Hyacinthos: Staphylos will be made to live for aye by Dionysos.

So since he is singing inspired by amyclean stories it probably means in that place it was believed Apollo was the one to bring back his lover to life.

Apollo as god of order was very important so i think it shows how special these people (and admetus too) were to him that he decided to go against the order for them 🥺

ANON!! Shakes you like a bottle of ramune!! BELOVED ANON!!!!! I'm littering your face with kisses, I'm anointing you with olive oil and honey - you absolutely made my night with this because, not only did I get the pure serotonin shot of having someone interact with my tags (yippee, wahoo!!) I also got to have that wonderful feeling of "oh wow, have I misunderstood something that was integral to my understanding of this myth/figure this whole time or is this a case of interpretational differences?" which is imo vital for my aims and interests as someone who enjoys mythological content and literature.

I'll preface my response with this: Hyacinthus is by far the hardest of these to get accounts for because his revival itself, as you very astutely point out, is generally accounted for in painting/ritual format which muddies the waters on who interceded for what. I wasn't actually familiar with that passage from the Argonautica - and certainly didn't remember it so thank you very much for bringing it to my attention!

That said, what I've come to understand, both about Hyacinthus and about Asclepius is that in the accounts of their deaths, Apollo's position is startlingly clear.

For Hyacinthus, it is established time and again that Apollo would have sacrificed everything for him - his status, his power, his very own immortality and divinity. Ovid writes that Apollo would have installed him as a god if only he had the time:

(Ovid. Metamorphoses. Book X. trans. Johnston)

Many other writers too speak of how Apollo abandoned his lyre and his seat at Delphi to spend his days with Hyacinthus, but they also all agree that when it came to his death - he was powerless. Ovid gives that graphic account of Apollo's desperation as he tries all his healing arts to save him to no avail:

(Ovid, Metamorphoses Book X. Apollo me boy, methinks him dead. trans Johnston)

Bion, in one of his fragments, writes that Apollo was "dumb" upon seeing Hyacinthus' agony:

(Bion, The Bucolic Poets. Fragment XI. trans Edmonds)

Even Nonnus in the Dionysiaca speaks constantly of Apollo's helplessness in the face of Hyacinthus' fate where he writes that the god still shivers if a westward wind blows upon an iris:

and when Zephyros breathed through the flowery garden, Apollo turned a quick eye upon his young darling, his yearning never satisfied; if he saw the plant beaten by the breezes, he remembered the quoit, and trembled for fear the wind, so jealous once about the boy, might hate him even in a leaf...

(Nonnus, Dionysiaca, Book 3. trans Rouse)

And the point here is just that - Apollo, at least as far as I've read, cannot avert someone's death. He simply can't. Once they're already dead - once Fate has cut their string - all Apollo's power is gone and he can do nothing no matter how much he wants to. And this is, as far as I know, supported with the accounts of Asclepius as well!

Since you specifically brought up Ovid's account, I'll also stick only to Ovid's account but in Metamorphoses when we get Ovid's version of Coronis' demise, he writes that Apollo intensely and immediately regrets slaughtering Coronis. He regrets it so intensely that he, like he does with Hyacinthus, does his best to resuscitate her:

(Ovid, Metamorphoses Book Two. Apollo's regret)

And like Hyacinthus, when it becomes clear that what has happened cannot be undone, Apollo wails:

(Ovid, Metamorphoses Book Two. Apollo wept.)

Unlike his mother, Asclepius in her womb had not yet died and so, with the last of Apollo's strength, he does manage, at least, to save him.

(Ovid, Metamorphoses Book Two. Apollo puts the 'tearing out' in Asclepius.)

But it goes further than even that because Ocyrhoe, Chiron's daughter, a prophetess who unduly gained the ability to directly proclaim the secrets of the Fates, upon seeing the baby Asclepius, immediately prophesies his glory, his inevitable death and then his fated ascension:

(Ovid. Metamorphoses, Book Two. Ocyrhoe's prophecy. trans Johnston)

Before she too succumbs to her hubris and is transformed by the Fates into a horse so she can no longer speak secrets that aren't hers to share.

These things ultimately are important because it establishes two very important things: 1) Apollo can't do anything in the face of the ultimate Fate of mortals, which is, of course, death and 2) even when Apollo is Actively Devastated, regretful, yearning, mournful, guilty or some unholy combination of all of the above, when someone is dead, he accepts that they are gone. Even if he is devastated by it, even if he'll cry all the rest of his days about it - if they're dead? Apollo lets them go. In Fasti, when Zeus brings Asclepius back, he does not say Apollo asked him to - Zeus, or well, in this case Jove, brings Asclepius back because he wants Apollo to stop being mad at him.

(Ovid, Fasti VI. Apollo please come home your father misses you. trans. A.S Kline)

Even Boyle's translation which you used above in your findings hints that Zeus made Asclepius a god because he wanted Apollo to stop grieving. (i.e 'smile at your father', 'for your sake [he] undoes his prohibitions')

And like, Apollo was deeply upset by Asclepius' death - apart from killing the Cyclops in anger, in book 4 of the Argonautica, Apollonius writes that the Celts believe the stream of Eridanus to be the tears Apollo shed over the death of Asclepius when he left for Hyperborea after being chastised by Zeus for killing his Cyclops:

But the Celts have attached this story to them, that these are the tears of Leto's son, Apollo, that are borne along by the eddies, the countless tears that he shed aforetime when he came to the sacred race of the Hyperboreans and left shining heaven at the chiding of his father, being in wrath concerning his son whom divine Coronis bare in bright Lacereia at the mouth of Amyrus.

It all paints a very clear picture to me. Apollo did not ask for either of them to be brought back. Though bringing them back certainly pleased and delighted him, they are actions of other gods who are moved by Apollo's grief and mourning and seek to mollify him. Him not asking doesn't mean he didn't want them back which I think is a very important distinction by the by, but it simply means that Apollo knows the natural order of things and, even if it hurts, he isn't going to press his luck about it.

Which, of course, brings us to Admetus. And I'm really not going to overcomplicate this, Admetus is different because, very vitally, Admetus is not dead. Apollo can't do a thing once Fate has been carried out and Death has claimed a mortal but you know what he absolutely can do? Bargain like hell with the Fates before that point of inevitability. And that's what he does, ultimately for Admetus and Alcestis. He sought to prolong Admetus' life, not revive him from death or absolve him from death altogether and even after getting the Fates drunk, he's still only able to organise a sacrifice - a life for a life - something completely contingent on whether some other mortal would be willing to die in Admetus' place and not at all controllable by Apollo's own power.

All of these things, I think come back to that point you made - that Apollo's place as a god of order is very important and therefore these people are very special to him if it means he's willing to go against that order but, I also wish to challenge that opinion if you'd let me. Apollo's place as a god of order is very important and therefore, I would argue, that it is even more important that it is shown that he does not break the divine order, especially for the people that mean the most to him. The original context of my comments which started this conversation were on this lovely, lovely post by @hyacinthusmemorial which contemplated upon Asclepius from the perspective of an Emergency Medical personnel and included, in their tags, the very poignant lines "there's something about Apollo letting go when Asclepius couldn't that eats my heart away" and "you do what you can, you do your best, but you don't ever reach too far" and I think that's perfectly embodied with the Apollo-Asclepius dichotomy. Apollo grieves. He wails, he cries, he does his best each and every time to save that which is precious to him but he does not curse their nature, he does not resent that they are human and ultimately, he accepts that that which is mortal must inevitably die. There is nothing that so saliently proves that those who uphold rules are also their most staunch followers - if Apollo wants to delight in his place as Fate's mouthpiece, he cannot undo Fate. And, if even the god of healing and order himself cannot undo death, what right does Asclepius, mortal as he is, talented as he is, have to disrespect it?

The beauty of these stories isn't that Apollo loved them enough to bring them back. The beauty is that Apollo loved them enough to let them go.

[feroluce]

Lucid Dreamer (1/2)

part 2

Gepard notices that it's been. Quiet lately. Like weirdly quiet. TOO quiet. He hasn't seen Sampo Koski in almost a week, which is about the longest he's ever been absent. And he is NOT worried. He's not! So what if they've been getting along more lately! So what if Gepard sometimes looks for him in his favorite hiding places! So what if he's been dreaming about blue hair and green eyes! It's nothing!!

But they're….strange, these dreams. Gepard doesn't usually remember what he's dreamt. It's out of his mind seconds within waking up. But these stick with him, they won't leave him be, they feel different somehow.

He dreams of Sampo bringing food to the frontlines and eating breakfast in his tent with him. Sampo always sneaks him extras. He dreams of chasing Sampo through the alleyways, Sampo sometimes letting himself be caught, Gepard sometimes catching him, and trying to ignore how it feels more like a game now more than anything else. He even dreams that Sampo tags along with him on one of his few civilian days. Sampo runs errands with him, prattles about inane bullshit while Gepard picks out groceries for the week, drags Gepard into some bakery he's never been to but he thinks Serval mentioned once.

And sometimes, it feels so close to reality, that Gepard half expects to see Sampo, shamelessly swaggering into the frontlines with all the guards' breakfast like his wanted poster wasn't only recently taken off the walls of Belobog. He's disappointed when it's always someone else instead. He tells himself his disappointment is ridiculous and if Sampo wants to go prowl around the Snow Plains or wherever he is, then fine. It's not any of his business.

…But it IS his job to investigate any unusual criminal activity relating to the frontlines. And the frontlines are Sampo's usual haunting grounds, and this is unusual activity, and Sampo IS technically a criminal, so it is absolutely part of his duty to look into this - is what Gepard tells himself the entire tram ride down into the Underground.

Natasha tells him he's gone, and Gepard has to steel himself. He knew Sampo made enemies wherever he went, there are a lot of people who would love his head on a platter, but he didn't think-

Natasha corrects him that she means literally gone. As in off-planet. Sampo always leaves her a note before he goes anywhere, so she knows not to expect any supply runs from him. He should be back in exactly two weeks. Thank the Preservation.

Gepard goes back home. He waits.

The uneasiness doesn't leave him.

"Where did you go?" Sampo stops dead in the middle of some story about Seele, and how you'd think someone with as blunt a mouth as her wouldn't have so much trouble asking a woman out, even if that woman IS the Supreme Guardian, and stares at him. He nearly fumbles his cigarette.

"Ahaha, what do you mean, I'm right here?" Sampo smiles at him the same way he always does. Gepard has no idea why he asked. It just popped out. He can never tell when Sampo is lying, anyway.

"I don't know. I feel like I haven't seen you in a long time." Gepard idly mouths at his own cigarette. He almost never smokes, but he wants to ration their stocks of Blizzard Immunity, and it helps with the cold. It's seemed colder lately, for some reason.

Gepard flicks his lighter once, twice, sighs at the third time because a metal prosthetic and thick gloves make the damn things so difficult. Sampo reaches over and wordlessly kisses the end of his cigarette to Gepard's, lighting it. "Thank you."

Nothing happens for almost a full 30 seconds. Something churns behind Gepard's ribcage. Because Sampo never leaves a "thank you" hanging. This is the part where he gives his spiel about how helpful and kind he is and Gepard either brings up how long his rap sheet was before Bronya helped clear his name, or just stares deadpan because seeing Sampo squirm is weirdly satisfying.

"…I'll be back in one more week."

Gepard jolts awake in his cot, mouth dry and eyes bleary.

The hell.

The next dream he has, Sampo looks tired. Sometimes he seems normal. Sometimes he says strange things, like how he wishes he'd gone to some restaurant in Belobog. Ate his favorite food more recently. Brought something with him. Gepard asks why he can't do that now. Where would he bring something? Sampo only shrugs. His rebuttals have less energy.

Gepard doesn't know if he wants to dream more, or less.

He ticks down the days on his calendar. Natasha hasn't told him any different. She promised she would if she got any kind of message. Sampo returns tomorrow, from whatever vacation or seedy business dealings he's been off having. He is not excited about it. He is not looking forward to it. He's not!!

Gepard falls asleep late that night, unable to settle. He dreams again.

He's alone. There are tons of people everywhere, the frontlines are always crowded. But he's alone. They all pass right by him as though he were a ghost. Gepard starts to walk before he realizes his feet are even moving.

He checks the trashcans in the dead end alley. He checks the supply crates that someone always stacks too high because they don't feel like finding more space for them. He pauses to check the soldiers that march past him, watching their footprints in the snow.

He finally finds Sampo on the rooftop along the northernmost wall, the one that looks out over the plains, towards Everwinter Hill, towards where the Stellaron had once been kept. With a full moon and an entire land of white snow, Gepard can almost see clear out to the horizon.

"Found you." Sampo stiffens, and Gepard is almost prepared for him to sprint off the roof. He doesn't. But he doesn't relax either. Gepard sits down next to him and stares out at the wastelands.

"…I fucked up." It wasn't what Gepard had been expecting. Sampo never 'fucks up,' Sampo just gets into incidents that are entirely, supposedly, not his fault and that he just happens to always be within the vicinity of.

"What did you do now?" It must be really bad if Sampo is coming to the Silvermanes for protection.

Instead, Sampo ignores his question completely. "See out over there? Right on the other side of that mountain. There's a safe house that way. It's hidden under a lot of snow and dead trees, but it's there. And in that safe house is a box full of letters. I need you to deliver those letters for me."

Gepard's brow furrows. It's a weird favor to ask. Sampo would never tell anyone where his hidden safehouses were. It defeated the whole purpose of a hidden safe house.

Something is wrong, something is really really wrong.

Gepard turns back to look at him again and startles, all of his questions dying in his throat, because the entire left side of Sampo's head is suddenly matted down, dark and sticky, his skin is dyed red red red-

"In three more months, there's gonna be something big happening." Gepard grabs Sampo's hand and it feels slick and warm against his palm. "I won't be here. So I need you to do my end of things for me." Gepard tries to keep hold, but something is fading, something is slowing, the sun is coming up but the colors are all wrong, everything feels like encroaching fog, Sampo's hand slides right through his. "I was gonna come back with my mask to finish setting the stage, but…" Gepard makes a frantic grab for Sampo's wrist, the air twists, he comes back empty-handed. "They have you. And you're the Iron Wall of Belobog. So it'll be ok."

Gepard finally manages to find his grip, snatches the front of Sampo's dark wet jacket and yanks him forward to hold onto him, and this close up, he can see it better, his colors are bleaching out, leaking outside the lines as if Sampo will become part of the background, as if he's fading into the strange fog that's been closing in on them. His fingers are already starting to feel empty again.

"Wake up."

Gepard jolts awake, uncurls his hands from where they're fisted in the blanket, scrubs the dampness off his face. Breathes. Breathes. Breathes. Today is supposed to be the day.

He throws on his civilian clothes, and he goes down to the shipyard the IPC had built. He finds a spot where he can see every person that returns to Belobog, and he waits.

And he waits and he waits and he waits.

No one he recognizes appears.