#someone who can actually write

[dualcordie]

I’ve seen people talking about Zuko adopting Izumi instead of her being his biological child and I had a silly little thought (that I haven’t stopped thinking about for days)

warning: this post is basically just my last two brain cells trying to put out a semi-coherent thought

What if Zuko and Azula mend their relationship after everything and heal, but they both still despise Ozai so much that they make a pact that their lineage dies with them and they refuse to ever have children?

BUT

Azula goes on some self discovery trip and eventually meets this little orphan named Izumi. They hit it off almost immediately. Azula is usually super awkward around kids, but Izumi is a little menace and Azula loves her. She sees parts of herself, and even Zuko, in Izumi (ya know, before things went downhill for the both of them as children). She manages to bring Izumi back to the capital and tells Zuko she has a surprise.

Zuko nearly shits himself when said surprise is a 6 year old who can’t seem to stop bouncing off the walls and talks so fast you can barely make out what she’s saying. Zuko is adamant that Izumi doesn’t belong there and “What about our deal?!”

To which Azula starts to persuade him (because she’s good at that shit and would be able to do it without hesitation) and even makes the point that their ancestors would be livid if they knew that the Fire Lord adopted a random child rather than “keeping their lineage pure” or whatever the fuck kind of bullshit they’d say. She wants to be an auntie so bad, she’s bound and determined to get Zuko to adopt this kid.

Zuko says Izumi can stay, but he can’t be a dad right now and they’ll have to eventually find someone to take her in. Azula doesn’t believe that for one second, especially after seeing how great Zuko is with every child he comes across. She manages to rope the gaang into it and when Zuko sees how Sokka and Izumi instantly click, how comfortable Izumi is around Aang and Katara’s kids, as well as Toph’s, he can’t say no to adopting her. He takes her in, spends more and more time with her, and they’re definitely a dynamic dad and daughter duo (even though he hasn’t officially adopted her yet). There’s even talk going around the palace that Zuko is spoiling her rotten (but he swears he isn’t, he’s just trying to give her a better childhood than he had).

then blah blah blah Zuko’s a great dad to her and him and Sokka surprise her with the official adoption and they sometimes struggle with the whole new being married and parents thing but they’d give their lives for Izumi in an instant and they’re in love and that’s all that matters

[waspgrave]

I can’t believe people are acting like Solas and Varric aren’t friends….did you listen to their dialogues? They talk philosophy, laugh, ask each other questions, give advice, Solas even goes from polite but distant ‘master tethras’ to a friendly ‘varric’ in the span of a few conversations. Solas took genuine interest in his writing and read his books. Varric even invites him to play Wicked Grace. Foolish.

[bunnieswithknives]

Thanks.

Prev

[dukeofthomas]

Here's my controversial opinion; if you're trying to write Bruce as a non-abusive, good parent, you should also write him respecting his kids' privacy, boundaries, and not stalking&surveying them.

[woo-wahhhh]

[ too much energy ] "kaji..."

"what?!"

"did you seriously just walk into my shop, before class, and already injured?" you scowled back, rolling your eyes as you regarded his relaxed figure in the doorway. a part of you marvelled how he looked perturbed by your disbelief than he was of the blood freshly running down his arm. "you have way too much energy this early in the morning, dude."

"look, clown me all you want, but let's get one thing straight," he grit out. he jabbed a finger vindictively at you, followed by the insanely loud clacking of his stupid lollipop against his teeth. "i didn't get into a fight."

"colour me impressed," you couldn't help but quip sarcastically, though you motioned him to come closer to where you were rummaging under the counter. you were grateful that being so early, no one had come into buy flowers yet, since it would be a bit of a jump scare to find a man bleeding out.

"shut up," he hissed, glaring perpetually while he took a seat behind your counter, and sticking his arm out. it was amusing, how someone could look annoyed yet so charming in the same action. you almost wanted to comment on the his childish appearance, but you had a feeling he'd slap his headphones on and dash out if you did.

"well?" you prompted, pulling out a first aid kit and setting it on the counter. "what happened to your arm then?"

you could feel his hawkish gaze trail after your every move, scrutinizing each action with such intensity, you couldn't tell if he was pissed off or if he was under an enchantment.

"that granny lost her cat again," kaji said simply.

this boy, you cursed internally as you pulled out disinfectant and bandages. "and?"

"what do you think happened?" he scowled, canines flashing as he grit his teeth at the sting of the ointment. "it fucking scratched me when i caught it." he shook his fringe out of the way, perhaps to properly express his annoyance.

"you look much more handsome when you're angry," you blurted out, reaching up to push his hair back without thinking too much– after all, he was your boyfriend. but more importantly, it was much to his incredibly visible chagrin– by habit, he flinched, automatically trying to grab at his headphones, but he couldn't shake off your grip on his arm, leaving him to clutch one side like a damsel in distress, eyes wide and horrified.

but he calmed down quickly enough when you didn't pay him mind, too accustomed to his shenanigans, humming lightly as you focused on the bandages and keeping the heat from dancing up your spine. there was a simmering tension between you; unspoken, though his eyes were dead set on your nimble movements, the distinct weight of his gaze telling you he wouldn't look away, or more properly, he couldn't.

once you finally looked up from your finished work, you noted his eyebrows were knit together, the permanent glare on his face still written in stone, but his tone was somehow gentler than he let on. "look me in the eyes if you're gonna say stuff like that."

silence ensued, of course, your eyebrows quirking up as the obvious dangled from your tongue.

"kaji, you just looked like you were about to bolt outta here,"

"well, yeah, how else am i supposed to act when you say that?"

"i- i don't know," you stammered, suddenly hyperaware of how he wasn't looking away, how his eyes were practically tracing over every contour of your face with the intensity that could burn. "maybe- maybe act a bit more touched?"

"touched?" he echoed, a bit of incredulous sneer in his voice as he hopped off his seat. the abruptness of it all startled you as your back unwittingly hit the counter, and before you could make your own grand escape, he placed an arm on each side of you, effectively caging you in.

the sudden change up from the incredibly flustered kaji to this steamrolling behaviour made your head spin as you gaze up at him with wide eyes that were only met with a grey, smouldering gaze with the intensity of a storm.

"here," kaji swiftly popped out the lollipop from his mouth, holding it to you. you hesitantly took it from his hand, the question of "what the hell, dude?" bubbling at your lips when without a warning, he grabbed your face and kissed you.

short and sweet, but somehow still awfully fierce for that early in the day– you expected nothing less from ren kaji.

"now what was about?" you giggled as you pulled back, dotingly reaching up to smear your lip gloss onto his chapped lips. an act of giving and receiving, one could even say, since he'd left you with the sickeningly sweet taste of caramel on your tongue. "do you like it when i call you handsome?" you teasingly chimed.

"shut up," kaji grumbled once again, pushing his hair back and pressing his forehead against yours. "you looked cute and i just felt like it, that's all." maybe to someone else, that wasn't a fulfilling response, but you knew how straightforward kaji was, and that he wouldn't lie about something like that.

"well, if you're feeling like it then," you whispered, your lips bumping into his as you spoke, "you should kiss me again."

"demanding," kaji huffed out, though he hoisted you up onto the counter anyways without breaking a sweat, a small, but cocky smile on his face when you grabbed onto his shoulders for dear life.

"oh my god, at least warn me!" you complained. maybe you really should have kept an eye on the door, but with his figure before you, and slotted between your legs and the his hand gently coaxing you forward by the nape of your neck, it was hard to care.

"you have way too much energy to yap in the morning," he chided indignantly, but the way he was already leaning up suggested otherwise.

"hey, you're the one who–!"

"morning, (name)! did kaji already pop by– oh,"

"w-w-we'll just– uh– s-see you at school, k-kaji!?" enomoto managed to croak out before they both scurried away with mildly red faces, reminding you less of the teenage gang members they were and more of children.

you almost fell off the counter, had it not been for kaji's reflexes, but the damage had been done, and the lollipop he'd entrusted you with fell to the floor with a dull thud as enomoto and kusumi blinked at the two of you with horrified expressions.

"hey boys," you greeted casually with a wave.

"oh my, we've made a scandal, darling," you joked– regrettably, or so you thought later in the day when the rest of the tamon team's second years started cooing at at poor kaji. perhaps it was a lesson to not be so energetic in the mornings from then on.

[fatedroses]

Two former military elites taking merc jobs perform absolutely hellish battle tactics together.

[balis77]

Shoutout to Magic for taking "Watson equivalent who was a former assassin of some kind" and ascending it to "Watson equivalent who is still an active assassin, not even on the side, like being a detective's assistant is their side job"

Proft: "He's covered his tracks well. He's definitely our culprit, but with all the physical evidence destroyed we'll never be able to prove it to the courts." Etrata: "...So like, does that mean I'm fine to... you know..." Proft: *sighs* "...Just please tell me you're being paid by someone else to do it." Etrata: "Oh they gave me the contract like halfway through the investigation. I was just waiting to see if we could get him in custody first."

[sergle]

I'm thinking abt that pretty fall leaves embroidery pattern post and about how like... it is categorically a repost, it's a reupload. right? a thing that is generally disliked. but because it's credited, it's genuinely boosting the artist in question. and it could ALWAYS be like this. reposting content could ALWAYS be a symbiotic relationship, but because sourcing back to the original creator of something is so uncommon, it's just easier to ask people not to repost it at all. and people still don't understand the difference. or they'll go to the effort of cropping out usernames/signatures to repost something, which is More Effort than literally crediting the creator of something you liked enough to want to repost. Like. I literally don't actually care if my own shit gets reposted, you have to understand. I just don't want it STOLEN. But "do not repost" is easier to write on my art than "you can repost this, but don't alter the image/remove my signature, don't you dare write 'credit goes to the artist' because that is not credit, please link back to my original post or someplace that you can actually find me. please use an actual link/url instead of writing a non-clickable link of my username, because making it text instead of a clickable link cuts the number of people who will go to the effort of visiting my own page in Half." All those aggregate themed accounts, those fuckin annoying as hell instagrams and facebook groups that are like "body positive art we love wamen 💕 hashtag feminism" and then MASS-STEAL plus sized art created by women, if pages like these that always go and steal my older self-portraits and other works... If they just put a link to my prints of those pieces in the text of those posts, or, fuck, my commission info page? I would literally be living on the moon right now. I would have a house on the moon

[afurtivecake]

One thing I've been wondering is how much did Riko really see Kevin as a brother and how much did he see him as a possession? (And is there really a distinction between the two in Riko's eyes?) Because, I don't think Kevin was ever meant to be Riko's brother or Riko's equal on the court. I think Tetsuji took Kevin in as an investment, nothing more:

"Tetsuji never formally adopted Kevin. Do you know why? Moriyamas don't believe in outsiders or equals. Tetsuji took Kevin in and took over his training, but he also gave Kevin to Riko—literally. Kevin isn't human to them. He's a project. He's a pet, and it's Riko's name on his leash. Sakavic, Nora. The Foxhole Court (All for the Game Book 1) (p. 88).

To the outside world, Tetsuji taking custody over both Riko and Kevin would have looked like him adopting them and making them brothers, but "Moriyamas don't believe in outsiders or equals" so what reason would he have had to lead Riko to believe that Kevin would be his brother? A brother implies a level of equality. He probably thought this will be a learning experience for Riko: give him something to be responsible for, something that he has to learn to control because he's a Moriyama and it's about time he learned how dominate lesser beings. He probably imagined Kevin to be something like Jean was: an obedient servant who can take being beaten within and inch of his life semi-regularly, no sense of autonomy, blindly submissive, and still able to be one of the top players in his position. A valuable right-hand man perhaps, but nothing worth kicking up a fuss over.

I think (and this might just be me wanting a good story) that the whole "brothers" thing came from Riko. A neglected kid with nothing and no one to call him 'family' receives a boy, who doesn't have anyone to call him family either, and is told, "This is yours now. This is yours to mind. Do whatever you want with him but make sure he knows his place and knows how to obey the right people." To a kid who's longing for something to call his own and someone to recognize him as family, that could easily have sounded like, "This is yours now, your person, to be by your side always. Yours to tend, yours to keep, yours." I think Tetsuji said "possession" and Riko heard, "brother". And if that's not what a brother actually is, well, who's going to tell him that? It's not as if there's a single example of a normal family relationship to be found among the Ravens.

I think Riko made Kevin his brother because he wanted something more than a possession. He wanted an ally, someone who always has his back and would never leave him. Riko making Kevin his brother instead of just a pet as was intended, gave Kevin a degree a freedom that Tetsuji probably wouldn't have allowed otherwise: travelling outside of the country with Riko, not always being stuck inside Evermore, studying what he wanted...he even got to have interests and to enjoy exy even when he wasn't playing (being a Trojans fan) and he managed to have friends outside of Evermore (Jeremy). Ravens don't have family or an identity outside of being a Raven, but Riko made Kevin his brother and gave him the chance to become his own person.

If Riko considers Kevin a brother, how can he turn around and hurt Kevin like he's nothing more than a possession, you ask? Well, I'm not sure he sees any conflict between the two. To Riko, beating Kevin up isn't outside of what Riko understands as "family" and doting on Kevin as a brother doesn't go against what Riko sees as ownership. To Tetsuji, ownership might only include being able to treat a person like shit without consequence. But for Riko, allowing Kevin freedom and indulging his "whims" probably feels as much like ownership as hurting Kevin without recourse does.

It seems impossible and stupid for their relationship to be anything other than toxic and deeply fucked up, but I think Riko selfishly believed that so long as he kept things in check, so long as Kevin stayed exactly where he was, he'd get to keep him. Even when Riko starts suspecting that other people are starting to see that Kevin might be better than him, even when being brothers is no longer useful to him if he wants to prove that he's really a Moriyama, Riko can't let go of their brotherhood. He doesn't give Kevin up until the very end. He can't. No matter how angry he gets at Kevin, no matter how much he comes to enjoy seeing Kevin hurt and sorry, there are lines he can't quite bring himself to cross. Because Kevin is still his brother. Because for better or for worse, he made Kevin mean something more to him than a possession when he made him his brother.

I don't think Tetsuji expected Riko to cling on to Kevin as though Kevin was actually important. He didn't think that by partnering the two, by giving them a common goal and a common enemy, that it would create a bond between them. But they did and maybe, in some ways, their dysfunctional relationship both saved them and doomed them.

[poorly-drawn-mdzs]

Master manipulator vs Master manipulator

 [First] Prev <–-> Next

[mothric]

mob psycho 100 has impressed me on multiple counts but one thing that keeps standing out to me is the way Mob fills the role of Shonen Hero.

I love me a classic shonen protag. I love the hinata shoyos and the ash ketchums and the gokus, the spunky go-getters who are a little rough around the edges but want to be The Best at the Thing, or Save the World, or Win the Championship. I also love the protags who are reluctantly shoved into the role of Hero and must stumble their way into accepting it, whether or not they actually wanted it at first.

Mob isn't any of those. he doesn't start out as a bundle of boundless energy and optimism. his goal is not to be a hero or to subvert the trope by Resisting the Call. in fact, in the beginning, there isn't a Call. there is no Grand Quest for him to set out on. he's just... a kid, who happens to have psychic powers, and his goal is just to figure out who he is and what he wants and where his place is in the world. that's his hero's journey, really.

Mob doesn't come prepackaged with ambition; he has to work to unearth it. he has to figure out that he has any agency in the first place, and then use that agency to figure out what he wants. he has to handpick his own goals, and he has to choose growth. and he does choose growth, over and over. that in itself is a heroic feat. man, there are whole adults who won't do the internal work this kid does to figure himself out and adapt to new information! we constantly see him meet people who act and think so differently from him, and really think about the things they say and do, and learn something valuable in the process. we continually see him waking up to various aspects of himself, and clarifying his convictions, and adapting the ways he moves through the world, and taking on a more solid shape as a person. we continually see him choosing.

his growth is so organic, and natural, and marked by an increasing sense of self-possession, that by the time he gets to do Big Impressive Heroic Shonen Things, it feels earned. Mob Shigeo Kageyama has come into himself, and he must face some truly terrifying things, but he reaches out to meet them with both hands because he's already learned to meet his own personal challenges and the people in his life in the same way.

Mob doesn't start out as a Shonen Hero, but by the end of season 2 he IS one, because he earned it. he chose it, worked for it, grew into it, and it looks incredible on him.

[uniiiquehecrt]

Voice actors are NOT the same as actors.

It takes a specific kind of skill-set and training to be able to warp and meld the voice. It takes a certain kind of talent and dedication to hone that talent into the ability to meld the voice and invoke emotion with one's voice alone. Actors are used to using their voice secondarily to their body language and their facial expressions. It's all mirrored back on camera. They do have nuance. But it's a different kind of nuance and a different kind of training to produce that nuance.

Voice actors might get their likeness transposed on their character's design, and maybe their mannerisms might seep into the character's animation. But when it's all said and done: their presence is in their voice. They are bringing a character to life, showing that emotion in their voice, trying to keep a specific accent, drawl, pitch, tone in that voice and keep it consistent for their recording sessions.

The voice actor is like a classically trained musician who can play first chair in a competitive, world-renown orchestra. The actor (who fills the voice actor's role) is like a moot who played violin in beginner and intermediate high school orchestra and thinks they can get into Juilliard with that 2-4 years of experience.

This doesn't mean that the HS orchestra moot can't play. They can even be really good at it. Maybe they won competitions and sat first chair. But they are not in the same league as the person who's been training their whole lives and lives and breathes to hone their craft using the instrument and all of the training they've ever acquired to perfect it. They are not meant for the same roles. They are not in the same caliber. You do not hire the HS equivalent when you want to play complex music in a competitive orchestra.

Actors are not the same as voice actors.

And furthermore, actors - especially big name actors - taking the roles of animated characters for big budget films or TV pilots makes no sense anyways when - at least in the case of TV pilots - there's not a point to hiring a big budget actors anyways. That money could be used elsewhere (like paying your animators), and the talent that is brought onto the screen for X character could then be hired on to voice said character no recasting required.

I wouldn't say voice acting as a profession is in danger exactly, but it's certainly being disrespected and overlooked for celebrity clout, and this has ALWAYS been an issue. Shoot, even Robin Williams knew that much - which is why he tried so hard not to be used as a marketing chess piece for Aladdin and got royally pissed off when it happened anyways. People shouldn't go to any movie (but especially not animated films) because "oh famous actor is in it". People should go because it's a good movie and the voice acting is good.

People who honest to god think that voice actors are replaceable because "oh well anyone can voice act" or "I like xyz celebrity so naturally it'll be good" ... Honestly I just wish you'd reassess your priorities because you're missing the point and are part of the problem.

Voice Actors ≠ Actors.

[queerpdsys]

seeing disability awareness posts end with “TLDR; no, read it” is fucking WILD

[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.

[citrusai]

i don't wanna knock on bioware's crew or w/e but damn maybe you guys shouldn't have fired half your fucking production team and left the game partially unfinished just to beat an arbitrary deadline thinking you can compete with larian cause you got mad fans were showering bg3 with love. but whateveerrrrr

[al-luviec]

id like to thank ninjago episode snake jaguar for everything but nothing all at the same time