#thanks for waiting for this one

[isfjmel-phleg]

Why I like it: Leave It to Psmith

I've analyzed this book to death. I don't even know what to say about it anymore.

It's probably the most familiar of the series. It has had the most adaptations--multiple theatrical versions and radio adaptations, a mysterious Hungarian film, an early 1930s film that removed Psmith and replaced him with one Sebastian Help, an Indian series in which Psmith is called...Rambo? (seeing a theme here--adapters seem to be afraid of Psmith himself). It crosses over with the Blandings series, which was then just getting started. It's easy to read without having read the earlier installments, for readers who are more reluctant to take on all the cricket etc. of those books.

Wodehouse intended it that way. Leave It to Psmith was written for a different audience than the other Psmith books. Instead of British schoolboys, his readership was now adult Americans who wouldn't have known Psmith at all since the earlier books hadn't been published in the US then. They didn't care about cricket; they were looking for the kind of plot that Wodehouse is more often associated with today. Hilarious, intricate shenanigans with some light romance. And the ever versatile Psmith fits into this new genre perfectly. Perhaps that's where he belonged all along.

Leave It to Psmith is one of the finest examples of Wodehouse's best style. There are different views on this, but I personally consider his work from approximately the early 1920s through the 1930s to be the height of his talent (he had finally fully found his voice, and the stories are still new enough to avoid the more overtly formulaic feel of his later books). And Leave It to Psmith is one of the books that kicked off that era of his writing. It's got everything. A witty and distinctive prose style that complements the theatrically-influenced story and characters. A memorable cast. A bizarre and silly but ultimately sweet central romance. A shocking newspaper ad. Flowerpot throwing. Jewel heists. Gun fights. An obnoxiously large chrysanthemum. Umbrella theft. A very elegant hat. Extremely strong opinions on hollyhocks. Mistaken identity. Imposters. The worst poetry ever. The motivating power of friendship. A dead bat that apparently was somebody's mother. It's not going to remembered as a Deep Philosophical Novel ever, but that's not what we need from it. It's just fun and joyful and a delight to read.

Even though this is the one book of the series that opens with Psmith in a genuinely difficult situation and relatively low frame of mind following his father's death and the loss of the family fortunes. Psmith has skated by on his father's money for the entire series up to this point, so taking away that kind of invincibility from him was a genius choice on Wodehouse's part. It forces Psmith to grow even further in a way that he never has before. We see him at his most vulnerable; the narrative gives us more of his POV than ever, and there's a marked contrast between what goes on in his head and how he presents himself. And it's at this point that he's finally in a position for something that's never been an option to him before: a romance.

Psmith and Eve's love story would probably not work in real life. But they're in Wodehouse-land, where realism isn't the point. The point is that they are two people who complement each other well and enrich each other's lives and need each other. They're both clever and dynamic and adventurous and alone in the world. She appreciates his eccentricities, which provide the excitement she craves. He appreciates her listening skills and sympathetic nature. She's warm-hearted and impulsive; he's a calculating thinker--and they balance each other out. Each has a brand of weird that works well with the other's. It takes them a little while to get matters resolved, but Eve doesn't put up with his nonsense, and he gradually develops the emotional maturity to trust rather than manipulate. When they do get together, it's not because he's done his usual fast-talking. It's a mutual choice.

We don't get to see much of Mike and Phyllis, but it's also clear that they're happy, and it's satisfying to see that Wodehouse gave Mike, the original protagonist of the series, the ending he deserves even if he is no longer in focus and the American audience wouldn't know or care about him from previous appearances. But Psmith cares about Mike a lot. That hasn't changed, and the lengths that Psmith is willing to go to for Mike's sake are endearing. The choice to give Eve a parallel role as best friend to Mike's wife reinforces the significance of this devotion. This entire plot happens because people care very much about Mike and Phyllis Jackson. That's pretty powerful.

This is the end of the series. We never see Psmith again. But it's an ending that leaves the reader satisfied. Psmith is not trapped in an endless loop of growthless status quo for our comedic benefit. We've watched him grow up from the worldweary teenager leaning on the mantelpiece at his detested new school to a joyfully singing young man running through Blandings Castle on his way to meet the woman whom he's about to have a future of adventures alongside. In many ways, he's still his old eccentric self, but his outlook has changed for the better. He's simply, genuinely happy. What more could we wish for him? What more could we hope for ourselves?

[redpapercraness]

all four of my sonic 3 movie trailer redraws in one spot 🫡

[e-turn]

links to some translations under the cut

и заодно выложу пару любопытным образом перекликающихся переводов потрясающих фанфиков!

тьма нынче обретает жизнь великолепного автора @/goodlucktai

и еще одна покорившая меня зарисовка rem - а тени пусть уходят

[egophiliac]

WAIT when did he get FANGS

[unforth]

Gentle reminder that very little fandom labor is automated, because I think people forget that a lot.

That blog with a tagging system you love? A person curates those tags by hand.

That rec blog with a great organization scheme and pretty graphics? Someone designed and implemented that organization scheme and made those graphics.

That network that posts a cool variety of stuff? People track down all that variety and queue it by hand, and other people made all the individual pieces.

That post with umpteen links to helpful resources, and information about them? Someone gathered those links, researched the sources, wrote up the information about them.

That graphic about fandom statistics? Someone compiled those statistics, analyzed them, organized them, figured out a useful way to convey the information to others, and made the post.

That event that you think looks neat? Someone wrote the rules, created the blogs and Discords, designed the graphics, did their best to promo the event so it'd succeed.

None of this was done automatically. None of it just appears whole out of the internet ether.

I think everyone realizes that fic writing and fanart creation are work, and at least some folks have got it through their heads that gif creation and graphics and moodboards take effort, and meta is usually respected for the effort that goes into it, at least as far as I've seen, but I feel like a lot of people don't really get how much labor goes into curation, too.

If people are creating resources, curating content, organizing the creations of others, gathering information, and doing other fandom activities that aren't necessarily the direct action of creation, they're doing a lot of fandom labor, and it's often largely unrecognized.

Celebrate fan work!

To folks doing this kind of labor: I see you, and I thank you. You are the backbones of our fandoms and I love you.

[salamispots]

dream wip

[silkysong]

stop spawn camping the summoning circle youre scaring the hoes

[glassedplanets]

: )

[appropriatelystupid]

[crystallizedtwilight]

Have LSB ever visited Mexico on the Day of the Dead? I can't help but imagine them wearing makeup for the occasion hahaha I really love your work and sorry if something is written wrong, my English is not very good :(

Yes! We've used Halloween Town's tomb portals to visit Mexico for el Día de los Muertos! (We understand it's not an occasion for scaring, but rather to celebrate death and life, so we behave ourselves for this one, don't worry!)

[poorly-drawn-mdzs]

Thanks for listening to my sad backstory. Anyway, here's Wonderwall.

[First] Prev <–-> Next

[rubyfunkey]

No actually, you are so real for making Narinder cave into mortality. I do this too!! I always go off based on the official art I’ve seen of him even if it’s not technically canon, because even if he is really angry after being usurped, maybe he realizes he is technically free.

He really has a choice as to who he gets to be now. He COULD take the crown back, but he gets hit with the bliss of peace in the cult one day (while he’s, idk sitting under a tree, or gets wrapped up in daily life) and he goes, “Wait, this is actually kind of nice” - and BAM character development.

Sorry for the long ask, but I saw the tags under your recent comic and it just reminded me of how I interpret him. Also wanted to drop by and say that your artstyle is so fun, your linework is always so pleasing to look at 🙌🏼

shakes your hand for 30 straight seconds

[bacchuschucklefuck]

they licensed his ass

my finished piece of the FWMS (official name definitely 100%) thing we started a few days ago! I had fun I hope folks had and/or continue to have fun with the sketch as well.

[somnimagus]

My page for @sheikahzine; about Impaz's duty to her village, empty of people and full of memories.

[id in alt text]

[technically-human]

Welcome to the reverse verse! This is part 1 of 2 of a commission for @i-am-as-normal-as-you-are and I can't wait to tell you all about it, because I'm incapable of being normal and chill about these concepts, so I ran with it.

Charles Rowland was born in 1900, his mum was from India and moved to the UK after marrying Charles' dad, a soldier who was not... very loving. Charles' heritage gave him some problems, but none as bad as that one time in 1916 when he was sacrificed to a demon and spent the next 7 decades in Hell. He doesn't like to talk about it, except when it can get him what he wants. He was always an angry boy, or so he thought, but after his time spent in Hell, it became so much worse. He's explosive and unpredictable, and so he mostly avoids conflict. He doesn't need to fight anyone, as his charming personality and sweet smile (plus a few smart calculations) always seem to be enough to convince people to give him what he asks for. And when the fight is inevitable... well, he has Edwin for that!

Edwin Payne grew up very sheltered, in a deeply religious home, and he is proud of that. Don't try to argue with him, because he surely has a Bible verse that will help him win (and if not, he is not above using his croquet mallet now that he has someone to keep safe). Unfortunately for him, he realized at a quite young age that he felt attraction towards other boys. Even worse, somehow other people could tell as well, including those peers that ended up killing him for it (the rumour spread throughout school was that he had died due to AIDS, and most people just accepted it). He never acted on those unnatural urges of his, but when he met this ghost who had just escaped Hell... he decided not to risk eternal damnation, and to stay here with Charles, instead. Edwin has no interest in the supernatural or in magic, and sort of looks down on them, but luckily his friend's got that covered.

[salamispots]

a rug hook commission for @stickynotebirds! :O (who also drew the original sketch/design and I tweaked it a little bit)