#the book version specifically

[vaguely-concerned]

are. are you telling me that if the romanced mage warden dies and alistair is king, he deadass stares greagoir down over her dead body and grants the circle of ferelden its autonomy after ordering it rebuilt somewhere safer. first you have to deliberately leave him behind so he won't die for you and then he does that for you once you're gone, even when you're broken up??? absolute and literal king behaviour of the highest order????? the actions speak louder than words of it all??????? I think I hauve covid

[telpelote]

He only gives cloaks to those he really really cares about, Keyleth. Really cares about.

Mid-campaign look with a closeup under the cut :)

[egophiliac]

Hi it's just to let you know that the official romanization of Revaan's name is Raverne ! Also they have romanized Baul's name to Baur !

Twst coming back at us again with the least expected romanization! thank you everybody (oh god my inbox) (no it's great, I literally asked for this and the reactions have been INCREDIBLE, thank you all!)

I do like Raverne though, I think it's got a nice fancy sound to it! (I had kinda suspected it was going to be an R instead of an L, so the fact that it's SO close to Laverne except for that is hilarious to me personally.) and Dragoneye Duke is honestly probably the best translation for his title, I wasn't envying the localizers that one. :') Baur instead of Baul I was NOT expecting, but in retrospect I think his name's supposed to be a reference to the Bauru crocodile, so that actually makes way more sense!

someone else also said Meleanor has become Maleanor, which is the REALLY weird one to me, because I was so surprised it was written as Mel instead of Mal in the first place?! oh god no I can't decide which one I like better. 😭 (I wonder if they might change it to Mal...they have made romanization changes before) (like I remember House of Distraction being corrected to House of Destruction in Playful Land) (I did check and she's still Mel for now, but I dunno, they might Mal her up and some point and save me from having to make a decision about which one to use) (HECK I CAN'T DECIDE)

uhhhh thank you for letting me ramble about anime names, let's just say MONOGRAMMED SWEATERS FOR EVERYONE

[layaart]

I made a repeating pattern inspired by this is how you lose the time war. alt colourways to come!

[poorly-drawn-mdzs]

Why would you—That's not—I just wanted to ask for help, why did you have to go and make it awkward???

[First] Prev <–-> Next

[hamletthedane]

Obtained a (digital) edition of Hamlet that - for some reason - decided to illustrate Horatio and Hamlet’s scenes using art lifted from Mark Twain’s first edition of The Prince and The Pauper. And frankly it’s incredible:

I mean they’re not wrong for this choice, but it was definitely a choice

[instantpansies]

life is hard for us oz fans who are only meh about wicked. have half a meme.

[heshemejoshi]

how girls look at you wwhen they cause havoc in heaven

[mikeystrawberry]

It’s here!! A playlist compiling every song reference made in the main campaign, with a playlist cover illustrated by yours truly

[anghraine]

I was just thinking about the through lines of Elizabeth's characterization and her relationship with Darcy, and I'm really fond of this one:

[Mrs Bennet:] “Ay, that is because you [Bingley] have the right disposition. But that gentleman,” looking at Darcy, “seemed to think the country was nothing at all.” “Indeed, mamma, you are mistaken,” said Elizabeth, blushing for her mother. “You quite mistook Mr Darcy.”

-

Elizabeth tried hard to dissuade him [Mr Collins] from such a scheme; assuring him that Mr. Darcy would consider his addressing him without introduction as an impertinent freedom, rather than a compliment to his aunt; that it was not in the least necessary there should be any notice on either side, and that if it were, it must belong to Mr Darcy, the superior in consequence, to begin the acquaintance. [...]with a low bow he left her to attack Mr Darcy, whose reception of his advances she eagerly watched, and whose astonishment at being so addressed was very evident. Her cousin prefaced his speech with a solemn bow, and though she could not hear a word of it, she felt as if hearing it all, and saw in the motion of his lips the words “apology,” “Hunsford,” and “Lady Catherine de Bourgh.”

-

In vain did Elizabeth endeavour to check the rapidity of her mother’s words, or persuade her to describe her felicity in a less audible whisper; for to her inexpressible vexation she could perceive that the chief of it was overheard by Mr Darcy, who sat opposite to them. [...] “For heaven’s sake, madam, speak lower. What advantage can it be to you to offend Mr Darcy? You will never recommend yourself to his friend by so doing.” Nothing that she could say, however, had any influence. Her mother would talk of her views in the same intelligible tone. Elizabeth blushed and blushed again with shame and vexation. She could not help frequently glancing her eye at Mr Darcy, though every glance convinced her of what she dreaded; for though he was not always looking at her mother, she was convinced that his attention was invariably fixed by her.

-

That he [Darcy] was surprised by the connection was evident: he sustained it, however, with fortitude: and, so far from going away, turned back with them, and entered into conversation with Mr Gardiner. Elizabeth could not but be pleased, could not but triumph. It was consoling that he should know she had some relations for whom there was no need to blush. She listened most attentively to all that passed between them, and gloried in every expression, every sentence of her uncle, which marked his intelligence, his taste, or his good manners.

Elizabeth was now most heartily sorry that she had, from the distress of the moment, been led to make Mr Darcy acquainted with their fears for her sister; for since her marriage would so shortly give the proper termination to the elopement, they might hope to conceal its unfavourable beginning from all those who were not immediately on the spot. She had no fear of its spreading farther, through his means. There were few people on whose secrecy she would have more confidently depended; but at the same time there was no one whose knowledge of a sister’s frailty would have mortified her so much. Not, however, from any fear of disadvantage from it individually to herself; for at any rate there seemed a gulf impassable between them.

-

During their [Elizabeth and Darcy's] walk, it was resolved that Mr. Bennet’s consent should be asked in the course of the evening: Elizabeth reserved to herself the application for her mother’s. She could not determine how her mother would take it; sometimes doubting whether all his wealth and grandeur would be enough to overcome her abhorrence of the man; but whether she were violently set against the match, or violently delighted with it, it was certain that her manner would be equally ill adapted to do credit to her sense; and she [Elizabeth] could no more bear that Mr Darcy should hear the first raptures of her joy, than the first vehemence of her disapprobation.

-

Lady Catherine had been rendered so exceedingly angry by the contents of her nephew’s letter, that Charlotte, really rejoicing in the match, was anxious to get away till the storm was blown over. At such a moment, the arrival of her friend was a sincere pleasure to Elizabeth, though in the course of their meetings she must sometimes think the pleasure dearly bought, when she saw Mr Darcy exposed to all the parading and obsequious civility of her husband.

-

"I [Lydia] am sure Wickham would like a place at court very much; and I do not think we shall have quite money enough to live upon without some help. Any place would do of about three or four hundred a year; but, however, do not speak to Mr Darcy about it, if you had rather not." As it happened that Elizabeth had much rather not, she endeavoured in her answer to put an end to every entreaty and expectation of the kind. Such relief, however, as it was in her power to afford, by the practice of what might be called economy in her own private expenses, she frequently sent them.

me, every time: oh, Elizabeth.

[mostlyvoid-partiallyflowers]

The most recent episode of Interview with a Vampire let's us see Lestat's side of the story and see how it compares to Louis' accounting of their relationship. As a result, it reaffirms just how unreliable of a narrator Louis is, but it also further illuminates elements of his character that the director and writers have been playing with since the beginning of the show.

There's this part in the episode where Lestat turns to Louis and apologizes and it's framed with Lestat turned to Louis on one side and Claudia on his other side. They're the angel and devil on Louis' shoulders, but who is the angel and who is the devil? And as my friend said, Armand and Daniel are placed into that same dynamic with Louis later on. We are being asked to decide who to trust, who's telling the truth, who's the good guy, but the fact of unreliability robs us of that decision.

This whole story is about Louis, he's the protagonist, though not the narrator, and he is constantly being pulled in two directions, no matter when or where he is in his story. He's a mind split in two, divided by nature and circumstance. He's vampire and human, owner and owned, father and child, angel and devil. He's both telling the story and being told the story. His history is a story he tells himself, and as we've seen, sometimes that story is not whole.

Louis is the angel who saved Claudia from the fire but he's also the devil who sentenced her to an life of endless torment, the adult trapped in the body of a child. He's the angel who rescued Lestat from his grief and also the devil who abandoned him, who couldn't love him, could only kill and leave him.

He's pulled in two directions, internally and externally at all times and so it's no wonder that he feels the need to confess, first to the priest, then Daniel, and then Daniel again.

He's desperate to be heard, a Black man with power in Jim Crow America who's controlled by his position as someone with a seat at the table but one who will never be considered equal. He doesn't belong to the Black community or the white community, he can't. He acts as a go-between, a bridge, one who is pushed and pulled until he can't take it anymore. He's a fledgling child to an undead father, he's a young queer man discovering his sexual identity with an infinitely experienced partner. He's confessing because he wants to be absolved, that human part of him that was raised Catholic, that child who believed, he wants to be saved. He wants to be seen.

Louis wants to attain a forever life that is morally pure, but he can't. He's been soiled by sin, by "the devil," as he calls Lestat, and he can never be clean again. Deep down, I think he knows this, but he can't stop trying to repent. He tries to self-flagellate by staying with Lestat and then tries to repent by killing him, but can't actually follow through. He follows Claudia to Europe to try and assuage his guilt. He sets himself on fire, attempts to burn himself at the stake, to purify his body, rid himself of the dark gift.

Louis is a man endlessly trying to account for the pain he has caused and he ultimately fails, over and over again, because he can't get rid of what he is. A monster. He's an endlessly hungry monster. He's hungry for love, for respect, for power, for forgiveness, for death. He's a hole that can never be filled. He can never truly acquire any of those things because he will always be punishing himself for wanting and needing them in the first place. He will never truly believe he deserves them and as a result, can't accept them if they are ever offered. He can never be absolved for he has damned himself by accepting the dark gift and thus has tainted himself past the point of saving.

[thenweatefivesoups]

I would like to take a moment to talk about a Dog Man character.

This character is super popular. Some people hate this character with a passion. Some people think this character is adorable. Not many people think this character is very deep.

But I do, and I'd like to talk about him for a second.

Think you have a guess?

It's Li'l Petey.

You may not agree with me. After all, he's the kid-appeal character who loves poop jokes and diarrhea punchlines just for the fun of it. "He can't possibly be that deep!", you say.

But consider how he came into existence: cloned from the (so-called) world's most evilest cat, created to do nothing but heinous acts, and when he didn't fulfill that purpose and instead acted like himself, he was abandoned.

Not even a day old, and not only did he get abandoned by his only caretaker, he eventually found the strength somewhere to forgive him. And not only that, but claim that this caretaker is, quote "easy to love".

It takes a ton of compassion, a truckload of love, to forgive something as traumatic as that. And later, in Grime and Punishment, Li'l Petey encourages Petey to do the same to his father. Make no mistake, this is not because Grampa deserves it; rather, it's because resentment, as Carrie Fisher once put it, "is like drinking poison and waiting for the other person to die."

While Li'l Petey forgives those who did wrong to him, he does not redeem everyone. Sure, he reformed Flippy, Molly, and Petey, and attempted to do it to Piggy, but my main point is that he stopped trying to reform Grampa. He talks to him in For Whom the Ball Rolls about love being an action in addition to a feeling:

And then he visits Cat Jail in Fetch-22, thinking Grampa's changed. After all, if the most cold-hearted villains (Petey, Flippy) had good hearts deep down, couldn't his Grampa have one too?

But after the eighth book, other than a brief "good night" in Grime and Punishment, Li'l Petey completely stops interacting with Grampa. He doesn't even say a word to him in Big Jim Begins, despite the fact that they crossed paths multiple times. Why is that?

Because when they went to Cat Jail, he was tricked, knocked out, and the next thing he knew, he was waking up in a recycling bin.

You've gotta wonder if this gave him flashbacks. To when his life was hard, and filled with fright, after he suddenly became an unloved orphan. At the very least, this would have spooked him, especially since he ran home (this kid's a pigeon I'm telling you) and saw Grampa disguised as Petey, but no sign of his Papa.

The last thing I want to talk about is character development. Yes, even if it isn't as obvious as Petey or Chief, he did have some growth beyond what was mentioned earlier. Certainly more than Dog Man did (ha).

Initially, Li'l Petey constantly keeps his head in the clouds; Petey points this out in For Whom The Ball Rolls. He's a driving force of optimism and compassion, which sets him apart from other goofy kid characters, especially Molly. (I should right an essay about that too)

But Li'l Petey is kind to a fault. He invites his grandfather to his house to make his Papa feel better, and their house is trashed and eventually robbed. He convinces his Papa to visit him, thinking he can change just like those he reformed did, and they both got drugged. He leaves the house to save the world, and his Grampa leaves to end it. Ultimately, the end of Fetch-22 is when Li'l Petey finally stopped trying to redeem Grampa, instead opting to forgive him and move on.

In Grime and Punishment, Petey asks if he only fights when he's face-to-face with pure evil. Initially, Li'l Petey doesn't respond. But guess what happened three books later?

He did encounter pure evil. And obliterated it.

Contrary to popular belief, he's not always a pacifist; he's learned when to fight and when to use love over the course of the story. That kind of growth is very subtle and very underrated.

And that concludes my analysis on a Dog Man character who many find "annoying" and "pointless". And as this supposedly annoying, pointless character always says:

[causeimanartist]

draw more of what you want, I had literally forgotten about my sister the vampire, you hit me in the nostalgia

Join me in the nostalgia!

[gingermintpepper]

hi, i haven't read the iliad and the odyssey but want to - do u have a specific translation you recommend? the emily wilson one has been going around bc, y'know, first female translator of the iliad and odyssey into english, but i was wondering on if you had Thoughts

Hi anon! Sorry for the somewhat late response and I'm glad you trust me with recommendations! Full, disclosure, I am somewhat of a traditionalist when it comes to translations of the source text of the Iliad + Odyssey combo wombo, which means I tend to prefer closeness in literal verbiage over interpretation of the poetic form of these epics - for that reason, my personal preferred versions of the Odyssey and Iliad both are Robert Fitzgerald's. Because both of these translations (and his Aeneid!) were done some 50+ years ago (63 for his original Odyssey tl, 50 flat for his Iliad and 40 for his Aeneid) the English itself can be a bit difficult to read and the syntax can get confusing in a lot of places, so despite my personal preferences, I wouldn't recommend it for someone who is looking to experience the Iliad + Odyssey for the very first time.

For an absolute beginner, someone who has tried to read one or both of these epics but couldn't get into it or someone who has a lot of difficulty with concentrating on poetry or long, winding bits of prose, I fully and wholeheartedly recommend Wilson's translation! See, the genius of Emily Wilson's Iliad + Odyssey isn't that she's a woman who's translated these classics, it's that she's a poet who's adapted the greek traditional poetic form of dactylic hexameter into the english traditional poetic form of iambic pentameter. That alone goes a very very long way to making these poems feel more digestible and approachable - iambic pentameter is simply extremely comfortable and natural for native english speakers' brains and the general briskness of her verbiage helps a lot in getting through a lot of the problem books that people usually drop the Iliad or Odyssey in like Book 2 of the Iliad or Book 4 of the Odyssey. I think it's a wonderful starting point that allows people to familiarise themselves with the source text before deciding if they want to dig deeper - personally, researching Wilson's translation choices alone is a massive rabbit hole that is worth getting into LOL.

The happy medium between Fitzgerald's somewhat archaic but precise syntax and Wilson's comfortable meter but occasionally less detailled account is Robert Fagles' Iliad + Odyssey. Now, full disclosure, I detest how Fagles handles epithets in both of his versions, I think they're far too subtle which is something he himself has talked at length about in his translation notes, but for everything else - I'd consider his translations the most well rounded of english adaptations of this text in recent memory. They're accurate but written in plain English, they're descriptive and detailled without sacrificing a comfortable meter and, perhaps most importantly, they're very accessible for native english speaking audiences to approach and interact with. I've annotated my Fagles' volumes of these books to heaven and back because I'm deeply interested in a lot of the translation decisions made, but I also have to specifically compliment his ability to capture nuance in the characters' of these poems in a way I don't often see. He managed to adapt the ambivalence of ancient greek morality in a way I scarcely see and that probably has a hand in why I keep coming back to his translations.

Now, I know this wasn't much of a direct recommendation but as I do not know you personally, dear anon, I can't much make a direct recommendation to a version that would best appeal to your style of reading. Ideally, I'd recommend that you read and enjoy all three! But, presuming that you are a normal person, I suggest picking which one is most applicable for you. I hope this helps! 🥰

[ruvviks]

All That's Left follows two journalists and their friends in post-apocalyptic United States as they travel from the fallen east coast megalopolis Opportunity back to Los Angeles, crossing through a harsh wasteland overrun with zombies— only to find out that there is a lot more life left than what the protected cities want them to believe. On their journey they meet dozens of people living their lives as peaceful as possible away from military forces, corporations, and corrupt governments; and they learn that the same mutated ghouls that took down Opportunity are spreading rapidly through the country, destroying everything in their path. Will this finally be the end of the world as we know it?

taglist (opt in/out)

@shellibisshe, @florbelles, @ncytiri, @hibernationsuit, @stars-of-the-heart;

@vvanessaives, @katsigian, @radioactiveshitstorm, @estevnys, @adelaidedrubman;

@celticwoman, @rindemption, @carlosoliveiraa, @noirapocalypto, @dickytwister;

@killerspinal, @euryalex, @ri-a-rose, @velocitic, @thedeadthree

[wouldtheybecomeafearavatar]

Willy Wonka as an Avatar of the Spiral?