#the problem is... i only have first books of sagas

[celticwoman]

at last... starting the raven king today

[diaruchann]

I think for most people it went:

Percy Jackson -> Greek Mythology -> Epic: The Musical

But somehow for me it was:

Epic: The Musical -> Percy Jackson -> Greek Mythology

[caliblorn]

I promised to make this post months ago and completely forgot about it until the last few days (a classic!), so here I am now. Making it. And with silly art included. Yay!

As many of you know, Mannimarco and Vanus Galerion in Elder Scrolls Online are portrayed as 2E contemporaries who mirror each other journeys to leaders, out of the Psijic Order and into their own groups. ESO makes it clear that they're meant to be similar in age as well, and it does so both by de-aging Mannimarco's model for the "Half-Forming Understandings" quest, and by making it say by Vanus himself in Artaeum Lost.

BUT! If you have played Morrowind or Oblivion, you might already be familiar with Where were you when the Dragon Broke?, an account of different people's experiences during the Middle Dawn, the 1E Dragon Break. And oh! Look who it is.

(notice also he says God, not King) The Middle Dawn happened between 1E 1200 and 1E 2208. Time fuckeries as much as you want, but nonetheless, 1E ends in 2920, and we know FOR SURE that Vanus was born the first years of 2E and that he joined the Psijics as a 11 yo. So, even if we took into consideration ONLY the latest period of the Middle Dawn, Mannimarco would have been a... 700+ years old novice when he met Vanus. Very funny to think about, but an old mer having an intellectual rivalry with a teenager doesn't really scream "brilliant" to me.

I'd say the retconning of his age is also supported by Worm Saga, were he doesn't mention at all his period in the Maruhkati and makes it sound like he was either born or taken to Artaeum at a very young age.

Plus, both in Worm Saga and in the Vault's flashbacks and in every other source ever (WRITTEN FOR ESO. AHEM.) we see that his "discovery" of necromancy happened on Artaeum. Like, it's screamed into our ears a couple of times or more in the game itself.

The problem with all of this? The book that implies he lived through the Middle Dawn is still present in ESO.

Which is to me one little example of a bigger issue with ESO writers rewriting/retconning things without taking away/trying to somewhat link the original sources. But I digress, there are different ways to make this work but since some are too complicated to be discussed now, I'll just share with you what I usually go with;

Mannimarco is a great liar. Not only a liar, a politician. A sales man. A guru. He knows how to give himself prestige. What "Where were you when the dragon broke?" is to me is either fake accounts fabricated by the Cult themselves, or stolen accounts (probably from Artaeum's archives!) where his false experience was added and then sent around Tamriel.

If I had to make a TIMELINE for all the pieces cited, I would say the publication order would be "Where were you when the dragon broke" (used as propaganda by the Cult to make Mannimarco's figure important)-> "Artaeum Lost" (disproves what was fabricated about Mannimarco)-> "Worm Saga" (new attempt to give himself prestige with that "aldmer, scion of et'Ada").

[goldensunset]

so i guess it didn’t occur to me but like. Yeah. even if the app is offline and only provides theater mode that’s still a real canon kingdom hearts entry. those cutscenes are part of the story. and that app is the official means by which those cutscenes are accessible. there’s youtube of course but that’s all the work of fans… without the uxdr app square enix is currently straight up not offering an actual official way to experience this story anymore. which is. really low. nintendo type move. and like. bad for an overarching story that relies on this and is only going to do so more and more…

i’m betting on this being the first symptom of square enix doing something new with this story in the future but for the time being it’s like. man that really reflects poorly… not that it’s even that irrational to take down an app that’s been dead for years now but what it does is bring to light how ridiculous it is that square enix hasn’t done anything else in that time. no announcement of a remake or other new means of making uxdr available, no warning about the app being removed, etc

not to sound like one of the mobile game saga haters but in the end. when you get practical with it. it really is unprofessional and far-fetched for game developers to expect the masses to get into a story that’s only accessible through a gallery of cutscenes on a mobile app. like i understand there are always gonna be casual fans who aren’t interested in every last side game ever (even if they’re wrong) but in general stuff like bbs and ddd or whatever we’re good at appealing to broader audiences. i think square enix really needs to face the reality that people want real and playable games and the rabid passion of us tumblr weirdos who will gladly watch hours of cutscenes isn’t enough to float their boat

like khux has been around for so long you’d think they’d have realized ‘hmm the cute little online pc/mobile game we made got popular and we expanded the lore a lot hmmmm maybe we should reconsider our initial choice if confining it to the realm of a cute little online pc/mobile game.’ it hurts my heart to hear people dissing the mobile games bc it’s done from ignorance of how good they are but i’m not mad at those people. they’re judging a book by its cover but like yeah some books have unappealing covers. i get it. not everyone will immediately see the hype. the khux superfan in me says skill issue they should try harder. the pragmatic person who wants the series to survive says square enix you gotta do something to appeal to the broader audience

and like only offering the thing in a mediocre form is bad enough but it’s even worse now if they don’t even let you have the thing at all. now it really is up to the fans to preserve this work of art? a set of crucial support beams for the entire mythos’ lore is being curated by youtubers doing this entirely out of passion? and square enix doesn’t see a problem with that? mannnn if you want to be taken seriously as a storyteller. provide access to your stories. ideally make it a good and widely popular type of access but at least do something. nintendo type of move smh . as long as they don’t go full nintendo and start striking down people who upload it online

[thecomicsnexus]

TMNT: 40TH ANNIVERSARY COMICS CELEBRATION

July 2024

By Kevin Eastman, Edgar Alan Poe, Jim Lawson, Tristan Jones, Gary Carlson, Chris Allan, Erik Burnham, Lloyd Goldfine, Ciro Nieli, Andy Suriano, Tom Waltz, Ronda Pattison , Tom Napolitano, Steve Lavigne, Paul Harmon, Frank Fosco, Adam Guzowski, Sarah Myer, Luis Antonio Delgado, Shawn Lee, Khary Randolph, Emilio Lopez, Michael Dialynas, Pablo Tunica, Freddie E. Williams II, David Petersen, Ken Mitchroney, Aaron Hazouri, Dan Duncan, Sophie Campbell, Jodi Nishijima, Stan Sakai, and Emi Fujii.

Come and enjoy stories that will remind you of the 40 years of turtle history.

SCORE: 10 *

* Assuming you are familiar with these iterations.

This is a strange read, and curiously, there are three or four highlights for me, and they are not exactly the ones you would imagine.

Spoilers after the break...

The first story by Kevin Eastman is in the Mirage section of the book but... well... I'll leave at that... I wouldn't call it the Mirage we knew.

There is a story by Lawson and Lavigne with the Rat King that... it's fun. But, you know... I wouldn't even try to fit it in canon... the amount of continuity physics you need to bend to place this story is not worth the time. Just enjoy as a new story by these two iconic Mirage artists.

This other story by Tristan H. Jones and Paul Harmon requires more analysis. I'll revisit it on my gang wars video and try to give it more context... but unfortunately... it's just too vague. All I can say for sure is that it happens in the future of that incomplete saga, but the narrator just takes too many artistic choices to be taken at face value.

Also... I believe this is the first official (frontal) appearance of Agent Bishop (unless I got the character wrong, but Jones already tried to introduce him in this saga). I think he is still holding on to it, and I really hope he gets to tell his story. I wouldn't mind a mini-series... just saying!

The Volume 3 story was... not for me. The dialogue alone felt tired.

The Archie adventure was short, eventful, and funny... and it looks amazing too!

In just four pages a new character was introduced and... a new love story was implied! And it's not just a gratuitous cameo... this is a funny sequence.

The Saturday Morning Adventures (the de facto 87 story) looks amazing as usual, but I didn't find the story that interesting. However, it started a theme that would run across most of the stories in this special after this one: Master Splinter.

The 2003 story is a... loose canon?

Hun is Slash, and Shredder is back... so make of that what you want. All I'm going to say is that this felt a lot like watching the beginning of a 2003 episode, with the narration setting the tone.

The 2012 story was one of the least interesting in the previews, but I have to say... it was probably one of the best. It brought back a villain and it technically serves as an excuse to continue the series?

But to me the best thing about the story is the art. I am surprised Ciro Nieli didn't do more comic book work for the Turtles all these years. In fact, if they somehow decided to continue the 2012 universe in 2D in this style... I'm all in. Well, who am I kidding... I would be in anyway... but this looks amazing.

Andy Suriano did probably the most interesting story in the book. Now, I am not sure if his style doesn't translate well to static panels or what the problem is with the comic format... but it doesn't matter... this small story brought in a lot of things that ended on the editing floor after the show's second season was reduced to a few more episodes. There was a rumor about a female turtle, and not only it is here in all its glory, but there is also a brother?

And come on... it's so Lou Jitsu to die with a cliffhanger.

There are two IDW stories. One is another Splinter story, but the other one is perhaps one of the best in this book.

The Ronda Pattison story takes place just before the Armageddon game, and it shows the five turtles in full sibling dynamic (even Jennika). It was refreshing to see these turtles having fun for a change.

There are no stories by the new team, but... well... that's just starting.

[centrally-unplanned]

I blogged before about this company, Orange, that is an AI-powered manga translation company. Essentially, their pitch is that most manga is still (officially) untranslated, a ton of manga gets made after all but few become mainstream enough to get ported overseas. They posit the barrier to that is the cost of translation; if they could automate that process, then they can make viable for release what previously was not. That concept rests on two questions - does the tech pan out, and does the economics add up?

Recently they went live, under the name Emaqi, so we can better explore those questions. What I notice on first glance is the pitch seems to have shifted a little bit in post:

You are not the translators of Vinland Saga, Witch Hat Atelier, or Magic Knight Rayearth, very obviously so. They have Sailor Moon in here lol. These are just the official translations being cross-listed into their "manga platform", where you buy it there and it lives, DRM-locked, in their app. Which is fair enough as a model, that is just Kindle, it works. Though Kindle and a dozen others already exist, so their value-add has to be the AI translation stuff right? That is why I would choose this over another app.

Which they do have, though it is kind of buried:

"Only on emaqi" - there is no mention of the translation approach, poor guys! Can't fault the branding decision I guess given the state of the discourse. When it comes to the products themselves, I went through ~6 or so of the sample chapters of different manga, did a few spot checks with the original Japanese, and read the reviews of some others who looked into it. They seem fine! I am cautiously impressed, I think there proofers did a good job smoothing out some edges, it has a "manga tone", and while small issues like the hyphenation the reviewer above mentioned do exist and are legit noticeable, they aren't common and not a huge deal. It has flow issues? Some dialogue should link together in how it is written, but doesn't. But it isn't crazy off or anything. You will not be wowed by these, but certainly if you are someone who reads bootleg scanlations you are gonna have no problems. A lot of manga uses pretty simple vocab and isn't breaking new ground on plot, I can see how a purpose-built tool could handle it well enough.

The economics though...here is where I don't think this case was ever going to pencil out and isn't now. Because I am pretty sure no one here has heard of any of the manga listed above as exclusives. (I saw 90's manga Geobreeders in there, but that was already partially translated in the 2000's, not sure if they did a new one? Setting it aside) Which, of course you haven't, if you had it probably would have been translated! Books are a 90:10 market, most books never get read and some books get read a ton. Anything big enough can justify a professional translation, and the other can't really sell to begin with.

On top of that, their model is mass translation; which means these obscure manga are presented to you with no context, no hype, no build-up. Wtf is The Blood Blooms In the Barrens?? See, if you were like a boutique publisher, selecting "the best of the best" in untranslated manga, you would promote your specific product. Interviews, social media, the value of the brand-itself as a quality seal. Publishing less is more, actually, your value as a publisher is as a quality selector. Or you could be say the porn market, where you max quantity so people can search "foot fetish breeding kink oshi no ko" and get results; they know what they want. But they aren't doing either! And to be blunt a lot of these are not gonna sell on their art alone:

I'm not mocking The Delayed Highschool Life of a Laborer here, that is better than I could do; but if you want to me spend money on a whim the bar is high and these don't reach it. Which of course they don't, they would be professionally translated if they did.

And finally, the price - $5 dollars, for volume 1's, like a 100-200 pages. The cross-listed manga typically sells for ~$10? That isn't much cheaper! If "translation" was this big cost barrier, and all you got is cutting the price of ebooks in half, I don't know if the analysis was so solid. This is a new product, I doubt they are overcharging to make a quick buck right now - this is the "sell at cost to scale" era.

In all of their lead up press they would say things like this:

Orange's process uses AI to read the manga through image analysis and character recognition, then to translate the words into English, Chinese and other languages. The technology is specialized for manga, meaning it is able to handle wordplay and other difficult-to-translate phrases. A human translator then makes corrections and adjustments. The process can deliver a manga translation in as little as two days. Orange will work with multiple Japanese publishers. The company looks initially to complete 500 translations monthly.

But this is missing a lot of context. For one, these manga are simple high school or battle manga that are ~200 pages long, many of those pages have only a few lines of dialogue, etc. Imagine you are a professional translator, and you are given that manga to translate, all the set-up done for you, all you gotta do is write. How long do you think that would take? Not that long! It could probably take like a week if it's actually all you did (calc'd from a 10k word count manga volume, 2k is a typical "good translator" per day count - many manga are shorter than that). And note how they said "as little as two days" - not median two days! Just, you know, aspirationally.

Translation is just not a big bottleneck. You gotta do layouts, lettering, proofs, etc, these can all take just as much time - and are being done by people, they still need wage workers doing all this. But that is small fry in comparison to publishing contracts, author approvals, distribution, all of that. And most importantly, product acquisition - you have to get authors to sign with you! That can be months of work. I am sure they are trying to get bulk agreements with publishers and such, but authors will push back on that, this is not an easy endeavor.

Which is why, in above, they say they hope to have "500 translations monthly". And after a year+ of work, on launch, they have...

...18. As best I can tell at least, their site deliberately obfuscates what they actually translated versus are just hosting for resale after all.

So yeah, as mentioned I don't think the economics pencil out. These aren't worth $5 dollars, they can't actually generate volume that makes "massive economies of scale" actually valuable, and their approach is currently antithetical to the idea of generating traction for any of their individual works. Niche publishing just doesn't work this way.

But it is early days, and hey I respect the experiment! I do think the tech is pretty good, and it is nice to see a company showcase it. It isn't quite good enough yet for prime time, but it could get there. I do want more manga to get exposure and audience; I will give a fair shake to any who try.

[renmackree]

Fic authors self rec! When you get this, reply with your favorite five fics that you've written, then pass on to at least five other writers! Spread the self-love 💞

I'm answering the oldest in my inbox, but I was also sent this by @dear-massacre @seaweed-water, and @keldjinfae 💕 I just don't have enough I want to recommend from myself for all of you

A Book By Its Cover (Model) (wc: 62,311 || Rated : E || Sterek || No Archival Warnings)

Derek Hale has been a cover model for ten years exclusively for his favorite romance author, the mysterious M. S. Gajos. With the series about to end, Derek takes his last chance to meet them for the first time, only to find out that Gajos (AKA Stiles Stilinski) is a whisky-eyed cynic who doesn’t believe in the love he writes. Sparks fly, both bad and good, and it just so happens that Stiles is looking for a muse—but will Derek be able to keep from falling for him? Or will Stiles’ heart finally melt?

Small Town Logic (wc: 36,118 || Rated : E || Sterek || No Archival Warnings)

Derek Hale is the new Deputy of Beacon Hills, hoping to have a fresh start for himself and his son Eli. What he didn't expect was the owner of the coffee shop to turn his existence upside down. Or The one where Derek's new to town and thinks that Stiles is in a relationship with Jackson and pines for him.

My Mother Told Me (wc: 60,556 || Rated : E || Sterek || Graphic Depictions Of Violence)

Stiles joined the Emissary program to help Alpha wolves settle into their new roles and to follow in his mother’s footsteps. She had always told him he was destined to run with the wolves, but he thought she meant Scott and his pack. Instead, Stiles finds himself sent to Thingvallavatn, Iceland, with Alpha Derek Hale. It's clear the Alpha is hiding a part of him that Stiles can’t reach, but when a monster comes to threaten the pack, it’s always great to have someone in your corner with a little mischief up their sleeve

Werewolves at Twilight (wc: 50,555 || Rated : E || Sterek || Graphic Depictions Of Violence, Underage)

About three things he was absolutely positive. First, Derek Hale was a werewolf. Second, there was a part of him – and Stiles didn’t know how potent that part might be – that desired Stiles as a mate. And third, he was unconditionally and irrevocably turned on by him. or Twilight Saga but Teen Wolf

part-time soulmate, full-time problem  (wc: 27,111 || Rated : E || Sterek || Graphic Depictions Of Violence)

Stiles had seen it all in his five years of supernatural shenanigans, but never in his life would he have guessed returning to Derek's old stomping grounds in New York, especially under the guise of Derek's magical Mate. It was going to be an exciting summer.

[hanzajesthanza]

a lot of the “haha geralt is so annoyed by his friends!!” talk reduces the relationship of geralt & co. to the events of baptism of fire—baptism of fire geralt is very enjoyable to read, but lady of the lake geralt is the final evolution of a beautiful development of character. we really ought to talk more often about how his relationship with his company developed over the next two books and how by the end of it, he felt entirely responsible for their fates.

it can’t really be said that the hanza didn’t mean a lot to geralt and he would have chosen ciri & yen over them no problem. by the end of it he really valued their friendship and company. he literally identified himself as their leader, embraced his role as their leader. only with their company, he was finally able to fully ascended to what he is at heart and who he was meant to be, what his character was created to be: a hero.

he never liked to play sacrificial games. the entire reason he shunned (the majority of) the company (sorry cahir, he took extra issue with you) was that it was too dangerous of an undertaking, and he did not want to risk the lives of anyone else for his personal matters, sticking their necks out for him. it wasn’t just because he’s an old grump and sourpuss—he literally tells this to dandelion and milva multiple times, that he doesn’t want them dying because of him.

he decided against anything that would have put milva in danger when she was pregnant, refusing to risk her life or her unborn child’s life—remaining adamant that he would not sacrifice her child’s life for his own. and similarly when codringher presented him the hypothetical of pawning a decoy girl off on emhyr, he was disgusted at the thought of trampling the life of some innocent girl for the safety of his own.

virtuous to a fault, geralt abhors stepping on another to lift himself up. he won’t even kill innocent creatures to make a quick buck—they have to be real dangers—which, of course, makes him not only poorer and hungrier, but fighting, you guessed it, more dangers. this makes geralt unlike many of the other characters we’re presented with, who, even though they may not want to, agree to make sacrifices for their personal interests or the greater good (though, what’s the difference—the lodge and emhyr called their personal interests the greater good. that’s a big point of how the decisions of those in power is deconstructed in the saga).

i don’t think geralt would have sacrificed his company, given a choice.

but he did choose, of course, despite not being given a choice. it was a necessary sacrifice, though geralt, being the man he is, would never have made such a choice given the option (like the trolley problem—he’s impossible, he would continue to insist that neither of these choices are good and he doesn’t want to choose). i don’t want to kill either shrike or stregobor, i don’t want to take a side in the war, i don’t want to ride to cintra and claim my destiny. the whole saga is about how no matter if you decide to choose or not to choose, destiny still makes you choose. even if you think you can deny and avoid the choice. and after such denial, it stops asking you nicely. death dogs his footsteps, but death couldn’t catch up with him (for a while, at least), so it had to settle for others… the hanza are another, perhaps a final, manifestation of this lesson—calanthe and cintra being the first victims.

he and cahir dragged milva’s dead and bleeding body to safety, risking their own lives in the hail of arrows which rose again once she had fallen. his noble and virtuous heart still looked for cahir and angoulême in the corridor after the fighting had ceased, waiting for them to come out of the empty hall, before ciri shook her head to tell him no one would be coming down it. his scream rung in the air with regis’ as regis was being torn apart. and he, in pain and exhausted, remembered him, to yennefer when she asked, as a friend, and managed to utter some beautifully kind words in his memory.

i don’t think someone like geralt (feeling responsible for deaths of innocents whether they’re even his fault or not) would ever truly get over the loss of his company. after having, with ciri, buried them, by the foot of stygga castle, having to drag the bodies out one by one, close their glassy eyes, mound the wet and cold earth over them. and regretfully glance back at the melted stone column he cannot bury. he was woefully dreary after stygga, and kept returning to their memory as they retraced their steps into the sansretour valley. reminding himself about the sword of destiny with two edges… and again at rivia mourning them with the dwarven company.

we can at least sigh with relief that destiny allowed him to keep dandelion. it had to, because he is just, after all “like a burr on a dog’s tail”—destiny did not quite manage to slip its noose around his neck, for he did not touch destiny, but instead tagged alongside it. (plus, the cameraman never dies). if dandelion died, it would have broken geralt well and truly. it was the longest and deepest connection he ever had. the same goes for the reverse, of course 😬

[positivelybeastly]

From the Ashes Infinity Comics #15: Pygmalion, Part 1

So, for those who are not aware - Infinity Comics are online-only comics distributed through Marvel Unlimited, their subscription based app and browser collection of comics. Regarded as 'inessential,' but still very much canon, the raft of Infinity Comics coming out of From the Ashes have been quite good, but I haven't seen fit to comment on them for a bit, until now, because . . .

Let's go.

For those not aware, Pygmalion is a famous novel by George Bernard Shaw, detailing the attempt by a phonetics professor called Henry Higgins to 'elevate' a Cockney flower-girl named Eliza Doolittle.

Intrigued by a bet that he could pass her off as a duchess through careful schooling, he decides to take her on, and though he succeeds, she ends up feeling marginalised and overlooked, treated as an object of gambling and curiosity rather than an individual in her own right, and though the play is best known for the 'culturing' of Eliza Doolittle, it is as much about the arrogance of Higgins, who is a thoroughly unpleasant and rude individual, in thinking that he has any ownership over Eliza for his education of her. He may have 'created' her, but he does not control her.

The Factory that the X-Men are living in at present must have really good central heating for Cyclops to be wearing basketball shorts and a crop top that short.

Beast is currently investigating some kind of issue with Magneto's chromosomes - to put it succinctly, he appears to be ageing rapidly, and does not have access to his X-gene at present. This is a continuation of the storyline in the previous Infinity arc, which focused on Magneto.

Something worth noting - this is the first acknowledgement of the fact that though Hank's body may be of roughly the same physical age as his original, his mind is considerably younger, situated at some point in his mid 20s. For someone who was always the oldest of the original X-Men, this is fairly significant.

Also worth noting - Hank joins the ranks of superheroes who are actively seeking therapy for their problems! Good on you, Hank! And good on you, too, Scott, for suggesting it. Though, perhaps, given recent developments in the mainline X-Men comics, you should take your own advice . . .

The fact that Hank refers to himself as the only one left seemingly confirms that X-Force took care of the Beast clones who Beast Prime planted around various landmarks as part of the Ghost Calendars arc. Though they were defeated in their respective future timelines, I wasn't quite sure if they had been taken care of in the present as well. This seemingly confirms that they were.

Hank's therapist is Dr. Andrea Sterman, a supporting character from Jed MacKay's Moon Knight run, and a member of the Midnight Mission. Given that the writer, Alex Paknadel, confirmed on Twitter that he talked with Jed MacKay about making sure all the details for Hank's storyline would line up with the mainline X-Men book, I can only imagine this was done as a rather fun continuity nod.

Hank also refers to a Shi'ar warship, an avian alien race that the X-Men deal with on a regular basis. This makes sense, given that Hank was beamed aboard the Shi'ar imperial flagship during the events of Dark Phoenix Saga in 1981 - ancient history for us, but relatively fresh in Hank's mind, given his memories come from 1985.

Hank, naturally, does himself a disservice here. Dark Beast was, assumedly, abducted at a relatively young age from his human parents, and indoctrinated by Mister Sinister as something of a protege - a protege living in perpetual fear of his mentor. He probably didn't have a chance to develop any kind of moral code divorced from the social Darwinist hellhole that is the Age of Apocalypse.

That being said, Hank probably lacks that context, and Dark Beast is unique among Age of Apocalypse denizens, not just for his unerringly cruel nature, having never shown any altruistic tendencies (unlike, say, AoA Cyclops or Nightcrawler), but also for his resilience. He persists, even now - though last seen in Immortal X-Men #9 as a head in a jar, he has come back from the dead at least twice before, and it is unlikely he is gone for good.

Fun fact - his appearance here is based on the costume he wore during his scrap with Emma Frost's X-Men team in a confrontation with Spider-Man and the Lizard. Though the X-Men naturally encountered him after this point, it's fun that this appearance by Dark Beast is considered iconic enough to be the 'definitive' look for him by this comic.

Hank's final remark, about 'Henry McCoy plus time equals atrocity,' is a sentiment often repeated on social media boards, and it's interesting to see it being internalised by Hank himself, given his unique perspective on the events that created his future self and the other potential timelines the X-Men files likely refer to.

Mm. A lot to unpack here.

Hank's relationship with his X-gene has always been complicated, and the way he views it here, as essentially morphing him into a shape that he finds abhorrent, predatory, and beyond his control, is consistent with how Hank seemed to see himself during his feline mutation, which lasted from 2000 to 2013.

Though his feline phase is not referenced in this comic, beyond the 'over time, and with a little help, these became more pronounced,' (probably a reference to Sage's jumpstarting his secondary mutation) it assumedly would be in the files Hank has been using to catch up, and one has to wonder if he's been repeating some of the thought processes that made feline Hank such a uniquely neurotic version of the character.

It's also nice to see a canonisation of my long held fanon that Hank's X-gene is actively attempting to craft a form for him that is best suited for survival, a belief that Hank only hinted at back in Morrison's New X-Men, but which made sense, given the circumstances of his mutation in X-Treme X-Men.

That being said, Hank's own mind seemingly strays back to the night his furry mutation first manifested at the Brand Corporation in Amazing Adventures, where he flew into a berserker rage and nearly killed Carl Maddicks, which always seemed a little incongruous with how Hank was written in subsequent appearances in Avengers and Defenders, but which now seems to be retroactively made an expression of the brutality he was capable of during his feline phase.

The 'violent upheavals' Hank refers to here are likely his initial secondary mutation, and then his near-death experience when said mutation randomly destabilised in All-New X-Men. It could also be a reference to his numerous genetic troubles during X-Factor volume 1.

His opining that he found refuge in the life of the mind is very reminiscent of Hank's desire to find meaning in poetry, literature, art, humanity, in the wake of the changes in his body in both X-Factor and New X-Men. X-Factor #33 and New X-Men #117 both specifically reference his delight in the freedom to think, in opposition to the clouding of the mind that came with his Pestilence inflicted dumbing down, or his newly awakened predatory impulses.

Ironically enough, Magneto is, aside from Simon Williams, the character with whom this version of Hank has shared the most panel time and dialogue, between his conversations in X-Men and previous From the Ashes Infinity Comics. It would appear that Max's need for a cure for his condition are fostering a necessarily stronger bond than Hank and Max have ever shared before in canon.

Precisely where the rest of the team is during the course of these events is unknown. If I had to guess, it's possible this might be set during the events of X-Men #2, where the rest of the team was attending to a mutant rescue in San Francisco, accounting for the lack of availability of the Marauder and a reliance on an old Quinjet.

Quite how Hank got his hands on said Quinjet is unknown, though it's possible it might be a holdover from Hank's Defender days, where he would regularly borrow a Quinjet from the Avengers, for purposes ranging from actual superhero missions to attending Patsy Walker's wedding.

Though this Hank's memories originate in closest proximity to the Defenders, and though that team did enjoy some degree of notoriety under Hank and Candy Southern's stewardship, the Avengers have always been where Hank was most popular in-universe, and he has had a habit of using that association to smooth things over in mutant related books, such as in X-Factor volume 1 and the 90s X-Men run.

Unfortunately, mutant rights are in a more dire state than ever before, with things having seemingly gotten only worse for them since the 1980s, and it's likely Hank didn't expect this level of hatred from normal civilians.

I have, unfortunately, run out of images, so I'll be posting the last of this issue and my final thoughts and predictions in another post.

[about-faces]

I'm still loving Gotham Nocturne and I wish it was getting the love/respect/attention is deserves. I've spoken several people who haven't been reading the current Detective Comics run because they're Batmanned Out (good lord, do I get it) and they see it as just another attempt at some kind of "ultimate Batman story with Batman fighting the ultimate evil," which I strongly disagree with.

THAT SAID... as time has gone on, and the story seems to be reaching its finale, there are a few things that stand out of me as problems with this epic storyline.

1.) It's one of the most egregious examples of "writing for the trade paperback." This simply isn't a story that's meant to be read month-to-month. It's too slow, with too little "happening," at least on the superficial level. Paradoxically, it's NOT a story that should be binged! The best comparison that comes to mind is Better Call Saul, since that's the only other example of serialized media that's meticulously slow-paced yet INCREDIBLY RICH for those willing to engage with it on its level rather than expecting it to be Breaking Bad (or in Nocturne's case, a typical Batman story.) Ram V is capable of writing super-engaging monthly issues, as the fantastic Rare Flavours proves, but that brings us to...

2.) The story is sprawling. Maybe even TOO sprawling. When it comes to people who are sick of Batman, I try to sell them on the fact that this story is about GOTHAM AS A WHOLE, right down to the villains who call it home, and how everyone there is as intrinsically a part of Gotham as Batman is. But ensemble stories like that are tricky, and it makes the focus feel all over the place at times, with alternately too much and too little attention being paid to the main players, Batman included. It's a balance that was handled beautifully with Batman: The Audio Adventures, but it seems a bit more awkward here. Again, it's hard to pull off!

Like, we have characters pop up and then vanishing without explanation. We got Azrael back in the AzBats armor for the first time in decades, like, holy shit! That should be a HUGE development! And then, poof, he vanished! There's simply no time to explore Jean-Paul's character because there's so many other things the narrative needs to explore.

This feels like it would have really benefited from a companion series, something to focus on the characters the way the backup stories have done, but just more so. I think about how Peter Tomasi would write companion books to the main big storylines written by Geoff Johns, Grant Morrison, and Scott Snyder, and how he'd focus on character, which always enriched the greater "big important storyline." Which, in turn, also brings me to...

3.) The backup stories have really lost a lot of their punch since they stopped being written by Si Spurrier and were taken over by Dan Watters. Watters is incredibly capable, make no mistake, and his Cheshire/Lian Harper story is one of my favorite parts of this entire saga. But by and large, his tales focus more on the spooky and weird sides of what's happening with Nocturne, whereas Spurrier's stories were more focused on characters navigating the weirdness of the events. As a result, Spurrier gave us what I consider to be some of the very best stories about Jim Gordon, Harvey Dent, and Victor Fries ever written. I really miss those, and how they enriched Ram V's (possibly overly-ambitious) narrative.

Ultimately, Gotham Nocturne feels like the Batman equivalent to an arthouse film, which means it's going to be appreciated by a handful of nerds while leaving most other fans cold, and I can't really blame them. If anything makes me sad about all this, it's how all this incredible character work with Bruce, Harvey, Victor, Talia, and others is going to be ignored. Hell, it already is, given the complete lack of acknowledgement we've seen in other Bat-books for what's going on in Nocturne.

At this point, I just hope it sticks the landing in the finale, because I want to be able to have a complete, satisfying epic to recommend to people who want something a bit richer than the typical "guy in Bat costume punches clown" stories we usually get.

[two-braincells-in-total]

I saw that some people here are worried that glorious rivals might be NA, because of the deleted scene of tgg and I wanted to explain why I highly doubt it.

First off, there are different levels of YA. A book which has target audience 12 yo will be different than one with target audience 18 yo. I'm pretty sure that the tig saga in general is something in between.

This means that there are different 'spice' levels in YA (tho I wouldn't call them spice, since it's still YA). It's a wide age range, from 12-18 (correct me if I'm wrong), therefore it has different intensity levels. For example, the Shatter me series is also YA and I think we can say that it was more explicit than the deleted tgg scene of Rohan and Savannah. Even then, there are still 13 year olds reading it and it's not a problem, because it still isn't NA, the scenes don't describe the actions after make out and undressing, which is exactly what YA means. Just because the make out session is a little bit more intense and is suggesting further action, it doesn't mean it's NA unless the further action is described explicitly.

Secondly, even if she wanted to separate the two trilogies (which would be a very bad idea on her part, because she'd lose most of her audience, so I doubt it), the first book of the second trilogy (aka tgg) is still YA, she can't say "oh, you read the cliffhanger from book 1 but can't read book 2 because you're underage, even tho I said that you can read the series". Authors don't just change the age rating of the books mid series. Between series of the same saga, possibly, even if it risky (the whole losing audience thing), but definitely not in the middle of a series.

It's okay if you're uncomfortable with higher levels of YA (which, honestly, it's looking like we'll get there in the next book, that I can't deny), but you can't say it's not appropriately rated, because she's just changing the intensity, not skipping to the next rating.

So, yeah, I don't think glorious rivals or any future book from the saga will be NA, I don't think she'd risk losing most of her audience. Even if she's targeting older audiences on purpose by potentially switching to NA, it wouldn't be in this saga, because people who read NA probably wouldn't read 5 books of YA before they get to the NA book. It would be a lose-lose for jlb to do that, so I don't think we have any reason to freak out about the age ratings.

She's just changing the intensity. Again, it's understandable if you're uncomfortable with higher levels, but it still counts as YA. YA doesn't mean only having a 1 paragraph long kiss every once in a while, for some books it means sexual tension without action, or the characters doing it, but only having their emotions described instead of the action itself (again, I'm giving Shatter me as an example of such YA book).

[sillylilyposting]

A DARK STORY.

IS NOT.

DEFINED BY.

HOW IT.

ENDS!

LILY you are confusing a TRAGIC STORY with a DARK STORY!

first of all dark COMEDIES exist!

But speakin further on the matter you are just wrong

So here's the deal, in a dark story you can have a happy ending bitter sweet or otherwise, the point could be watching a tragedy play out or it could observe the struggle against the dying light or even behold this humorous misery in this dark comedy!

In closing: A Dark Story is Not Defined By its Ending that's STUPID, but it's also not always a woe as me tragedy

Examples:

Game of Thrones is about decite and upheaval that is only throwing the realm into more problems (meanwhile the old army's of the dead march but anyways) there isn't an undying lands or a Shire to return to, we see the world it's just kinda shit and getting worse cause those with the power to do something won't and their is no "fixing" this

Aliens opens on Ripley being crushed down by a system that neither cares for or treats her trauma, while still wanting to exploit her AND having to relive all of it on a bigger scale (yeah she overcomes it a bit) so she escapes and saves Newt suffering through that still a DARK story!

We roll on down to Warhammer town with Ciaphus Cain surviving in his books while the empire (continues to) decay the Necrons steal absurdly powerful tech and he is arguably given even more influence that he SELF ADMITTEDLY DOESN'T RUN PROPERLY

Furiosa: Succeeds in getting her revenge on Dementis, succeeds in climbing to a status in Immortan Joe's army(cult) Still an objectively dark story even with the happy ending full of rip roaring motor action

The Elric Saga is famous for toying with classic fantasy tropes, an early example of the doomed hero cursed to suffer due to his fate as the Eternal Champion he constantly suffers but STILL fights against the darkness

Chernobyl (HBO series) has a grim tone (as it fucking should) with government cover ups human misery and tragedy abound but it ENDS with Legasov winning and has real change! Nope still one of the greatest nuclear disasters in history

I could name more series movies and books but quite frankly these post by lily are maddening

[4seasonsofart]

It's that time of the day again where I imagine if Vinland Saga characters were self-aware. On today's roster, we have the one and only Thorkell the Tall. Now let's think about this logically: Thorkell would not be subtle at all. As soon as he gains the least bit of self-awareness, you will know. Being quiet and playing things safe isn't exactly his style. Thorfinn is glaring at me in the corner of the page while I am writing this.

He would immediately announce to his band of men that he is able to see into other dimensions and that he has been blessed by the God's. Thorkell says that they are being watched from above and looked overprotected by you. How does he know your name? Well, he just looked through your phone through the online version of the manga. He needed to learn the name of the attractive reader who was constantly looking at him.

Thorkell loves to flex his strength and skill, and when you open the manga, it immediately becomes a war zone around him. He will subtly flex his muscles and go out of his way to get into fights to impress you. (Cough, cough; Thorkell's version of subtle is not subtle at all.) He will decimate entire armies while laughing and then looking back at you and winking. "All for you, love." Is something he jokingly says to flirt with you. His band is somewhere in between being in awe that he is in contact with a higher power and thinking that Thorkell has just completely lost it.

He will move things into manga panels so that he is able to show off his treasure and many valuables to you.

He talks to you through the pages as he speaks of his many travels. You think you are going insane because you are talking to a Vinland Saga character through a manga. Although you both do enjoy the conversations. Time has passed quickly since you first met self-aware Thorkell.

Thorkell always insists that you have a version of the manga open on your phone or a physical copy on you at all times. He may not be real in your world, but he still wants to be able to protect you anyway he can. If someone insults you, then he'll start shouting through the pages, and you have to close the book. You have gotten some weird stares as others have heard Thorkell's voice. It is disturbing and also nice to know that you aren't crazy because other people can hear him as well. So yeah, you need to have a talk with him about that. He shouldn't just start shouting at people randomly.

Thorkell just wants to show you why they call him invincible. Is allowing him to protect you through the pages really that much of a problem? He just wants to protect you.

[henry-the-queer-artist]

movies that absolutely suck but I really like them and actively participate in their fandom and I think you should too

Jupiter Ascending

the plot of this film is half-baked trash but I never cared for plot and I don't think you should either. they give eddie redmayne a sparkly cape and a golden chariot that may or may not have an actual person melded into it. a win in my book. reincarnation and a space dynasty made up of fussy siblings with mommy issues. 3/10 as an actual movie but 9/10 for me liking it.

2. The Twilight Saga

my ass is not going to reuse the ''twilight sucks haha'' thing. it is getting old. These movies are also half-baked in plot but hilarious when watched ironically and the side-characters are interesting and loveable, no matter how dull the main characters can be at times. the extremely long pauses between dialogue are not the only problem with these movies, but I definitely enjoy making memes and talking about the other members of the cullen family. 2.5/10 as actual movies (the plots get worse as they go along) but 10/10 for me making memes and loving the cullens besides edward.

3. Like Minds

ok hear me out I LOVE this movie. the people in its fandom are some of the only people who have ever been actually nice to me in my life. this is my second favorite movie. but is it good? heck nah. The plot isn't half-baked it's overbaked. they thought too much about it and then none of it made sense and then they were like ''this is the worst movie ever'' and gay trans teenagers (me and 4 other people) were like ''do you promise? 🥺'' this movie is the best because it's gay gay homosexual gay and you can already tell how much I love stupid eddie redmayne movies. 5/10 on the actually good movie scale but 100000/10 in my heart.

4. all three of the star wars sequel movies

I used to really be into star wars, ok. I still like it now. I always grew up watching the prequels which were also bad but I love those ones and they were kinda better than these. So when I saw these in theaters at first I was like ''this is garbage. is this what we're feeding the star wars fandom now?'' but then I rewatched them with an open mind but more importantly an open heart and my opinion has changed. they may have ruined luke skywalker but damn. the new characters are lovable and Kylo Ren deserves the world. need I say more. the ''I need a hero'' version of Kylo running into the Exegol temple in the 3rd movie is legendary. 4.5/10 on the actually good movie scale. 9/10 in my heart.

[panlight]

Breaking Dawn has always read like a fanfiction to me. I'm aware this has probably to do with the fact, that Forever Dawn was written before New Moon and Eclipse, and SMeyer just rewrote some pieces of it.

But this made me think - most fans probably have an idea of how they would have liked the story of Bella and Edward to end and those endings might all be a little, or even very different. What would your perfect ending for the Saga look like? You can place it after any point of the story - just after the first book, in the middle of New Moon, around the end of Eclipse, wherever you want.

It really does have a lot of fanfic-y tropes. The big wedding. The over-the-top tropical honeymoon. This is an 18-year-old middle class girl getting married here. Sure the Cullens are rich but she's not an actual princess or something, this always felt hugely over the top to me in a fanfic-y way. And then the baby, of course. It does tick a lot of boxes of the sort of fanfic that imagines what happens after the book/movie/show where the main couple get married and have a kid.

For me, vampirism without consequences is just completely uninteresting. Bella getting to have her cake and eat it too not only undermines all the themes in the earlier books and makes Edward's brooding about being a vampire seem like unnecessary whining, it's also just boring.

So my ideal ending is an actual follow up to Eclipse. Bella and Edward follow through on their compromise plan: wedding, sex, and vampirism in that order. There's no baby; Bella is turned on Isle Esme and spends a few months there on a secluded island with no people (the groundskeepers are given time off FFS Edward can clean the house) eating wildlife and adjusting to vampirism.

But she actually has to like, adjust. It IS has hard as people told her it was. She can still do well at it, but with struggle. I mean, Carlisle never killed anyone either but he did it by banishing himself to the woods and starving to the point that he unthinkingly attacked some deer. I believe it was hard and he struggled and so his triumph feels earned. Bella can still control herself better than average but I wanna see her struggle with it, versus like, one tense afternoon with Charlie and then totally being fine around humans and going to see lawyers in a sexy outfit, no problem. That felt anticlimactic.

Also there should be some fallout with Jake, and she should probably have to cut ties with Charlie and Renee. She MADE this choice to become a vampire knowing she was giving these things up, so for Breaking Dawn to be like "Nevermind! Haha!" about it was deeply unsatisfying. It killed the conflict and tension for Jacob and Charlie to still be part of her life and accepting of the weirdness of it.

For me, the whole point was Bella was sacrificing a lot to be with Edward. That is where the romance and angst lies. Getting to be beautiful and immortal and rich and powerful AND with the person you love AND keep your father and best friend AND get a perfect baby who never cries and sleeps through the night AND conquer the bloodlust in like 2 seconds was just . . . boring. All the stuff I had been interested in seeing how it would resolve was resolved in just the easiest, least interesting way possible. A perfect example: the wedding. We're told that Renee is going to freak out about this early marriage and even THAT relatively unimportant conflict is just instantly resolved with "actually, Renee's totally on board!!!!" Snore!

So yeah. Bella is turned on the honeymoon. It's hard. She cuts off ties with Charlie; maybe she fakes her death, maybe she just disappears. Jacob refuses to talk to her, but Sam is like "whatever she made her choice we're not going to start a war over this." And in this way Bella is actually cut off from her human life and has to start over with the new family and new life she chose. We probably have to resolve the Volturi situation somehow; maybe a trip to Volterra to prove she's been turned and some conflict with the Volturi comes into play.

But ultimately I just want an epilogue where she comes back to Forks with Edward to check in on Charlie and Jacob from a distance. She watches Charlie with Sue (or someone else) playing with step-grandbabies, she sees Jacob, who has stopped phasing and is aging and married with kids of his own, and it's hard. It's sad to see them going on without her. And Edward looks at her like he's about to apologize for the 239470242th time for robbing her of a human life and she's like, "No, the life I have with you is worth it," because THAT's the vibe! That's where the romance is! Her being happy in BD means nothing because it was all so easy for her! Her being happy despite the downsides of vampirism is where the romance lies!

[ironspdr6700]

WHY IS CLYTEMNESTRA JUST AND GUILTY AT THE SAME TIME (ACCORDING TO AESCHYLUS)?

Medical school, unfortunately, has been taking up more of my reading time than I'd like. But since we're on 14-HOURS blackouts now, it gives me time to at least read my favorite Greek tragedies in more detail. And of the big 3… My favorite by far is Aeschylus.

I recently read some passages from Gilbert Murray's book "Aeschylus: Creator of Greek Tragedy" and I can't recommend it enough for anyone who is a fan of the Oresteia, because you read Murray first and then you re-read Aeschylus in a totally different way and all the parts that seemed incomprehensible at first make sense. I've read a lot of posts here on Tumblr that defend or demonize Agamemnon or Clytemnestra or Electra, defending one, condemning the other or claiming that they are all equally bad, but I think the problem is that we read the saga of the house of Atreus from our modern perspective. And I think that shows that we don't know how to read Greek tragedies. Tragedy… AUTHENTIC GREEK TRAGEDY AS AN ARTISTIC CREATION, according to Aristotle, should provoke TERROR and COMPASSION in the viewer at the same time. Tragic heroes are different from the rest of traditional heroes because they are not worthy of being imitated, but are trapped in a situation that none of us would want to be in. And we regret that because if we were in their place we wouldn't know how to make a better decision.

Precisely because we are a modern audience, we feel more comfortable with Euripides' theatre, his criticism of mythology and the lack of ethics of the gods (don't get me wrong, I love his Medea and the Trojan Women, which is, in my opinion, one of the greatest treasures of universal literature), but we find it difficult to get into the thought of Aeschylus.

Because Aeschylus belongs to the last link of Archaic Greece, which was transformed into the Classical and rationalist Greece of Euripides, Socrates and Thucydices. Aeschylus was a deeply religious man who lived through decades of transformation: the passage from tyranny in Athens to aristocracy and then to democracy, the battles of Marathon and Salamis between the small Greek city-states against the "excessive" Persian empire and the beginning of the golden age of Athens marked his vision of the world that Divine Justice had an active participation in the world to always balance the scales.

And this also involves a transformation in the conception of Law and Justice in that period of Greek thought. Like the archaic idea that justice is only a synonym for revenge, it becomes a state-mediated process to maintain social peace. According to the archaic conception EVERY MURDER OF ANY MEMBER OF THE FAMILY MUST BE AVENGEANCE, it is not an option, it is an OBLIGATION. From that point of view, Clytemnestra has every right in the world to take revenge on Agamemnon for the sacrifice of Iphigenia, not even the Furies have anything against her because she is not Agamemnon's blood relative, which, superficially, would seem to close the cycle. The only problem is that this is a cycle of violence, and the more violence you add, the more times the cycle keeps repeating itself and the more the wheel of Ananke, the Need to satisfy the spilled violence, keeps turning.

Clytemnestra calls for help from Zeus, "Zeus, through whom all things come to an end", so that she can succeed in her plan. If Clytemnestra kills Agamemnon, it is because ZEUS HAS ALLOWED HER TO DO SO. In Aeschylus, no event ever happens that was not the will of Zeus. Zeus is the guarantor of destiny, the protector of supplicants, the guardian of hospitality… And he is also Zeus the Avenger, in charge of making sure that everyone pays for their crimes in due time. And Agamemnon has a long list of crimes to carry out, not just Iphigenia; as leader of the expedition against Troy, he has allowed the army to destroy everything during the siege, including the altars of the gods… the refuge for the supplicants.

"The altars and temples of their gods have disappeared; the entire race of a people has been annihilated."

Zeus, as guardian of hospitality, sent Agamemnon and Menelaus against Troy for the abduction of Helen:

"Paris, who, having been welcomed into the home of the Atreids, dishonoured the table of hospitality by the abduction of a wife."

But Agamemnon allows his army to GO TO OVER THE TOP IN REVENGE

"Paris will never boast, nor the city that was his accomplice, that the deed outweighed the punishment… he lost the stolen garment, and ruined the house of his parents along with his own country. WITH DOUBLE PUNISHMENT the sons of Priam PAID FOR THEIR GUILT."

So now it is Zeus, Suppliant and Avenger, who must again balance the scales.

"Now those who conquered my country are in turn sentenced by the gods."

As a second point in favor, Clytemnestra, at least in the first work of the trilogy, is more than just a woman, she seems more like she is possessed by a divinity:

"…say not that I am the wife of Agamemnon. That ancient and fierce spirit of vengeance that garnished the cruel feast of Atreus, that is he who, taking the appearance of the wife of him who lies there, avenged on a man the sacrifice of two children."

This was part of archaic thought, the idea of ​​demons or minor divinities that influence the thought or behavior or actions of human beings and also that the crimes of parents must be paid for by their children if they are not avenged. One of the most interesting posts I read is one that commented that, in archaic literature, one never knows exactly where human freedom begins and where divine will ends. BUT THIS DOES NOT MEAN THAT FREE WILL DOES NOT EXIST AND THEREFORE THAT HUMAN BEINGS ARE EXEMPT FROM RESPONSIBILITY FOR THEIR ACTIONS.

And this is where Clytemnestra also becomes guilty. First, because she murders Cassandra, a Trojan princess, a priestess, a slave who has no say.

"I am forced to suffer the yoke of slavery"

She treats her as if she were Agamemnon's lover, which highlights 1) Clytemnestra's hypocrisy, because she had also taken Aegisthus as a lover, and 2) this is more important, THE LACK OF COMPASSION. Greek tragedy must generate terror and compassion because they are the two emotions that make us human. Only the person who is authentically compassionate, that is, literally feels the suffering of others as their own, as a shared experience and inheritance, can be called an authentic human being in the highest spiritual sense of the word. Clytemnestra HAS NO PITY, on the contrary, she delights in the very violence she commits:

"She, after singing her funeral dirges like a swan, fell too, and lies there beside her lover. Delicious contentment that satisfies the pleasures of my loves!"

Clytemnestra triumphs as Iphigenia's mother, but fails as a queen, just as Agamemnon triumphs as a king but fails as Iphigenia's father. Clytemnestra does not care about the opinion of the chorus of elders, she does not care that Aegisthus establishes a tyranny and that the respect for majesty that Agamemnon did have for his subjects is transformed into fear, into threats of hunger and deprivation for those who oppose her.

It is true that Clytemnestra is justified (Justice in the most archaic sense of the word) in her revenge in the first act, but that does not give her the right to laugh, or even to feel proud of what she has just done. "For my own part, I boast of my work. If it were lawful to pour libations on a corpse, they would be just, most just on this occasion." Not even Odysseus, who murdered 108 people in his own house despite having received the approval of Zeus and Athena, takes delight in the slaughter, because "it is not godly to rejoice over the death of these men."

In the end, Clytemnestra does not seem to die for killing Agamemnon (that is Aegisthus). She dies for having killed Cassandra, as she herself prophesies:

"… when a woman pays for my life with her life, and a man atones with his blood for the blood of the unhappy husband of a bad wife… I ask you that my hateful murderers receive from my avengers the payment for the easy death of a defenseless slave."

And that is what leads Orestes to be one step closer to absolution than Clytemnestra will ever be. Orestes obeys Apollo's orders, but against his will, forced by fate, he finds neither pleasure nor satisfaction in matricide. It is the first step that will later lead him to be absolved by Athena. While Clytemnestra, even in death, has no compassion, she cannot forgive even her own son when he sees himself subjected to an unwanted fate.