#them later so keep an eye out :>

[adelidae]

i think you should draw your ocs and share them... i would like to see your little guys from your head

auauauu omg okay :]

currently these two have been on my mind :] i like to jokingly describe oscar and tobias' dynamic as What if the tall dark and handsome immortal bad boy from the ya/romance/etc novels was obsessed with Some guy in his 50s.

technically they have history with each other! a long time ago in oscars youth he made a deal with an immortal being that meant when tobias (who was in a critical state) died he would essentially be reincarnated as a baby and start over again (without the memories of his previous life). thus oscar, an immortal himself, would find him in each of his lives and return the memories of his past lives to him and try to woo him again -- as an adult of course.

from oscar's point of view this was a grand and romantic gesture, but by the time he's about 400 and meeting the current iteration of tobias.....well, he's already going through his own life. He married and had kids, and has a job and his own situation to think about. which certainly doesn't follow oscar's plans!

but yeah i think their dynamic is pretty fun to explore, thanks for the ask !!! maybe i'll post some more oc art in the future :33

[cod-fishing]

Drift compatible GhostSoap. Pacific Rim jaeger pilots GhostSoap. That’s it that’s the post.

[cs-cabin-and-crew]

I WAS WRITING ON AO3 LIKE TWO NIGHTS AGO MESSING WITH MY MORZAN FANFIC!

BUT I DONT KNOW HOW TO WRITE ON THERE SO I WAS JUST TESTING THINGS AND ACCIDENTALLY POSTED IT COMPLETELY UNFINISHED WITH ONLY LIKE 5 SENTENCES!

I DELETED IT AND CALLED IT A NIGHT.

BUT APPARENTLY I DIDNT DELETE IT AND SOME USER KINDLY CORRECTED ME ON HOW TO TAG FANFICS ON AO3.

IM SUPER GRATEFUL THAT SOMEONE HELPED A SISTER OUT, BUT WHAT THE HELL AO3??? I THOUGHT I DELETED IT

Hebsiwnuaksnwinsiwoqmhs

[feroluce]

When Al Haitham dreams, it's in shades of sandy blonde and red, metallic gold and feather-blue. His nightmares are colored much the same.

Kaveh leisurely strolls ahead of him, shoes leaving deep treads in the soft desert sand. He keeps a careful distance, arms length, and in return Al Haitham keeps an eye on him, the other man's back dead center in his sights.

He curses the sand in his boots and the long line of footprints he steps into, already the exact shape of the soles of his shoes.

They aren't lost. Al Haitham knows where they are. They've been here before. They are still here.

Kaveh doesn't watch their feet. His head is constantly tipped back with his eyes on the stars and their constellations (of which Al Haitham only knows two, Vultur Volans and Paradisaea). He'll walk right into a cactus like that. Al Haitham yells ahead for him to watch where he's going.

Kaveh reaches up to touch the side of his head in a strange motion, but otherwise there's no acknowledgement. They press on into the dark of night.

Something squelches beneath Al Haitham's boot.

It stops him short, pulls his attention like a magnet and as much as he wants to, he can't ignore it. He doesn't want to lose any more ground. But something won't let him move on. Al Haitham watches as red seeps into the golden sand, spills beyond the border of his bootprint until he slides his foot aside.

It's an ear.

It's a human ear, and there's a heavy earring attached, metallic gold, gems red and green, a familiar shape, a familiar shade-

Al Haitham opens his mouth to yell. Chokes. Swallows the lump in his throat as he quickly restarts his pace. Tries again.

"Hey!"

Another squelch under a hurried footstep. He doesn't stop to look. Al Haitham is pretty sure he knows what it is.

"Kaveh, hey!"

The path becomes littered, little slices and small pieces, fingertips and knuckles, Kaveh's arms once held casually behind his back now strewn along the sands. Every time Al Haitham extends his hand to him, reality warps and bends like the twisted image in a broken mirror, lines mismatched and edges jagged. Kaveh flits just beyond his grasp, fleeting fae, no longer able to hear him or to reach out to him. Al Haitham can only grit his teeth and follow.

His right foot marches forward. His left follows. His right again. His left suddenly doesn't follow, and Al Haitham is thrown off balance and pitches forward, swinging his arms outward to land on his palms and keep his face off the ground, because he's been in the desert enough times to know what a foot suddenly being stuck can mean.

Quicksand.

Al Haitham curses and swears in just about every language he knows as he tries to spread his weight as evenly as possible, stay afloat at the top of it because if he sinks, he knows he'll be done for, and shit, Kaveh.

His neck cranes uncomfortably in his search, Kaveh had only been a few feet in front of him, he can't be sunk much further, and he's in the desert much more often than Al Haitham anyway, he'll be familiar with what to do-

Kaveh stands in front of him, empty sleeves fluttering loose. Still just out of his grasp, still watching the stars. The quicksand is already up to his calves.

"Say, Al Haitham..." It's the first he's spoken this whole time. His voice resonates somewhere deeply nostalgic in Al Haitham's chest, produces a ripple that momentarily stuns his heart.

Kaveh is sinking.

Al Haitham stretches out on his belly as far as he's able, it's quickly up to his knees, Kaveh isn't even trying to redistribute his weight or pull himself out, it's at his thighs, Al Haitham sucks in a breath and yells for him, his hips, yells louder, his waist, Al Haitham's trembling fingertips can almost reach, his chest, Kaveh drops level with him, quicksand about his neck like a noose.

Kaveh's head tips back, back, impossibly far back, until it hangs, angle awkward, and he's looking right past Al Haitham with his tired smile and gouged, blinded sockets full of starlight.

"Do you believe in karma?"

The quicksand swallows him entirely and Al Haitham dives, shoves his arms deep and pushes off with the one foot he'd had left on safe ground, because he can't, he can't, it's not the same without Kaveh, not anymore, he needs him, no one else keeps him sharp, no one else challenges him like Kaveh, if he can just grab him, if he can just pull him back up-

Al Haitham thrashes, against the sands, against gravity, against the hardwood of his bedroom floor. Clumsily scrubs the back of his hand across his face to rub the grit of quicksand and sleep out of his eyes.

Sometimes he thinks he preferred it when the Akasha was still harvesting his dreams.

He pops his head out from under his weighted blanket and lays where he'd fallen out of bed for a moment, blinking blearily against the lamplight shining from his desk in the corner. Deep breaths. His consciousness shifts along the blurred line of nightmare and reality, crosses over the slow transition into wakeful awareness.

He's home, Kaveh is home. It's dark out. The house is dead silent.

He's just going to go check, he tells himself as he peels himself out of his sweat-soaked shirt and roots around for a replacement. He's already losing memories of his nightmare, the details spilling away from him like wet ink, but he knows he needs to see Kaveh. It'll feel better to do something, anything, than try to go straight back to sleep.

He's quiet when he slips out of his bedroom door, because they both keep late hours but their bedrooms are right next to each other, and Al Haitham will never hear the end of it if he wakes his roommate up.

Lights off, door shut. Nothing conclusive. He moves out to the main room.

Kaveh sits on one of those ridiculous sofas he'd ordered three of for some reason, back to him as he tucks a lock of hair behind his ear. A mostly-empty wine bottle stands tall on the table, next to the cobbled-together remains of an architectural model that's been picked and fussed over for four days straight now.

"Kaveh? What are you doing?"

This earns him an exaggerated startle, but Kaveh doesn't turn to look at him, preoccupied with whatever new sketch or blueprint he probably has in his hands. "Ohhh, nothing," he slurs cheerfully. "Just working. Just thinking."

Kaveh has always been the world's chattiest drinker. Al Haitham waits for the rest of it.

"Say, I think...I think I asked you this years ago, back then, but you never answered me." Al Haitham feels all the blood drain from his face in ominous familiarity, drip cold down the length of his spine. Kaveh sinks into the couch until he can tip his head over the back of it, looking up at him with a tired smile and exhausted eyes.

"Do you believe in karma?"

[sydney-carton-of-sour-milk]

The Many Illustrators of A Tale of Two Cities 7: A. A. Dixon

"'Collins' Clear-Type Press, let me ask you a question.'"

This is a very long post.

This week's edition has, in my research, become quite the edition.

Sadly, this image is the best source for the cover wrapper illustration that I could find.

You are likely familiar with Arthur Augustus Dixon's illustrations for the 1905 Collins Pocket Edition of A Tale of Two Cities. Several of them are very common to find in Internet searches and articles about the book, if not other editions of the book itself.

But the question raised by my research for this week's edition is: Are you familiar with all of them?

Thing is, as the source above states (read the whole article if you have the time, it's very interesting!), Dixon created twelve illustrations for this novel.

And sure enough, this source from the Internet Archive and this source from @oldillustrations (hello!) both have eleven of the same illustrations - with the twelfth presumably being for the wrapper, as seen in this source (previously cited) from the Victorian Web.

Alright, so that's three separate sources, all with (effectively) the same set of elaborate illustrations from 1905. Neat!

...

...but if you start counting...

...you'll notice that this seems...

...like a lot more than twelve!

Basically, there are five illustrations by A. A. Dixon that are completely unaccounted for in any of the three sources previously cited.

For the purposes of this post, the cover wrapper is considered #0 and is not pictured in these banners.

In full-size set of illustrations in this post, this source from Google Books is the source of four of those mystery illustrations:

#3: "'He stared at her with a fearful look.'" #6: "'Drive him fast to his tomb.'" #7: "He said, 'Farewell!'" #12: "'She appeared with folded arms.'" #9 ("'Patriots and friends, we are ready!'") and #11 ("'You are consigned to La Force.'") are sourced from Google Books in the full-size versions in this post simply because the Internet Archive versions of those two illustrations had cropping issues.

To me, this is mystery enough on its own. Why would another version of the book suddenly have more than the originally-stated number of illustrations by this artist? Especially considering that the Google Books source does not have #13 ("''I know you, Evremonde!''") - why would it be missing one of the "main" set?

It gets even more interesting.

As you'll notice in the banner, we're still one off: Keen-eyed observers of the full-size set of illustrations might have already noticed that #14 ("'Carton and the spy returned.'") looks a bit different than the rest of them - a bit like what happened in the previous edition of this series!

That's because that Dixon illustration comes from this completely random source - a post from a blog called the Paperback Palette dating back to 2018 - that I happened across on Google Images of all places while sitting on an airplane trying to set up this post last week!

And to top it all off, that source is missing #6!

At this point, if your first instinct is, reasonably, that perhaps Dixon didn't actually illustrate these extra five and that it was someone imitating him for later editions, then know that that was my instinct too - until I (dare I say it again) checked those signatures!!!

(I edited the colors to prevent flashing.)

All five of those illustrations bear Dixon's signature, so it's safe to assume that they are A. A. Dixon originals - from 1905, even.

Interestingly, #s 1, 10, 13, 15, and 16 don't have signatures! Does this mean anything? Probably not - as an artist myself, I often forget to put my own signature - but still, I can't resist mentioning it!

So the most likely explanation here is simply that the publishing house originally commissioned A. A. Dixon for more than twelve illustrations and then held on to some of them, eventually choosing to publish them in other editions. Still, we can't say for sure.

And as to why some are missing from the more "complete" sets - human error, most likely!

If you scrub through the Google Books source, you'll notice that #s 11 and 12 actually repeat (one even changes color, which I have no explanation for) - it's most likely either that the book was accidentally printed with repeats of #s 11 and 12 where 13 and 14 were supposed to go or that the person scanning this edition made a similar error.

As an aside, it's so interesting that the illustrations are evenly spaced throughout the book - I had not noticed that until now!

And as for the Paperback Palette source, it's most likely that the blogger accidentally skipped over an image while combing through their edition or just glossed over it when posting the batch (I understand that from experience!) We can see this by adding up the letters in some of the illustrations' captions - doing so reveals that the letters are meant to go to P, the sixteenth letter of the alphabet.

Thus, one must be missing! Case closed!

Except... It's actually (going by both the chronology of the book and the order in which this set was found in Google Books) missing the wrong letter! Here, it seems that In the Google Books source, #7 in the full set is given the seventh letter in the alphabet, G - whereas in the Paperback Palette source, "#7" is labeled as the sixth, F:

This implies not only that #6 is absent from the Paperback Palette source but also that there is a missing mystery illustration located between this source's H and K - that is to say, before or after #9!

EXCEPT... For one, this isn't the only inconsistency I've noticed - there are several places where the letters seem shifted in a strange way. I've seen #2 listed as "C" and #9 listed both as "H" and "I2i" (???), just as two examples. (My theory is that the cover wrapper and the frontispiece may be at play here, but who knows?)

More importantly, though, it seems that, for some mysterious reason, all of the sources with relatively consistent use of these letters (i.e. all but the Victorian Web) - even the sources with only eleven interior illustrations - still give #15 in the full set the fifteenth letter, O. Which, of course, may make all of this pretty moot anyway.

Dare I say..."Oh."

Suffice it to say, just as much as major sources like the Internet Archive and Google Books are vital to this sort of research and preservation work, so are smaller websites and bloggers! After all, without the Victorian Web and the Paperback Palette, we as collective netizens likely wouldn't have ever known about the cover wrapper or illustration #14 (not to mention that the versions of the illustrations from the set posted by @oldillustrations have by far the best image quality and standardization that I've found! Please go check them out if you haven't yet!).

As for the reasons behind Collins' Clear-Type Press not publishing all of the illustrations from the beginning (if that's the explanation we're to go with here), I suppose the question I'd like to ask is:

why? why would you put us through this?

& the standard endnote for all posts in this series:

This post is intended to act as the start of a forum on the given illustrator, so if anyone has anything to add - requests to see certain drawings in higher definition (since Tumblr compresses images), corrections to factual errors, sources for better-quality versions of the illustrations, further reading, fun facts, any questions, or just general commentary - simply do so on this post, be it in a comment/tags or the replies!💫

[dootznbootz]

Odypen definitely and equivalently adore each other BUT I weirdly can't see them as the type to actually say "I Love you".

They still definitely vocalize their love for each other but it's more so in "My Joy", and "Extraordinary Woman", "Strange Woman/Man", etc. And very cheesy lines (both say some cheesy shit in the Odyssey, and he definitely does in the Iliad as well. "Joy like a drowning sailor seeing land" bit???)

I could see "I adore you" but even then, that's probably during very specific moments but the actual "I love you"??? I just typed it just now for fic shit and... It weirdly just didn't feel right and I don't know why. 😅

Idk maybe it's kind of because I see them as over the top in ways, they love wordplay and riddles and I think they'd almost think "...That's not good enough >:( " about it??? I don't know???😂

[fischiee]

wash joining the project and wanting to be called david vs having his identity burned out of him and refusing to accept being called anything but his chosen name anymore

[kyouka-supremacy]

Well.

[megumi-fm]

.

[ratatatastic]

uvis being asked what its like to be a pseudo forward and hes like my main priority is not to get scored on (dman school of philosophy) but also maybe i can score a goal you know (forward school of philosophy)

"did paul ask you (to play forward)?" (reliving the horrors that is your coach is not asking you hes telling you because even if its phrased like a question its not a question you will be put to work)

"first time in pros!" giggly man happy to pop his forward cherry in a pro league

vancouver canucks @ florida panthers pregame interview | 10.17.24 (x)

[witheredgardenparty]

I will never forgive a single one of you

[queen-scribbles]

⁜ Tala Mountainsward ⁜

Half-Orc (Life) Cleric, Acolyte of Lathander

Quick & Dirty Bio: Tala was raised in a temple orphanage, secluded at the base of a mountain range. She dealt with mixed levels of acceptance from the other orphans, due to her heritage but was still a genial and curious child who wanted to know everything (and everyone). She quickly attached herself to a couple of the priests who were kindest, asking near-endless questions about their faith, the gods in general, and Lathander in particular. One took it upon himself to mentor her and she's developed a familial bond with him, seeing him as the closest she has to a father.

The answers she was given and the patience and kindness she was shown were enough to convince Tala to enter studies as an acolyte. It surprised no one when she devoted herself to it fully, with the same insatiable curiosity. Much as she loves her home, it wasn't terribly surprising when she got a yearning to travel the world and learn abut more than her small corner of it. She carries the light of Lathander in her heart, ready to help any she meets in his name. (Provided they aren't scared off by her appearance, which has been a problem once or twice.)

Tidbits: History/Religion nerd, loves flowers and herbs, has and makes sachets as crafts for anyone she considers friends, customized for them. All her clothes smell lovely from the sachet in her pack. Proficient in Religion, History, Intimidation, Persuasion.... and something else I can't remember. 😅"Mountainsward" is a shared surname with all the other orphans raised in the temple, she doesn't know or remember anything about her parents. Any time anyone asks if she knows about them, she just shrugs and dodges with "I know how half-orcs usually happen, and have no reason to think I'm any different" (She is. But that's a surprise for later :3)

[everysongineverykey]

and for my next trick i present... my Grand Tv People Freakout Extravaganza!!! *falls to the floor weeping violently*

[lyril]

lumpus is a fascinating specimen glad theres other people also fond of him

HE SURE IS i will be honest i almost like him a Little Too Much because i Also live in my fantasy world of make believe where camp lazlo is a little more than a 6.4/10 show (I STILL LOVE YOU SWEETHEART!) and instead also includes all my insane 20k spiels of backstory stringing and talks about character writing but

(also. i do think it's funny how popular slinkman is in comparison, i love him just as much, but i actually see people mention really liking slinkman pretty frequently if someone happens to posts about camp lazlo which is GOOD because he DESERVES IT MAJORLY but the lumpus bug has Also caught me something awful even though i hate him and he sucks so i'm alone adrift in the world out here...)

edited this just for him

[slimeandsadness]

All the discussion about the bad sex eye contact while toasting thing is very funny because they definitely referenced it in another video recently. Wish I could remember off the top of my head, but they went off on a whole thing about not looking people in the eyes because of bad sex - which was where I learned about the concept - so I'd just assumed everyone else would remember.

[dairyfreenugget]

(Going insane boinkinh one AU in my head)

Hey hey hey

May I interest you in

(Slowly slides my FaaF AU towards you but void just Disappears without a trace one day before the accolade)

Teehee