#yeah no everything is going really well

[tardis--dreams]

Writing a wall of text getting hit with a moment of introspection which has you asking yourself 'babe, do you even have a Point??' to which you must admit. You don't know anymore

[tagarilaghost]

I SWEAR CELEBI'S THINGY IS COMING SOON BUT I REALLY WANTED TO POST THIS ALRIGHT

yeaah... future trio got me too...

and Darkrai is there too, because of course he is.

hey look i drew a cute Drifloon :D

...ignore the rest

whatever started at Darkrai doodles ended in brainrot of future trio + darkrai and I'm blaming @scribz-ag24 for this

[deoidesign]

My comic is so pretty...

The hiatus is letting me take a little extra time on these episodes, and I'm definitely putting it to good use!!!

[ohplasticheart]

Tell me when the party ends Will you still love who I am?

[emipon]

So excited to play aaaaaaa can’t wait aaaaaa

[a-dauntless-daffodil]

charlie brings a certain air of "i COULD care that my gay gf did so many crimes, bi I don't~" to the show that i really love

[triglycercule]

can the mtt commit more crimes that just murder please i know theyre the MURDER time trio but ppppleasse,,,, please,,,,,,

they'd be terrible to be next to on the highway. horror's going 160 mph amd has long past gone over the speed limit. dust's out for BLOOD and by blood i mean your tires. he's somehow sniping those round rubber wheels from the high moving vehicle with the precision of a master fruit ninja player. if your car explodes or flips over in the process that's not his fault. and then to make matters worse for everyone on the highway killer's in the backseat scratching up the doors and windows of your car with a knife everytime horror gets close to another car and oops he accidentally just disfigured your face also did i mention theyre all drunk during this

ok so theyve all got the classic face WHY DONT THEY ABUSE IT!!!! horror gets to do a little paper mache to cover up his head hole and then wearing glasses. killer i dont know what the FUCK he can do to get rid of his perpetual tears but let's just pretend that theyre conveniently gone for now. and then all dust has to do is put down his hood! anyways identity theft is cool. imagine how much they could totally fuck up classic's reputation with this. set up fake tinder profiles and then scam people for their credit card info/free dates (while ordering every expensive thing) and stealing wallets. walking into various grillby's's around the multiverse and telling terrible jokes. like ACTUALLY bad jokes. and then of course just being a huge piece of shit at the bar. god theres so many things they could do pretending to be classic. which one of us is hikaru looking ahh except the only difference between the three is the color of the stains on their clothes (either gray (dust) black (killer) or red. well faded red (horror))

ROBBERY!!!! ROBBERIES PLURAL!!!??? train robbery gas station robbery bank robbery GOVERNMENT robbery (what would you rob the government for?? documents??? idk) anyways. mtt robbing a train except its just a really shitty plan and they dont know jackshit about what theyre doing. killer's taken over the conductor's cabin and now he is booking it. how fast are trains allowed to go idk but the maximum. anyways meanwhile horror's on the tracks fucking up the rails with his strength or whatever (listen i know he's weak but picking and choosing what hcs i believe in is my art) and dust is there to teleport him away before the train crashes into him and turns him into a trolley problem victim. and then of course that shit doesnt fucking work and the train just ends up flipping over and catching on fire or something (killer survives because of course he does he's killer). and then in the end dust just has to flip the entire train over and they just stroll into the part that actually HAS the money

and then they go out and get ice cream. sometimes the murderers need to take a break from murdering and just do NORMAL crime yk???

[butwhatifidothis]

I guess the ultimate thing that kills CF for me - or at least nudges it away from me saying I definitively like it - is just how much Edelgard is clearly written with the player in mind before she's written with her character in mind.

Because on all of the other routes, there's a power to Edelgard's presence. Even on BE, there's a sense that for as lonely as Edelgard might be, she still ultimately will do whatever it takes for her to get what she wants. Be that be killing her citizens (or otherwise letting them be killed), endangering her friends, assisting in kidnapping people, allowing Byleth to support her only when they have the Sword of the Creator, covering for TWS - no bar is too low for her to limbo under if doing so means she's even a step closer to her goals.

She's manipulative! She's deceitful! She doesn't care for the lives of her people! Even her friends are forfeit if they try to stand in her way! And this happens no matter how close you, the player, get to her, in the case of BE - C+ ain't stoppin' Remire, and going to the coronation ain't stopping the Holy Tomb.

And in the war phase, she is dominating the field. She has the Kingdom completely on the ropes, down to a few houses standing against Imperial rule, and the Alliance is stuck in neutrality - she may not be able to do much to it, but neither can they do anything to her (to say nothing of the Alliance houses who stand with her). She's far from the underdog in this race, and she shows off how threatening she can be.

CF? Her route?

She scweams at scawy rats. She gets embawwassed when you find her dwawings. She's just so wonewy, and she's just so gwad that you chose her. She somehow fails to capture Rhea, or frame Dimitri for regicide, and so now has to deal with that on the Kingdom's side of the war. But that doesn't stop Elly Welly-kins fwom twying to find her pwecious teacher, because you're just so important to her. She cwies and hugs you when you meet her in the Goddess Tower!! Because she missed you so much!!

It's like... Dimitri and Claude certainly show different sides of themselves on their respective routes. It's the whole point! You grow closer to them and thus see how they treat those close to them, as opposed to being the Kinda Neat Teacher they see run along every now and then. But, like... Claude doesn't become a blushing maiden whenever Byleth speaks with him on VW. Dimitri doesn't scream at scary rats and get called cute for it on AM. They don't get Basic Bitch Gap Moe Traits slapped onto them that are only ever shown to the player and only on their routes. Unlike Edelgard.

Dimitri's endearing trait is that he's this big huge dude who can bench-press forests and arm-wrestle god who still wants to learn to sew and who teaches kids to protect themselves and who buys candies for his friends. Claude's endearing trait is that he's this mastermind planner who has contingency and lie and obfuscation as three separate legal government names who still wants everyone to be safe and happy and hold hands and be friends.

Edelgard is strong, confident, and willing to do some of the shittiest things known to man for her goals. Her endearing trait is that her screams are cute. She's shy about her drawings of the player character. She blushes over the player potentially joking about having sex with her per her JPN version of her C support; you know, the one about how Byleth walks in on Edelgard muttering in her sleep from a nightmare about her tortured family? Perfect time to joke about fucking her! Dimitri and Claude's endearments are, well, endearing; Edelgard's are all straight up embarrassing for her.

Hell, even the smaller stuff is affected! Claude's passion for poisons and mushrooms are things he has no qualms about having others know about, despite how weird they are. Dimitri laughing at shitty jokes brings him no personal discomfort or embarrassment, despite just how loudly he laughs at them. They have traits to them that can easily be uwu worthy, and they don't care! Of the lords, only Edelgard does! Because, it feels like, the only way for a strong, resolute female character to come off as approachable is if she's knocked down a few pegs for specifically and only you, the player.

And that sucks ass! I'm sorry, but when I'm playing Edelgard's route I don't want to deal with her hiding herself away in her room for a month IN THE MIDDLE OF HER FUCKING WAR because she's just so embawwassed! It is so fucking insensitive that Edelgard is literally the only lord of the three who can have her trauma openly belittled at any point in the story by Byleth, all to have some cheap cutesy uwu moment about her fear of rats (calling her screaming in fear cute and INSISTING that it's really cute which is just. Fucking ew man)! Why can we fucking mock Edelgard's manner of speech during the MASSACRE OF REMIRE?

This shit doesn't happen to Claude or Dimitri! And saying "oh just don't pick those options then" is bullshit because no equivalent options exist for the male lords! It's piss-boilingly annoying that the second you choose to see things from the strong confident villainous ambitious female lord's perspective you can reduce her down to this bumbling moeblob just for you (sometimes unavoidably!) like!! Dude!

[fromtheseventhhell]

Very funny to me how Stansas present her character as being so interesting and complex because of her vulnerabilities, while simultaneously ignoring those same vulnerabilities in other characters. Dany is sold as a bridal slave and lacks agency throughout AGOT and after. Her dragons are either too young/small to utilize effectively or locked away for the majority of the story. They aren't some all-powerful trump card that protects her from harm. Arya is captured as a prisoner of war, forced to watch countless people tortured and murdered, and then essentially enslaved in Harrenhal with no way to fight back. She has an entire arc of feeling powerless, of being a "mouse", during ACOK. She doesn't have "kung-fu" or the ability to magically fight her way out of every situation, she's a young child lacking physical strength with only the most basic sword training.

Sansa isn't the only female character, she isn't the only young character, she isn't the only character who suffered, and no one is obligated to prioritize her. I'm so tired of Dany and Arya being mischaracterized and having their stories erased to prop Sansa up. "Sansa has kept her dignity" In other words, let's praise her for having a level of security that Dany and Arya don't have access to. She hasn't ever been forced to make a hard decision which of course means that she's morally superior to them. They can't even admit to themselves that her lack of action is due to her own passivity. If it doesn't fit their delusion, they erase it from the story and expect the rest of us to play along. Ask one of them what they like about her character without bringing up her being the ultimate victim, and I genuinely don't believe they'd be able to give you an answer. They belittle other characters more than they talk about her and these takes just scream insecurity/jealousy at the content and development other characters have in their POVs.

[uhbasicallyjustmilex]

feeling very grateful for the cute barista today who clearly clocked a) my fontaines d.c. tote, and b) the fact i was stuck on a spectacularly bad date, and proceeded to play me an entire playlist of fontaines d.c. and sneak me extra vegan marshmallows with my hot chocolate

[prolibytherium]

I never touched it but I feel like i only ever hear positive things said about song of achilles.. in (rough strokes at least) what makes it dogshit to you?

Okay it's been a while since I actually read it so some of this might not be spot on accurate. Sorry if at any point I say 'the book never does xyz' and it actually does once or twice but I think my underlying criticisms are accurate

-Patroclus is made into like this soft gentle tender quivering little yaoi boy. In the source text, he's shown as compassionate and moved by the suffering of his own men (and apparently having some medical skill, tending to the wounded in the camp), but very much invested n combat and very, very good at it (pages worth of descriptions of the guys he's killing left and right). In this, the arguably more complex character from this 8th century BC text is flattened into Being A Healer, he doesn't want to go to war he just wants to help people, he only goes because Achilles has to but he doesn't want to fight he's a HEALER he's a gentle lover NOT A FIGHTER who just wants to help he just wants to help everyone around him he HEALS while Achilles is a doomed warrior who is so good at fighting and KILLING its a DICHOTOMY GUYS!!!LIKE THE BEAUTIFUL SUN AND MOON DOOMED LOVERS SO SAD patocluse HEALER . (I Think he's specifically characterized as being BAD at fighting but might be misremembering)

-I don't remember much about Achilles' characterization I think it just makes him less of a jackass while not adding anything of interest and levels out into being mad boring.

-Not getting into the literal millenias old debate whether the mythological characters Achilles and Patroclus were being characterized as some type of lover by the original oral sources of the Iliad or its Homeric writers. We will never know. We don't even know what (if any) culturally accepted conventions of male homosexuality existed in bronze age Greece (we know much more about their descendants). But there are some interesting elements of their characterization in this direction, with how unconventional their relationship is WITHIN the text itself- Patroclus is described as cooking for Achilles and his guests (very specifically a woman/wife's job), Achilles chides Patroclus like a father, but there's also scene where Achilles' mourning of him directly echoes a passage of Hector's wife mourning her husband, Patroclus is explicitly stated to Achilles' elder, and is overall treated as his equal or near-equal, closest confidant and most beloved friend (to the point that pederastic classical Greeks would debate over who was erastes (older authority figure lover) and who was eromenos (adolescent 'beloved')- many took it as a given that this text depicted their present-day cultural norms of homosexual behavior but it existed so Outside of these norms that it had to be debated who was who). Their relationship is non-standard both within the text and to the descendants of the civilization that wrote them.

Basically what I'm saying is this book had opportunities to like, explore the unconventionality of the relationship (being presented here as explicitly lovers), explore the dynamics of why Patroclus wants to do 'women's work' (besides being a tenderhearted softboy), the weird dynamics where they take on paternal roles to each other but also roles of wives, how they feel about being this way, and just kind of Doesn't. Which I guess isn't an intrinsic fault (because it omits much of what I just talked about to begin with). it's just like.... Lame. This book takes jsut abandons everything interesting about the source text in favor of flattening it into bland Doomed Yaoi.

-The conflict that sets off the core story of the Iliad is Achilles and Agamemnon fighting over Briseis, an enslaved Trojan woman taken by Achilles as a war-trophy, Achilles spends most of the story moping because he was dishonored by his 'trophy' being taken. Achilles and Patroclus and everyone else are raping their captives, all the women in the story are either captured Trojans (or in the case of the free women within the walls of Troy, soon to be enslaved, and are slave owners themselves). Slavery as an institution and extreme patriarchal conventions are innate to the text and reflective of the context in which it was developed. You cannot avoid it.

But obviously you can't have your soft yaoi boys doing this, so the author has them capturing women to Protect Them from the other men. Their slaves are UNDER THEIR PROTECTION and VERY SAFE (and they might even Like And Befriend Them but I might be misremembering that. Briseis does though). Our heroes have apparently absorbed none of the ideals of the culture they exist in and the author seems to think "they're gay and aren't sexually attracted to their captives" would translate to them being outright benevolent (also as if wartime sexual violence is just about attraction and not part of a wider spectrum of violent acts to dehumanize and brutalize an accepted 'enemy')

In the source text, Briseis mourns Patroclus as being the kindest to her of her captors, who tried to get her a slightly better outcome by getting her married to Achilles (which probably would be the Least Bad of all possible outcomes for a woman in that situation, becoming a legal wife instead of a slave), and wonders what will happen to her now that he's gone. This is a really really sad, horrible, and compelling dynamic which could be fleshed out in very interesting ways but is instead is tossed entirely aside in favor of them being Besties. Like brother and sister.

All of the above pisses me off so much. If you don't want to engage in the icky parts of ancient/bronze age Greece then don't write a retelling of a story taking place in bronze age Greece. I'm not gonna get mad at children's adaptations of Greek myths or silly fun stories loosely based on them for omitting the rape and slavery but it is SO fundamental to the Iliad. If you're not willing to handle it, either fully omit it or better yet set your Iliad inspired yaoi in an invented swords-and-sandals setting where you can have all your heartbreaking tragic doomed lovers plot beats and not have to clumsily write around the women they're brutalizing.

-The author didn't seem to know what to do with Thetis and she made her just like, Achilles bitch mother who spends most of the story trying to separate our Yaoi Boys (iirc her disguising Achilles as a girl and hiding him on Scyros is made to be more about getting him away from Patroclus than trying to save her son from his prophesied doom in the Trojan War) until she sees how much they loooove each other and I think helps Patroclus' spirit get to the afterlife or something in the end?

-This is more of a personal taste gripe but it has that writing style I loathe where the prose feels less like a story and more like an attempt to string together Deep Beautiful Hard Hitting Poetic Lines that will look great as excerpts on booktok (might predate booktok but same vibe). It's all very Pretty and Haunting and Deep but feels devoid of real substance.

I really like The Iliad and The Odyssey in of themselves. They're fascinating historical texts that give a window into how 8th century BC Greeks told their stories, saw their world, interpreted their ancestors, etc. And genuinely I think these texts have 'good' characters, there's a lot of complexity and humanity to it.

WRT the Iliad- all of the main Achaeans are pretty fascinating, the one singular part where Briseis Gets To Talk and laments her situation is great, Achilles fantasizing that all of the Trojans AND the Achaeans die so he and Patroclus alone can have the glory of conquering Troy (wild), Achilles asking to embrace Patroclus' shade and reaching out for him but it's immaterial (and the shade being sucked back underground with a 'squeak' (the squeak kinda gets me it's disturbing and sad)), Hecuba talking about wanting to tear out Achilles' liver and eat it in a (taboo, exceptioally pointed) expression of rage and grief for his mutilation of her son's corpse, just one tiny line where the enslaved women performing ritual wailing for their dead captors are described as using it as an outlet to 'grieve for their own troubles' is heartrending, etc. A lot of grappling with anger and grief and the inevitability of death, a lot of groundwork laid for characters that could be very interesting when expanded upon in the framework of a conventional novel.

And Song Of Achilles really doesn't do much with all that. I know a lot of my gripes here are kind of just "It's different from the Iliad", I would have thought of it as mostly mediocre and forgettable rather than infuriating if it wasn't a retelling (and I DEFINITELY have strong biases here). But I think the ways in which it is different are less just a product of a retelling (of course there's going to be omissions and differences) and more a complete and utter disinterest in vast majority of its own subject matter, to the book's detriment. I think a retelling has a point when it EXPANDS on the source, or provides a NEW ANGLE to the source. This book doesn't Really do either, it just shaves off the complexity of its source material, renders the characters into a really boring archetype of a gay relationship, and gives very little else. Its content boils down to a middling tragic romance that has been inserted into the hollowed out defleshed skeleton of the Iliad.

Bottom line: I definitely would not be as mad about it if I wasn't familiar with the source material but I think it's fair to expect a retelling to Engage with/expand on its source, and I also think it's weak purely on its own merits. This book was set up to disappoint Me specifically.

[al-luviec]

compiled whatever this is (and I run out of tag space)

meh HoT gifs (3/?)

[cream-and-tea]

oh pallas and agnes power dynamic you really are SO unbelievably fucked,,,,,

[rustedleopard]

I wonder if Flowey ever just... let Clover stay dead for longer than a few seconds after they died in a fight just to see what happens. I mean, he basically is the master of their fate and would probably get bored of seeing them repeat the same three routes over and over and over again. I feel like in between trying to push Clover to fight Asgore, he'd probably find the time to entertain himself watching other characters react to Clover's death to mix things up a bit.

[redwylde]

Forcing my two ultimate faves to interact by thinking about how Silver would definitely be interested in biology and the natural sciences because many original ecosystems wouldn't have been able to survive in a world dominated by fire.

In the future he was very interested in history and had to rely on books to learn about anything that came before, but whilst visiting the past he explores and follows field guides in his free time because now he can experience it all for real. Enter Knuckles, who is the most qualified person he knows to teach Silver all about the unique biomes of the world.

At first it just starts out as Silver visiting Angel Island every so often to ask questions and compare notes in his field guide with what Knuckles has seen, which Knuckles enjoys. An excuse to talk about his adventures with a genuinely interested party and they end up bonding really quickly over it. Until Knuckles gets tired of talking about books (and not all of them are correct) so he says fuck it, you can't learn everything from a book and starts taking Silver on forays into the world and shows him everything he dreams to see - ruins reclaimed by nature, entire ecosystems existing on a single type of tree, underwater worlds hidden by algae and sediment.

[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?

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