sorry this was going to be a tags addition because I only get to use my coated pantone swatchbook like 6 times a year when i have a new enamel pin to design, but...
METALLIC GOLD PANTIES ????

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sorry this was going to be a tags addition because I only get to use my coated pantone swatchbook like 6 times a year when i have a new enamel pin to design, but...
METALLIC GOLD PANTIES ????

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I have seen fanart of Athena in owl form resting on Odysseus' shoulder, but what about Apollo being in snake form loosely coiled around Orestes' shoulder and neck?
The snake could be relaxed, its head resting near Orestes' cheek while Orestes remains completely calm. He trusts Apollo. He doesn't perceive the danger because, from his perspective, this is the god who has protected him through everything.
But what if the snake's position resembles a noose? The same god who helped him survive one murder is leading him to another. Orestes is on the thin line of being guided and being entangled.
idk sometimes i forget how clytemnestra is half sister to helen and how they are both cousins of penelope and their lives are SO interconnected and the marriage of helen changes the courses of all of their lives forever. but at the time they are so separated into their own stories and their own tragedies and are known mostly only in isolation from each other. their paths don’t cross much by the time the disasters unfold but once they did. helen and penelope make it out alive but without clytemnestra. and they must think about it sometimes. they were children together
Went down the rabbit hole of fandom discourse on danmei translation and saw this reddit comment that's probably representative of people's gripe with all the modern language used in MDZS:
It had me a bit confused though because if Wei Wuxian isn't supposed to sound "American", what's he supposed to sound like? A Victorian gentleman? An Elizabethan court jester? Just don't expect him to sound Chinese when you're already reading an English translation.
WWX speaks modern words because that's what he does in the Chinese original - this is what I find fascinating about these Chinese internet fictions, which is that they're often an interesting blend of poetic literary/classical Chinese and modern day internet slangs and idiomatic humour. I grew up reading tons of serious literary fiction so I find this especially refreshing. One of the main goals for online fiction writers is to keep their readers engaged and hooked, and a story written entirely in literary Chinese would be too much of a slog that might make readers lose interest. This is why even in the works of authors like Meng Xi Shi who tend to use formal/literary language, there're still plenty of modern day slangs and quips strewn about.
For me the best example of this blend of the classical and the slangy is probably 2ha. I think I once wrote a post that mentioned that Meatbun literally used the Chinese translation of the English idiom "carrot and stick" in 2ha which is set in fantasy ancient China. The idiom is common enough in modern day Chinese so most Chinese readers probably won't even notice but this is so interesting to me.
Are you nearing death?
No. I'm actually getting further away. One day, I may even turn the tables on it entirely.

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Backed into a corner
why are greek mythology adaptations always so gritty when there’s so many weird ridiculous antics to pull from. helen of troy not knowing how to cheer up telemachus so she just drugs him unconscious and calls it a night. athena divinely intervening to curl odysseus’ hair so he looks sexy enough to successfully beg for help. aphrodite trying help her kid on the battlefield and having to run away immediately because she gets beat up by a random mortal. achilles’ horse prophesying death to him and then never speaking again
i do in hindsight really love the concept of complaining about adaptational changes in a 3000 year old oral tradition of which there isn’t really a definitive version so much as a surviving one that is also the most adapted story of all time. my chud forebears in Roman Britain throwing rocks at a bard going nah nah nah the last one said some different other shit at that part you gotta do it again is a comforting image to me
Almost one thousand years ago a woman with my exact face and probably better bangs in rural Morgannwyg was defending to the whole village the latest iteration of the marchog gwyrdd where Gwalchmei ap Gwyar is called Gawain and gets a little gay with it even though it’s different than the tale we have earlier heard from a previous bard so that I can fight the same battle on letterboxd today. God bless complaining the worlds oldest activity
reverse striptease where i sexily put on more and more layers of clothing

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btw speaking of manuscripts did you all know that you can just go to this website that lists all the lancelot-grail manuscripts that exist and links to views for most of them, all of which are available for free to look at online!!! you can just go browsing and find your favorite arthurian characters :) a little hard to navigate + definitely helpful if you happen to know medieval french LOL but regardless you too can peruse medieval arthurian manuscripts for free whenever you want
in the furthest right column it also will tell you which manuscripts are illustrated and how much illustrations they have so you can easily see which ones have pictures (because some of them don’t.) this manuscript is one that i found that has pretty large and very high quality illustrations if you would like a place to start :)
yay manuscripts
imo the really interesting story of the iliad is the fact that, because it’s a later telling of the story, all the characters are self-conscious abt their legendary status. like the first time we see helen, she’s weaving a tapestry of all the men who will die for her. the characters all have a tragic sense of foreboding & also a feeling of helpless submission to the power of the narrative. the greek nonbelief in human agency is always super weird but its esp weird in homer imo bc the cosmological force isn’t so much fate as it is the story: hektor and achilles know that they’re tragic heroes, helen knows she’s an evil seductress, cassandra knows she’s cursed, patroklos and andromache know that they can’t do anything 2 stop the men they love from dying. which makes the tone of the story very strange, almost as if the characters are going thru the motions of a story they’re told before
the characters know what they will do and what will be done to them before the story even begins, almost certainly the same way the people in the ancient audiences did. the characters are going through the motions of their own story, helplessly almost, because the audience is hearing a story they know like the back of their hand. it can’t be changed at this point, and they know it, so much so the knowledge of the audience has become imposed on the story itself
So when something happens like, when Achilles reflects on whether he should choose to die young and become a legend or live out the rest of his days in obscurity, we know what choice he’ll make because we’re reading his story. And now our own interaction with the story has actively directed the impact of the story. it’s hugely meta
feng shui sabotage by placing thousands of tiny ball bearings in a bag under your couch you won't see them but you'll feel the clutter
1 million years of Duncan Idaho
sequel to one hundred years of solitude
i straight up do not believe that odysseus did everything he did to get back to penelope and telemakhos. or even that he did everything he could. wanting to return to them is not the whole story. i like the myth about odysseus pretending to be mad to get out of the war for lots of reasons, but one of them is because it's an attempt to escape the narrative, foiled by his love for his son, but also because there is contrast to what we know of him long after the narrative has sucked him back in. odysseus is no less kleospilled than anyone else! he fights for his pride; he makes mistakes; he gets worn down; he delays his homecoming, in ways that are and aren't his fault, all the time. he wants to go home. he doesn't just want to go home.
but he does try. by leaving ogygia he willingly goes back into the narrative one more time, and he never gives up until he finally returns. isn't that compelling enough? do we have to sand it down?
another reason this tension interests me is that odysseus does seem to question if it was all worth it. at least by the point that we meet him, twenty years on. that doesn't hit as hard if he wasn't invested in the war at all, right? if there's no definitive moment where he gets peace, there's also no definitive moment where he gets anything the war promised, either. there's that provocative simile where songs about troy make him weep like a woman whose husband has been killed, who is about to be taken into slavery, a condition he inflicted on countless trojan women. the sirens promise a version of the war that makes sense of his suffering. so he must be wondering.
but it's all very well for achilles in the underworld to say it's better to be alive without glory than dead with it: he doesn't have a choice anymore. but when odysseus tells that story, too, he must still be wondering. was it worth it? what can i do that would make it worth it?

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“Time does not bring relief; you all have lied” - Edna St. Vincent Millay
(transcript under the cut)
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I have endured what no one on earth has ever done before
I put to my lips the hands of the man who killed my son.
(1/2)