#He's so interesting to chew on

[ukelele-boy]

@literallyjusttoa 's post about Apollo loving mortals reminded me of my headcanons and analysis thoughts:

Healthy side of apollo love life:

- him falling in love with people and growing together with them, eventually helping them reach their dreams

- lots of other stuff ppl have talked about

Unhealthy side of apollo love life:

- getting into flings to distract himself from his loneliness and haunted memories and not truely about the other person

- getting into unhealthy relationships because he doesn't have a red flag radar

- replicating unhealthy relationship behaviors he's seen from Zeus, Olympus etc. without realizing

-also seeing those disturbing relationship behaviors can't be healthy. He's probably got some issues from that. And how his parent's love affair went downhill. And people going after his mom. And there are some messed up myths. I personally see it a bit in how Artemis swore off romance and Apollo became the opposite. They swung in different extremes.

- believing love can fix him, it will make him feel whole, and the ("this will be THE ONE" mentality) and being devasted and lashing out when they leave (often due to this exact issue)

- using his "I'm the god of flirting" persona to get compliments and appreciating looks, and that dopamine that makes him feel better about himself temporarily but then it inevitably fades, he feels terrible, he feels like a liar, but he needs it to keep himself afloat so he goes back to bars... Cycle repeats (aka crumbling self esteem propped up by his looks)

- love is A Transaction mentality caused by.. You guessed it... Olympus.

- also. His COMMITMENT ISSUES™. The reason most of his relationships are flings or very short is because...he's afraid. He's worried his love will lead them to a tragic fate.

He's worried about they will see past his put together facade and see his real messy self and then leave him. He is totally fine with flings but the deeper and longer the relationship goes on, the more flighty and afraid he becomes. He's afraid of getting attatched and then REALLY caring about what they think of him. What if one day he slips and they see the ugly parts. They'll hate him just like he hates himself. He's terrified.

He knows he falls hard and fast and it doesn't end well, so he tries to keep everything casual. He's terrified this relationship will be another Hyacinthus or Daphne. He's terrified that it will break him.

Also forgot to say but a lot of his unhealthy behaviors happened when he was younger and he's a lot better now. (but still has commitments issues lmao)

[foxstens]

andrew always being at kevin's side because kevin needs it and andrew driving kevin to night practice and andrew patting kevin down to check for injuries and andrew promising kevin it'll be fine and andrew looking awake, interested because of kevin and andrew conserving his energy for kevin's quiet meltdown and andrew smiling for the first time without the drugs because of kevin and andrew always picking up when kevin calls

[sinecosinewheel]

variety pack of hollow knight doodles from when i was working my way thru the first 3 pantheons

[bruciemilf]

Call of Duty AU: | Tommy Riley follows his brother in the military. Philip Graves is VERY smitten with his husband. Simon is THIS close to murdering them both.

[wasabi-gumdrop]

thinking about modern au Kabru

ivy league college student, probably studying law and political science on a full scholarship. first time living away from Milsiril so he has to promise her, yes mom i’ll call you at least four times a week, no mom i don’t need your amex black card, yes mom the normal credit card is fine i need to learn how to budget like a Normal Person (it has a limit of $20k — that’s not normal Kabru).

Milsiril insists for a long time that she’ll just get him a house off campus so he can have his own space (aka a place she can drop by anytime and possibly live a few months out of the year just to be close to him) but Kabru puts his foot down and tells her the best way he’s gonna make friends is by living with other students (bye mom).

his floor in the coed dorms is the party floor and he always makes sure to invite everybody (his nightmare is accidentally leaving anyone out and having them think that he doesn’t like them). somehow it’s always a good time, everyone leaves with more friends than they came with, it never gets totally out of control, and plenty of girls who are interested in him (and a lot of guys too tbh) bring tons of baked treats so there’s always free food. Kabru is the RA’s favourite person to have in the building (even though Kabru himself is messy but most of the people he’s friends with are nice and clean up after themselves).

he has a porsche (Milsiril gift for his 16th bday) but he’s adamant about not driving it unless he absolutely has to (because he doesn’t wanna look like a douche). BUT he never says no when his friends ask for rides (so he ends up driving all the time anyway). he actually contemplates selling the porsche and going for a more practical car but Mickbell is like ‘dude you are not taking this away from me.’ Kabru sighs and decides to keep it because his friends (Mickbell) like being chauffeured around in a fancy convertible (Rin, Holm, and Dia don’t care, they’re just glad they don’t have to walk to the grocery store).

he’s probably on a casual texting basis with most of his professors and you know he’s going to all their office hours, grabbing beer with them just to keep chatting about life outside of school. and that’s how he winds up in some super secret faculty group chat where he’s now privy to all the college administration gossip.

Kabru is elected for student council during his freshman year and he’s probably the favourite to be sc president one day.

he doesn’t really date (gets too in his head about how he doesn’t wanna ruin any friendships) but he does hang out one on one with a lot of girls and treats them all really well. he probably goes so far out of his way to be platonic that he flies a little too close to the ‘Just Like One of the Girlies’ sun, he kinda forgets that most people interpret it as flirting coming from him. which leads to a few awkward conversations. people feeling led on, a few angry jealous boyfriends, scathing dms about him being a girl stealing homewrecker.

it’s such a nightmare for him and he needs it to end right now. so he begs Rin to ‘date’ him for a week or two and then publicly dump him just so the entire student body gets the message that he is Just A Friend.

Rin stares at him for a few seconds. then she laughs. she laughs and laughs. she laughs for a crazy long time. and then eventually she goes, ‘wow you’re an asshole, Kabru. no i won’t be your fake girlfriend. you’re gonna suffer and i’m going to enjoy it.’

and that’s when Kabru has a moment of enlightenment. ok yeah. asking for that is probably really selfish and mean. maybe he needs to think about girls’ feelings more and that’s maybe more important than his deep seated need to be liked, and when has Rin ever been wrong about anything.

he apologizes. and so begins one of the more serious talks he’s ever had with Rin about being okay with not being liked.

he thinks he can really turn over a new leaf. the whole ‘not worrying about what other people think’ thing goes pretty well — up until Kabru meets the aloof professor for his Monsters and Myths class who keeps forgetting and mispronouncing his name.

Kabru has never needed someone to like him So Bad, he needs Prof. Touden to like him as a matter of life and death, and he’s willing to look stupid for it (fails a midterm on purpose to justify begging for one on one tutoring)

[doloneia]

thinking about this article i read that mentioned illegitimate children in ancient greece (athens in particular) and also this chapter from imagining illegitimacy in classical greek literature and how teucer's entire relationship to telamon (and by extension, ajax and eurysaces) is reliant on maintaining telamon's favor, and how when he loses that - after fighting for ten years to sack his mother's city, killing his own maternal family in the process - he is basically left without any kin at all. and i think it hits harder that teucer went to war against the side of his family that (in other circumstances) he would have been included in, since illegitimate children were typically raised by their mother's relatives. he gambled everything and he lost it all in return

[wolves-in-the-world]

the thing about eliot spencer as a character, right. the thing about him.

(and as always your mileage may vary on my analyses so if we disagree that's cool actually)

is that he is in fact a somewhat emotionally constipated idiot who is occasionally sensitive about his perceived masculinity and gets defensive about emotional intimacy around other men (largely hardison, who's much more comfortable expressing affection and embracing a softer kind of masculinity), but eliot displays enough emotional awareness and sensitivity and respect for women etc etc that anyone who's been subjected to that era of television will put on rose-tinted glasses without even looking twice.

(and he is, don't get me wrong, incredibly emotionally aware for a professionally punchy guy with enough trauma to sink the titanic. it still startles me to see.)

on top of which we have the layers and the accessories and the excellent hair with the secret braids and the way he barely has an ego and he's good with kids and protective of his team without taking it too far, and some of us never stood a fucking chance.

[lazycranberrydoodles]

its prosecutor jiang wanyin!!!! oh fuck!!! / gifs + au rambling below the cut / follow for more mdzs x aa crossover stuff :3

all the gifs i made (poses traced off franziska):

hes so similar to franziska when you think about it. theyre both deeply insecure tsundere adoptive younger sibling of successful main characters. who carry whips. something something edgeworth choosing death and wwx actually dying also

his share code is HWFEFF if you wanna use him in a trial! you can't share backgrounds but heres the scenery from the donghua i used.

the easiest way to put custom stuff into objection.lol is to send it in discord and then use the link from opening it in your browser :)

a whole lot of AU stuff

the art im making is for if mdzs was an ace attorney game, playing from WWX's POV to solve various mysteries/cases over the course of the plot. so this scene would be from turnabout goddess, which would loosely cover the dafan mountain mystery.

cases include:

Turnabout Revenge (Mo Manor, quick introductory first case)

Turnabout Goddess (Dafan mountain, the good times flashback)

Turnabout Saber (the man-eating castle (omg hiii nhs))

The Blind Turnabout (Yi City arc)

Turnabout Deviation (the Koi Tower conference, Empathy on NMJ ala turnabout memories or beginnings. opening cutscene is his qi deviation)

The Blood-Soaked Turnabout (second Burial Mounds siege, flashbacks: Xuanwu, Sunshot, YLLZ, Nightless City massacre)

Turnabout Lotus Seeds (testimony about JGY, tree scene, golden core reveal, bathtub scene. opening cutscene could be JGS' death but that would make it canon rather than ambiguous)

Turnabout Confession (Guanyin temple)

the problem with splitting novel!mdzs into turnabouts is that flashbacks are a huge chunk of the book but they don't have mysteries/ cases to solve so they've gotta be lumped together with present day stuff. imo? many of the flashbacks would likely have to be abridged so they could be retold ala DL-6, SL-9, or the fourth grade incident, where characters talk about it over some pieces of art. this is really difficult when theres a metric ton of unspoken, complex, and signifcant history between every character lmao

there's not as much of a problem with the cql timeline but i have not finished it. so.

the opening cutscenes in ace attorney always show the murder and/or the murderer plotting. the first cutscene of the game would be MXY summoning WWX, muttering about getting revenge on his family (it would also be good for him to mention the yllz being dead because that's how the novel starts.) cut to WWX's POV as he wakes up covered in blood and the investigation segment begins.

for investigations of monsters (goddess, saber, etc) the cutscene would be a scene of some poor throwaway cultivator getting their shit wrecked.

it would be cool to make a breakdown for JGY but again I need to review that scene cause I don't know who I'd base him on. maybe Vasquez or Dahlia.

tell me your thoughts!! i'm working off of a mdzs summary/ skimming the novel because i don't remember it too well so if i get anything wrong please yell at me

Jin Ling's sprites & Nie Huaisang's sprites / masterpost

[iridescentmirrorsgenshin]

no thoughts just comparing the deliberate parallels between the concerned comments layla, faruzan and paimon make to kaveh which are used to contextualise alhaitham’s comments to kaveh during a parade of providence

In the desert, layla who previously had issues with dealing with anxieties, received dubious advice from kaveh about equating worries to that of a sickness for that which is no cure, therefore you have to let its run its course

Layla reveals that this advice isn’t suitable for her, since the cause for her anxiety was solely because she didn’t have a clear goal for herself. She states that therefore, if this advice is something kaveh adheres to, then this is ultimately worse for him, as kaveh claims to have a set goal - as in, he wants to win the interdarshan chanpionship.

She notes that kaveh seems conflicted, and that this could stem from some inner sadness which he suppresses with a façade of happiness.

This points to kaveh’s internal conflict being between that of his guilt complex brought about by his perceived involvement in his father’s passing, and his genuine desire to help others at the cost of himself. Kaveh cannot balance the two in ways that will allow him to prioritise his own needs and desires

Kaveh’s internal conflict is pointed out later on in the same quest by Faruzan, who highlights kaveh’s title as a genius being incongruous with his problem solving abilities after kaveh passes out in the desert due to giving his food and water to the disturbed foxes and going out of his way to lead them to safety, putting himself at risk and jeopardising his place in the competition

However, Kaveh states that his title of a genius has nothing to do with this situation, and although he admits it wasn’t the most practical solution, it was dually his conscience that ultimately caused him to act and perceivably the guilt that would come from not attempting to help

After the second round comes to a close and faruzan inadvertently informs alhaitham of kaveh’s “tribulations”, the player gets to hear alhaitham’s reactions to kaveh’s decision through kaveh, as kaveh and alhaitham have discussed the events in the desert offscreen

Paimon points out that this is definitely ‘something’ alhaitham would say due to the blunt manner of speaking and the dryness of his words - this contextualises how kaveh receives them, as personal goading

When looking past this and focussing on alhaitham’s actual words, the real meaning can be found, and it is even a point in this scene that paimon offers the exact same comments, drawing direct parallels between her and alhaitham’s words, and therefore establishing the same concerns

Alhaitham points out kaveh’s unreliable problem solving abilities being incongruous with his title as a senior - directly paralleling faruzan’s comments in which she highlighted how kaveh’s decision making abilities were at odds with his title as a genius

As well as this, alhaitham alludes to kaveh’s guilt complex being the reason why he exerts himself for others at his own expense - which is a point that the traveller and paimon directly follow up on

Kaveh responds to their questioning amicably despite the sensitive nature of the conversation, just as he did when faruzan pointed out kaveh’s problematical decision making, and this is because of their apparent concern rather than actively seeking offence, with paimon protesting when kaveh asks: “don’t tell me you think i have serious personality flaws, too?” With the ‘too’ clearly referencing alhaitham and the conversation the two had prior to the traveller and paimon turning up

Kaveh can understand the concern in others’ words when they question his problem solving skills and the sense of his inner conflict stemming from guilt, however, when alhaitham makes the same comments, kaveh sees this as a form on animosity and personal critique

Because of alhaitham’s manner of communication and kaveh’s apparent distrust of alhaitham, the two cannot reach a mutual understanding - despite alhaitham expressing the same concerns as three separate characters within this quest

It is telling then that when kaveh gleans an otherwise unseen meaning in alhaitham’s words is when alhaitham changes his method of communication and directly, and intimately, addresses kaveh by using a script that only the two are privy to

Kaveh still doesn’t wholly understand alhaitham’s meaning, but the switch up in communication method is enough for kaveh to question alhaitham’s sincerity and not attribute it to alhaitham mocking him

Kaveh continues questioning the cause for this throughout the remainder of the event, being seen to question why alhaitham left the notes for him and whether if it was a coincidence or not. He concludes that it wasn’t a coincidence and then states “then…”, inferably questioning why alhaitham left the notes for him and what the meaning of his words were, in a script only kaveh would understand. Additionally, kaveh mentions wanting to ask alhaitham what the meaning of his notes were when at dinner after the closing of the interdarshan championship, as the uncertain meaning of his words has seemingly left a profound effect on him

Alhaitham changing his manner of communication, which kaveh usually perceives as negative, causes kaveh to question alhaitham’s sincerity, and therefore causes doubt in whether alhaitham is patronising him or not. This in turn can cast obscurity over kaveh’s assertion that alhaitham holds “disdain” for him due to Alhaitham’s expression of concern which kaveh cannot perceive due to the abrasiveness of his words. Alhaitham conveying his concern in a roundabout way only allows for kaveh to misinterpret him, which kaveh perceives as “disdain”.

A parade of providence establishes the cause for the rift in alhaitham and kaveh’s relationship mainly to be perpetual misunderstanding in communication, and sets out to propose a solution being that a change of communication.

By using a language that only the two of them know shows that for kaveh to fully understand his meaning, alhaitham must meet kaveh on his own terms when it comes to communication - the two must be on equal and frank level. this could allow a potential rebuilding of intimacy the two once shared when initially learning the language, and thus overcome the idea of “mutual disdain” which kaveh asserts due to his fundamental misunderstanding of alhaitham which alhaitham seems to reinforce with his typical language

(Update: For more analyses like this, the essay this is taken from is now uploaded! It can be accessed here and here as as a pdf <3)

[stardust-falling]

I am an avid Shen Jiu enjoyer, but decidedly not an apologist. Like, I genuinely truly love this horrible little man so very much, but I will also be the first to say "no he's terrible and should be tossed into a clothes washer" in the same breath as talking about how i want to pet his little angry stupid head.

[8amira8]

why is drawing Sabo so difficult

ANYWAYSS here's the silly goobers I love them so muchhbb ARHFHXXMM they are just too cute, they would probably kill me in my sleep but that just makes them even more adorable (aww)

[maingh0st]

@belabellissima's tags on this post deserve a post of their own, i—

[thatscarletflycatcher]

Tumblr isn't letting me find again @fictionadventurer's and my own posts on epistolary novels, but I have been thinking about it again, because I fell down a Goodreads review rabbit hall and I have thoughts again.

So many people dislike the style, and honestly, I don't blame them, because it's so often done... not well. It is in some aspects, a deceptively easy one, and in others, deceptively hard. And because I'm trying to write a novel with this format myself, I have been thinking about what makes or breaks an epistolary novel.

I talked yesterday about TGLPPS, because it is an interesting case to analyze. I have thought many times about it, and cannot think of a single non-merely-aesthetic reason for it to be told in an epistolary style. A lot of it depends on -British- people who have survived some terrible war conditions willingly opening up to a stranger about their experiences, and that's made... even more difficult if the medium is letters? typically writers will appeal to tropes like making the reserved character drunk, or have them share an extreme experience in isolation with the stranger to create sudden intimacy. None of this is possible in writing; if anything, one is much more self-conscious about the things one writes than the things one says; verba volant, scripta manent.

It seems to me the story would have flowed much more naturally if Juliet had been stranded on Guernsey for some reason -like the first author herself!- suddenly Dawsey commenting that he got a book from her library makes so much more sense! Yes, certainly, if you met a stranger out there, and they introduce themselves and you realize you have a book that once belonged to them, you would tell them so! And it is in this way that the epistolary format does violence to a story that would otherwise sound much less contrived.

Another problem is the large cast of characters and multiple settings. For all I complain about Dracula, Stoker manages this pretty well (of course he has the model of The Woman in White, but TWiW has fewer povs), at least on the first half, because structurally the storylines of the characters are converging, and that does a lot to guide the reader in the understanding of the character's relationships. TGLPPS's relationship structure is more of a multidirectional flow chart, and that becomes confusing really fast.

Another novel I read reviews for recently is one set in WWI, composed of back and forth letters between two lovers torn apart by war, and one common complaint was... that the climactic scenes, the times they meet, etc all happen... off-camera. It is a fair complaint, but also one I cannot really blame the author for, because that's what usually happens with real life compilations of letters of that kind. Sure, usually the editor/compiler will fill in the blanks sometimes and add an epilogue of sorts explaining what happened afterwards, and that is possible if you are writing it fictionally too, but some may think it spoils the effect of immediacy and whatnot, which, fair too.

But it makes me think of how aware Jean Webster was of these difficulties, and how deftly she managed them in both Daddy Long-Legs and Dear Enemy. Both novels have aged badly in terms of content and message, but they are very interesting stylistically.

DLL is a bildungsroman with a dash of romance; through Judy's letters to daddy long-legs we can see how she grows as a person, gaining independence intellectually and economically, and as a writer, as her grammar and vocabulary change and grow. Between making Judy an orphan who hates the orphanage where she has lived her whole life, and one where she lived past the usual age of being thrown into the world, Webster does away with the need for letters between Judy and her friends and family: all her friends and family are her college roommates and her benefactor, who is the person she writes to. The benefactor scheme also makes it so that she doesn't have to write dll's replies, which in turns makes it much more natural and acceptable for the reader when Judy writes him the ending's love letter describing the feelings and impressions of their finally meeting in person and in truth; Judy has become a writer, and she is so used to write to him as another person all the time, that it just makes sense for her to write to him one more letter at the point where her benefactor and her lover become one and the same person. She has written a novel where the core is the correspondence between lovers AND managed to include as well all the moments of their meetings that we would otherwise miss.

Dear Enemy is a similar, but longer and more ambitious story. Instead of one relationship-connection (Judy and Daddy's), we have Sallie as a nod of connections: she's Judy's friend, Jarvis' "employee", the boss of several characters, has a tense colleague-boss relationship with the visiting doctor, a boyfriend of sorts in Washington, and a family we have met before. It is, in that way, a similar setup to TGLPPS: a urban girl of means becomes a fish out of water in a different setting till she ends up assimilating to it, and settling definitely through marriage. But Webster does a few things differently to make it click.

For starters, it is clear to her that this is the story of Sallie's maturation -I have sometimes talked of Dear Enemy as a novel where a Mary Crawford-like character undergoes a transformation arc. The happenings and stories she meets and tells Judy about along the way serve this arc, besides standing on their own as case studies to illustrate the problems, ideology and solutions proposed to the secondary themes of the story (education and social reform). I feel like TGLPPS is much more interested in Guernsey's survival through the war, in which case Juliet's story is already a frame, which, again, makes the epistolary format cumbersome rather than complementary.

Dear Enemy adds more correspondents, but it is very austere/economical with them, and narrows the letters we see to only those Sallie sends. YMMV regarding if it was too much cutting or not, but the undeniable effect is structural soundness; you are never confused by what is happening or who is writing to whom. We can guess the Honorable Cyrus Wykoff probably wrote some indignant letters to Jervis, and those would be funny to read, but... would they be worth the break in the flow of the narrative? I don't think so. To this effect, just having Sallie write a line to the effect of "I expect at this point you have at hand an irate letter from the Hon. Cyrus" is enough to paint a picture for the reader. Perhaps a letter or two from Dr. MacRae would have helped develop his character more -definitely a first read of the story obscures how much misdirection there is in Sallie's narration to Judy, which in turns tends to create an impression of suddenness to the closing letter that doesn't come across well to the reader.

The choice of Sallie mainly writing to Judy is, IMO, a really good one too. It not only establishes a connection with DLL, but it also allows for the intimacy that makes disclosure believable (something TGLPPS struggles with, as I mentioned above). When you add a few letters to the doctor and Gordon and Jervis, you also get a better perspective of Sallie's personality, how she deals not only with a friend, but with acquaintances, romantic partners and coworkers.

From all this it is pretty evident that for Webster the main function of epistolarity as format is aiding in showing psychological and moral development. But that's not the only thing the format can be really good for: perspective is another, and Austen uses it to great effect in both Lady Susan and Lesley Castle.

Both stories deal with mainly static characters, but who have very strong perspectives of the same situation, and it is this singularity of setting and story that anchors the narrative to avoid confusion, while the variety of perspective brings interest. In Lady Susan, we are dealing mainly with the marrying off of Frederica and seduction of Mrs. Vernon's brother, Reginald. There where Lady Susan paints Frederica as an undisciplined, irrational and ungrateful daughter, her sister in law, Mrs. Vernon, paints her as a sweet girl and a victim of her mother's ruthlessness and lack of love. Both agree that Reginald is being seduced, but, of course, with opposite goals: Lady Susan wants him to succumb, Mrs. Vernon, to escape, and this is a delicious struggle for the reader to follow!*

Lesley Castle being an earlier effort, and unfinished, does show some of the defects I have mentioned before (mainly, the relative confusion of having several correspondents in separate storylines), but illustrates well this same perspective effect: Margaret writes to Charlotte about the new Lady Lesley, and the new Lady Lesley writes to Charlotte about about Margaret and her sister... and in these contrasts lies the main interest of the narrative.

Some conclusions to these musings, then:

Not every story is suited to the epistolary format.

The epistolary format seems to work the best when it is used for either A) showcase psychological and moral development B) to play with perspective on people and/or events.

One of the main difficulties of the format is finding a narrative element to anchor and structure the letters around.

It must have a core couple of correspondents, or at most, two. More than that will make it confusing (unless, perhaps, the story is very short and about a single event or two).

A delicate balance must be found so that the secondary correspondence doesn't cut the flow of the main one, and if possible it must feed into it.

*It is interesting how Love and Friendship, being such a delightful -and I sustain one of the best ever- Austen adaptation, is by force of the perspective switch towards a more impersonal third person, more about a love story between Frederica and Reginald than a struggle between Lady Susan and Mrs. Vernon. Which isn't dissimilar to how adaptations of DLL end up being more about the romance between the leads than Judy's coming of age in college; tropes aside, I feel like if the epistolary format is well embedded in the story, it's going to be nearly impossible to reproduce the effect in adaptation.

[f1-stuff]

Miami GP '23 // Post FP2

"A lot of learning to do...We made some progress today with the feeling of the car. We tried the new floor, also - looks like it's working well. Overall, a positive Friday."

[solradguy]

I started writing a t4t4c Sol/Jackie/Axl fic today (~1500 words). Haven't gotten to the Axl part yet, so it's just t4t right now still. They're at an amusement park and Jack-O' brought nefarious supplies

[tecchan]

So Belphegor is a...

...

Southern Bel(le)