#I'm over here occasionally...

[serpentface]

He slowed to a halt and looked over his shoulder for signs of pursuit. None followed, but most of the crowd still watched him, not even the death throes of the now-divine corpse sufficing to tear their eyes away. The calf appeared as an earthbound moon hovering above the shoreline, alive and radiant and beautiful beyond words. He could not know this. What he knew was that familiar cattle were somewhere close by, the breeze heavy with their comforting scent. The calf shook his bloodstained head, took a long piss, and trotted away to meet them.

[flowerakatsuka]

the kanpai! designs from the 2019 ensky hobby calendar will always be one of my favorite osmt merch lines so i wanted to draw something with kuroba based on it.

now, he can cheers with kara ( or anyone else if ya'll wanna draw your ocs hanging out with kuroba. 🤭 )

[brodorokihousuke]

I know I said I was done with these edits but maybe I was just done with ace attorney characters lmao. Just wanted a Kiyotaka fall emoji for personal discord use really

also. you know. spoilers under the cut

I couldn't resist. Still mad about it, but. it was just too perfect y'know?

[dailypav]

Drawing Pav every day until he's playable: Day 181 (final)

Sooooo uh.... I thought for a while about what to do with this blog going forward, and to put it simply I just don't have the motivation or time to continue with it. Mostly the motivation part tbh, I'm sure I could keep truckin on if I really wanted to, but this blog was always a product of unadulterated hyperfixation for me, and I kinda realized that forcing myself to continue when I don't get any enjoyment out of it anymore isn't really gonna do anyone any good.

I'm sorry I wasn't able to reach the blog's ultimate goal (something something the journey is better than the destination idk), but I'm glad to see that people took on the role of making Pav playable before Miro even did. In a way he already IS playable, which is absolutely amazing!

Even though I'm not continuing this blog anymore, I had a lot of fun while I was here c: Thank you so much to everyone who gave me kind words and who sent asks, I'm sorry I wasn't able to get to all them!

I wish the absolute best to @dailyhenryk for continuing the ritual of daily funger npc blogs, y'all got this!!

If you're looking for more daily content of Pav, I'd highly recommend giving @pavdaily a follow if you haven't already, I seriously love that blog so much.

Ok ok rant over, take care everyone!! <3

-dailypav

[ragnarokhound]

as research for a gladiator au jaytim fic, i read all of the captive prince books in less than 72 hours. i fear that i was, in fact, the target audience for that series. and that i will need to be very careful not to accidentally write captive prince fanfic in the middle of my jaytim fanfic. OOPSIES

[melit0n]

And so my favourite Ancient Greek site ever; Delphi!!

This place (and, of course, the mythos behind the oracle of Delphi herself) has been a fixation for me for years, so I was buzzing basically the entire time I was there.

While everything I saw was beyond gorgeous, this place took the cake. An absolute trek up a mountain side (with a further trek if you wanted to see the Pythian stadium, which I happily did), but we'll worth it. Massive props to everyone and everyone who traveled from literally anywhere in order to get a prophecy.

Speaking of prophecy (info dump under the cut)...

Okay! So! Delphi, aside from being a temple of Apollo, was considered the centre of the classical Greek world (and just the world in general), for a long time, mainly because it was the seat of the Pythia; the high priestess, aka, the oracle of Delphi. Which, fun fact, in Greek shares the same root word for 'womb'.

Now, the temples (as well as the village, various treasuries, gymnasium and theatre) at Delphi are of varying ages, with the temple of Apollo being built around 7th century BCE, before being burnt down in 548ish BC, and then again in the 4th century BC. The ones which you can see (and are in the photos 😌) are all from the 4th century BC. Two thousand plus years old.

Isn't that insane? Sure, not the oldest thing in the world, but walked by so many people. Awesome, in the truest meaning of the word I fear.

But, onto the Pythia. For a bit of context, the original site of Delphi is believed to have housed a different God, suspected to be Gaia, who's son/daughter (varies depending on what translation of the myth you're reading into), named Python (sometimes called Drakon // Drakaina) resided in a cave. When Apollo took over the site, he killed it, and, when he did, it caused a great chasm to open up in the Earth and spew gas. Henceforth, the oracle was known as the Pythia.

She would've also sat on a tripod over this chasm, of which with inhalation of the gas, the spirit of Apollo could posses her in order to give prophecies.

It's been debated whether this chasm did or didn't exist—it is highly possible for one to have been there; the area is known for earthquakes, and natural gas that causes hallucinations, such as methane, ethane and ethylene is able to come from the ground—but, either way, the priestess was high as balls when giving these prophecies. Either from gas, laurel (known in the modern age as Oleander), or both.

So, imagine, you've been travelling from Athens to Delphi for a week or two, have waited a month to see this oracle, only to step into a dim temple to see a lady probably between 40-60 years old, dressed as a young woman, with visable gas spewing out from underneath her, and she spews what sounds like absolute nonsense, in which, very helpfully, a priest translates into poetry for you to take home, which turns out to be scarily accurate. I'd be damn sure the Olympians existed too.

Her being so accurate is, in fact, what brought Delphi such high prestige.

While the idea of living breathing oracle is very cool, the way Delphi was set up aided her being so precise. As noted before, Delphi was considered a hub (would've had street markets, banks, small villages, religious sects etc.), with almost everyone there to see the oracle—people would be waiting weeks to months for a visit from her—and, during this time, they'd interact and talk with those around them. War plans would be drunkenly shared, marriages would be quietly talked of, and most of these conversations between generals and kings, and their messangers and servants, were all heard and noted down by the various priests in the area, who'd provide information to the oracle, and slip in some more details in their 'translation'.

Interesting, no?

The oracle of Delphi is dates back to about 1400 BC, with her last prophecy being delivered about 390 CE, to a Roman Emperor who began stating various laws to end pagan (classical Hellenistic) activities.

[welcometogrouchland]

Noticing that TV and film will often have a character either have had an abortion in the past that isn't showcased on screen (and just used as part of the character's ~fucked up and twisted backstory~) OR contemplate getting an abortion in the present day but not to through with it. Just once I want to see someone delete that fetus within the events of the plot and not be like. Extremely majorly punished for it and/or be in the wrong

[hephaestuscrew]

“This has both our names on it”: Viewing Fleet and Clara’s relationship in Victoriocity through a queerplatonic lens

TL;DR: By Season 3 of Victoriocity, Fleet and Clara have developed a committed emotional partnership that certainly moves beyond the purely professional. Whilst very much operating as a duo, they can be interpreted as often rejecting or subverting romance-coded elements in their relationship, instead embracing a unique dynamic that can be read as resonating with the concept of a queerplatonic relationship (QPR).

Buckle up because this is over 2,500 words long! If you'd rather read it as a document, you can access it here: Fleet & Clara QPR Google Doc

Disclaimer: I'm not making any claims about creator intent, nor about how anyone else ought to interpret Fleet and Clara's dynamic. It's also worth acknowledging that queerplatonic relationships are inherently defined by the people in them and any attempt to apply such terminology to a story set in 1887 is obviously anachronistic (although whether that should matter when said story also contains a cyborg Queen Victoria is up for debate). 

With that said, if we define a QPR as a committed personal partnership which is not entirely captured by the typical expectations of either friendship or romance but may contain some elements typically associated with either (other definitions of QPRs are available), I enjoy viewing Fleet and Clara's relationship through a QPR lens, and I want to talk about some of the reasons why I think this reading works.

***Spoilers for all three seasons of Victoriocity and the novel High Vaultage***

Detective duos

Even before we actually get into Fleet and Clara's particular bond, detective / crime-solving duos as a general concept have QPR energy to me (which probably predisposed me to this interpretation). It's the Holmes-and-Watson legacy. It's the use of the word 'partner' in a non-romantic context (‘associate’ or ‘companion’ can also serve a similar purpose). It's the intense trust and reliance on each other. It's the sense of being a recognisable pair, always appearing together, known as a duo, with skills and attributes that complement each other. 

Romantic assumptions

Moving on to Fleet and Clara specifically, one aspect of their relationship that can be read through a QPR lens is how they are often in situations where other people believe or imply that there is a romantic relationship between them. Sometimes this is a deliberate strategy of theirs, and sometimes it’s imposed upon them by others. But I’d argue that there’s never a point where they both simultaneously seem entirely comfortable with that romantic narrative for their relationship. Usually one of them will actively deny the assumption or react negatively to the implication:

When Mrs Hampshire interprets Clara and Fleet as a couple experiencing “young love”, Clara might be happy to adopt this as an effective cover story, but Fleet seems unsettled and keen for them not to be perceived this way: “No. No. You’ve misunderstood, we are not, that is to say I am…” (S1E2)

When Warden Hughes assumes Fleet is the new Warden and Clara is the new Warden’s wife, Clara says “I am certainly not”, with emphasis on the ‘certainly’. (S2E2)

Fleet definitely doesn’t sound enthused when he realises Clara has gone for a married couple as their cover story at the Grand Salcombe: “I am sure I’ll regret asking, but by any chance am I [Mr. Theasby?]” (S2E2)

When Titus Byrne tells the pair “I take it you're happy sharing [a room]”, Clara responds with a horrified “What?” (S3E4) (Obviously sleeping in the same room isn’t inherently romantic, but it is often perceived that way.)

Of course, fake dating and external assumptions of romance are very common tropes in romantic will-they-won't-they dynamics, and these moments could definitely be interpreted that way for Fleet and Clara. But I prefer to read these instances as reflecting a different kind of closeness between these two characters. They have a sense of emotional partnership that allows a marriage cover story to seem plausible to others and that other people sometimes automatically assume to be romantic (obviously with some period-typical heteronormativity at play). But to me, it doesn't seem like either of them are fully comfortable with their relationship being perceived in a directly romantic way. Perhaps they are a couple in a different sense…

Proposal via door plate 

The way that Fleet asks Clara to be his business partner has always seemed to me like a platonic version of when people find personal ways to surprise their romantic partner with a proposal:

CLARA: You bought me a door plate for your office? [...] This has both our names on it. FLEET: What do you think? CLARA: I like it. (S2E7)

Fleet could have just asked Clara outright, without going to the trouble of buying a sign that would have been useless if she’d said no. If it was purely a professional business proposition with no emotional meaning behind it, I think he would have just asked verbally. But instead, he gifts her a sign with their two names paired together: Fleet-Entwhistle Investigations. There's something so intimate about that to me: about Fleet asking Clara whether she would like to be a duo with him in a more formally-defined but still non-romantic way; about him choosing to present this offer in the form of a gift; about the way he presents her with their two names joined together etched into metal and asks what she thinks; about the significance that this gesture attaches to their partnership; about him having enough trust that she'll say yes that the effort and vulnerability of presenting her with that sign seem worth it for him. And the gesture means an awful lot to Clara:

She thought about the door plaque he’d had engraved with both their names on it as his way of inviting her to be his business partner – typical Fleet, refusing to tell her so much as his favourite breakfast food and then to go and do something like that. It was the nicest thing anyone had ever done for her. (High Vaultage, p187). 

Anniversaries

In the special episode ‘Murder in the Pharaoh's Tomb', Clara says “And you know what else is a big occasion Fleet? It's our one-month anniversary.” She wants to celebrate the anniversary of Fleet-Entwhistle Investigations. Their partnership holds a significance for her that means key dates associated with it are worth remembering and remarking upon. 

When Clara first mentions their anniversary, Fleet nearly chokes on his drink, which seems like an instinctive reaction to the usually romantic connotations of an anniversary (see my point above about Fleet not being comfortable with their dynamic being perceived as romantic). But when Clara clarifies what she means, Fleet seems much more cheerful about the notion of their anniversary: “Ah, so it has.”

“Miss Clara Entwhistle, my partner”

I get extremely strong QPR vibes from this moment, when Fleet introduces Clara to the sailors at Grave End:

FLEET: This is Miss Clara Entwhistle, my partner - in business, my business partner. CLARA: I'm also his friend, but he doesn't like to say it. (S3 E3)

Fleet and Clara are partners, but not in the way the average person might assume from that word, which Fleet realises mid-sentence here. This is another instance of Fleet reacting negatively to the idea that their relationship might be interpreted romantically (see above). And yet, 'partner' (rather than, say, ‘colleague’) is the word that comes naturally to him in this moment to describe who Clara is to him. He then frantically emphasises the professional element of their relationship so as to avoid the romantic implication, but Clara is keen to proudly assert that there is a personal, emotional aspect to their dynamic too. They are first-and-foremost partners, and they are friends, and they do not want to be seen in a romantic light - this post basically writes itself... 

“Her ridiculous detective.”

When Clara fears for her life at the display of the Lanterns, the narration tells us:

“she thought of her brother, her sister, her parents... Her ridiculous detective.” (High Vaultage, p172) 

The fact that Clara thinks of Fleet in this moment of fear clearly indicates his importance to her, but I think the phrasing of this quote is particularly interesting. The narration lists Clara's immediate family: two of whom are dead (her sister and father), one of whom is publically mourning Clara's life choices (her mother), and only one of whom we have any real evidence of her having a positive relationship with (her brother). And then, separated from these complicated familial relationships by an ellipsis, the narration tells Clara also thinks of Fleet, “her ridiculous detective”. 

Parents and siblings are familial relationships that tend to come with established expectations, in which the use of a possessive pronoun (i.e. her brother) to indicate the relationship is a norm. ‘Detective’ does not fall into this category; unlike ‘brother’, ‘sister’, ‘parent’, ‘friend’, ‘partner’ etc., ‘detective’ is not a word that inherently implies a relationship or that we'd usually expect to see preceded by a possessive pronoun. The idea of ‘her detective’ therefore stands out, giving the sense that there is a unique relationship being indicated here. The way in which Fleet is ‘hers’ is something that Clara has chosen for herself, something that they have shaped together. Who they are to each other can't necessarily be fully expressed using standard phrases that traditionally describe relationships between people. But Fleet is Clara's detective, of which she only has one, and who she'll think of in the midst of “the screaming of the heavens at the end of the world”.

Fleet is also the only one in this list of Clara's loved ones who gets an adjective - her love for him has detail. And while “ridiculous” might often be perceived as negative (it's certainly not a classic romantic endearment), it seems to me like there's such fondness in it in this context: the recognition of and affection for eccentricities, the idea that his importance to her is not (purely) based on his professional strengths but on Fleet as a whole - perhaps at times ridiculous - person.

“Settled”

When Clara and Fleet talk about Clara's mother’s expectations for her, they have this exchange:

"She's still living in hope that one day I'll settle down."  "You're not settled?" asked Fleet. "I am." (High Vaultage, p259) 

By ‘settle down’, Clara's mother of course means ‘marry’, ideally into “at least a minor baronetcy”. But Clara already considers herself "settled", just not in a way her mother would understand or appreciate. She's not looking to "settle down" into a lifestyle other than her current one. She is settled in a situation where Fleet is certainly her closest personal connection in London (and perhaps anywhere), and where the two of them work closely together, operate as a duo, and then go back to their separate homes. And this partnership with Fleet is a comfortable set-up that feels right for Clara exactly as it is, rather than being a precursor to, or a distraction from, the marriage ambitions that her mother wants for her.

I think this exchange also contains an implicit sense of the commitment between the two of them. Fleet wants to check that Clara is ‘settled’ in her current situation, of which working closely - and platonically - with Fleet is obviously a major element; Clara confirms she is. There's a subtle indication of their shared intention to be in this for the long haul.

As a sidenote, Fleet and Clara’s implicit assumption that their partnership is a long-term one can manifest itself in joking contexts as well as serious ones. Look at this exchange from S3E5: 

FLEET: We're not bandits, we're just going to flag it down. CLARA: We'd be terrific bandits! FLEET: Let's just see how our current line of work goes.

I think it’s notable that, in this joking speculation, both Fleet and Clara use ‘we’ and ‘our’. The joke could have been phrased just as effectively if they were imagining only Clara becoming a bandit. But the suggestion is that, if either of them was a bandit, they’d be bandits together. Even if they changed their lives entirely, they'd still approach life together.

Inseparable 

Fleet and Clara have become a nearly inseparable duo in a way which is noticed by others. For example, after Clara and Fleet fall out in High Vaultage, Fleet meets with Keller, who says: 

"You're here with me instead of barrelling across town with her, so I'm just assuming there is some thickheaded puffinry for which you need to apologise to Miss Entwhistle" (p335)

Keller, hardly the most emotionally perceptive man in Even Greater London, automatically infers from the fact that Fleet is on his own that he has had a falling out with Clara, rather than that they just happen to be in different places. When all is well, Keller expects to see the two of them together, whether or not they are in a position to be actively working a case.

Going back earlier in their partnership, Keller makes a similar assumption about Fleet and Clara being inseparable in S2E6. When Clara shouts her name amidst Keller's anti-Vidoc booby traps, Keller asks "Entwhistle? Which means… Fleet?" Again, there's this idea that if one of them is there, the other is likely to be there too - they come as a pair. (It's worth noting that this scene takes place less than two weeks after they first met.)

“Like a friend might?”

At the end of S3E7, Fleet suggests that he and Clara go to the theatre together. It would have been easy for this invitation to have been explicitly framed as a romantic proposition, or even for the nature of the offer to have been left more ambiguous. But Clara says "Archibald Fleet, are you inviting me to a social activity? Like a friend might?" The use of the word 'friend' directly labels this as a platonic interaction. And it's with that platonic lens on it that Clara is extremely excited to spend non-work-related social time with Fleet.

“Maybe it'll just be my good luck charm.”

CLARA: My grandmother's ring, I don't suppose you managed to hold on to it? [...] FLEET: Oh, it's been crushed.. I'm sorry Clara [...] CLARA: No, you keep it. FLEET: What? No... CLARA: Keep it. Maybe it'll remind you not to run towards trains. FLEET: Maybe. Maybe it'll just be my good luck charm.

In S3E7, Clara gives Fleet a ring, which - as a gift from one person to another - is traditionally a symbol of a particular, legally recognised, kind of personal commitment. But when Clara tells Fleet to keep the damaged ring, down in the Underground tunnels after the destruction of the beast and Fleet's latest brush with death, it is quite a different situation to a wedding or a proposal. A married man would traditionally wear his wedding ring on his finger for all to see, but Fleet won't ever wear this ring like that. The ring itself has been bent into a different shape between the wheels of their misadventures, subverting the usual associations of a ring given from one person to another. (In a heteronormative world, those associations are particularly strong when the two people in question are a woman and a man.) 

That ring is not an engagement ring, but it is Clara’s grandmother's ring, an inheritance from the blood family she never really felt she belonged in, now given to the man who might be a very different kind of family for her in London. That ring - with which Clara saved Fleet's life - is a symbol of their bond. And it therefore serves as a reminder for Fleet “not to run towards trains" and as a “good luck charm”. I like to think he'll carry that ring with him, perhaps in his jacket pocket - a little piece of his partner, kept close to his ticking heart…

Thank you for reading all of this!

If you’ve read all of this, I'm assuming you also enjoy the concept of Fleet and Clara as a QPR (unless you're really a glutton for punishment) and that makes me very happy! This was long because there's so much to say about them… And I wrote all of the above without even getting into: the potential to headcanon Fleet and/or Clara as aspec (which I don't think is necessary for QPR headcanons, but which is also fun); Clara's baggage around and discomfort with marriage in general; the speed with which Fleet and Clara become a ride-or-die duo; and the many other demonstrations of care, understanding, trust, respect, and affection between them that didn't feel as directly QPR-coded to me but are nonetheless wonderful. Please do feel free to share your own thoughts!

[jils-things]

by the lighthouse.

dividers

[moe-broey]

Fellas can you take this somewhere else. Maybe. Just not in the fucking halls. Thanks 🫡

I couldn't resist drawing out these tags I wrote on a dif post LMFAO

Moe just has...... SO many problems.......

Close-ups of my fave shots!

The elusive Líf...

[scoriarose]

Me trying to figure out what baby girl wants. She just wanted to vibe and hang out. She didn't object to being pet, she enjoys this usually. But she didn't scoot forward when being picked up was offered, so while she probably wouldn't object if I gave her more cuddle play time she was content just being near me, hanging out like human family or friends do.

After a while she meandered off to bed. Baby girl loves attention and being social- though she does have her "me" time too.

[daisywords]

\

[summertimemusician]

Something something 'The Wild that went into the Shrine of Resurrection is not the same that came out, how much of me is myself and how much of me is my experiences and the perception of others and since memories and perception are reality, losing your memories is essentially having a part of yourself killed and all the trauma that comes with it but not knowing WHY you have the scars and becoming a different person for it.' and 'Wild did come out as himself because even without his memories he is still Link he's just at a different point in his life simply for the fact that just because you grown doesn't mean you are a completely new person. You just changed and you are more than just the sum of your broken parts, you are still beautiful and lovely and deserving of love and there's always a place for you no matter how you change because at the end of the day it's still you.' are two thoughts that can and should coexist actually.

[melit0n]

If anyone needs me I shall now be residing in the airy pizzicato and vocalisation section of Look To Windward

[ihamtmus]

.

[shrinevandal]

one thing that's frustrating but also really sad about the "queer isn't a slur nowadays and has never been one, actually" crowd is the way they completely miss the point of reclaiming it. if queer is a benign word and always has been (provably false obviously, but just to play their game for a second) then what's even the point of identifying with it? you're taking an act of courage and bravery by flipping the meaning of a word used against us on its head, by standing up loudly and proudly and going "yeah guess what? i AM abnormal, i AM unconventional, and there's nothing wrong with that", and instead watering it down to "heh... i'm just such a weirdo aren't i.... i'm not like other gays.... teehee" like it's honestly just really sad to me. the point of reclaiming queer should be to denounce the cisheteronormative fallacy that there is a "right way" to exist, and to honor the people that came before us who were called that and much worse and didn't let it stop them from fighting.

but saying that fight didn't even happen... to me that's somehow worse than using it against people who are uncomfortable with the word. because harassing people and not listening to their boundaries is awful obviously, but what's even worse is denying your own pride and spitting on the efforts of the people who came before us. you go from being shitty to one person to being shitty to an entire community. i just honestly don't get it. does this fulfill you?