#but y'know what really gets me?

[a-model-of-propriety]

i can't stop thinking about the "game" motif in the Death Note musical i need to write an essay about it i swear

[a-most-beloved-fool]

makes me a little sad when star trek ignores IDIC. like. vulcans are logical. that is true. But 'logical', for vulcans, does not amount to 'without compassion,' and it definitely doesn't amount to 'racial superiority.' Belief in 'infinite diversity in infinite combinations' should NOT result in the weird racist/speciest stuff we're getting in some of the newer treks. It does make sense that some vulcans are discriminatory. They're still flawed. But that should not be common or expected, like it seems to be in SNW. If it is, then it's a race of hypocrites, which. doesn't seem very true to Star Trek's message.

I think TOS Spock does a pretty good job of embodying this. Not always, it was the 60s, after all, but mostly. He was often trying to find non-violent routes, and get by without killing - even if they were in danger or had already been attacked. (See: the mugato, and the horta (until Kirk was the one in danger, lmao. t'hy'la > IDIC), the Gorn ship). Kirk, in his eulogy, calls him the most human soul he's ever known, and I've always read that as Kirk calling out Spock's overwhelming compassion.

It's just so much more interesting when Vulcans get to be radically compassionate. I want them to believe that everything and everyone has value. I want them to respect all ways of being. I want them to find ways for even very non-humanoid aliens to exist unfettered in society. I want them to see hybrids and think that it's amazing. Also, like, disability rep. I want Vulcans to have The Most Accessible Planet and available resources because they want everyone to feel accepted and valued. It makes for better characters and more interesting stories.

[saltpepperbeard]

hugs ed hugs ed hugs ed hugs ed hug—

[cosmicdreamgrl]

jungkook x blue 💙 [ cr: 0613data, namuspromised, @jung-koook ]

[skrunksthatwunk]

actually i'm still thinking about the moral orel finale.

he has a cross on his wall. do you know how much i think about that bc it's a lot.

a lot of stories ((auto)biographical or fictional) centering escape from abusive/fundamentalist christianity result in the lead characters leaving behind christianity entirely. and that makes complete sense! people often grow disillusioned with the associated systems and beliefs, and when it was something used to hurt them or something so inseparable from their abuse that they can't engage with it without hurting, it makes total sense that they would disengage entirely. and sometimes they just figure out that they don't really believe in god/a christian god/etc. a healthy deconstruction process can sometimes look like becoming an atheist or converting to another religion. it's all case by case. (note: i'm sure this happens with other religions as well, i'm just most familiar with christian versions of this phenomenon).

but in orel's case, his faith was one of the few things that actually brought him comfort and joy. he loved god, y'know? genuinely. and he felt loved by god and supported by him when he had no one else. and the abuses he faced were in how the people in his life twisted religion to control others, to run away from themselves, to shield them from others, etc. and often, orel's conflicts with how they acted out christianity come as a direct result of his purer understanding of god/jesus/whatever ("aren't we supposed to be like this/do that?" met with an adult's excuse for their own behavior or the fastest way they could think of to get orel to leave them alone (i.e. orel saying i thought we weren't supposed to lie? and clay saying uhhh it doesn't count if you're lying to yourself)). the little guy played catch with god instead of his dad, like.. his faith was real, and his love was real. and i think it's a good choice to have orel maintain something that was so important to him and such a grounding, comforting force in the midst of. All That Stuff Moralton Was Up To/Put Him Through. being all about jesus was not the problem, in orel's case.

and i know i'm mostly assuming that orel ended up in a healthier, less rigid version of christianity, but i feel like that's something that was hinted at a lot through the series, that that's the direction he'd go. when he meditates during the prayer bee and accepts stephanie's different way to communicate, incorporating elements of buddhism into his faith; when he has his I AM A CHURCH breakdown (removing himself from the institution and realizing he can be like,, the center of his own faith? taking a more individualistic approach? but Truly Going Through It at the same time), his acceptance (...sometimes) of those who are different from him and condemned by the adults of moralton (stephanie (lesbian icon stephanie my beloved), christina (who's like. just a slightly different form of fundie protestant from him), dr chosenberg (the jewish doctor from otherton in holy visage)). his track record on this isn't perfect, but it gets better as orel starts maturing and picking up on what an absolute shitfest moralton is. it's all ways of questioning the things he's been taught, and it makes sense that it would lead to a bigger questioning as he puts those pieces together more. anyway i think part of his growth is weeding out all the lost commandments of his upbringing and focusing on what faith means to him, and what he thinks it should mean. how he wants to see the world and how he wants to treat people and what he thinks is okay and right, and looking to religion for guidance in that, not as like. a way to justify hurting those he's afraid or resentful of, as his role models did.

he's coming to his own conclusions rather than obediently, unquestioningly taking in what others say. but he's still listening to pick out the parts that make sense to him. (edit/note: and it's his compassion and his faith that are the primary motivations for this questioning and revisal process, both of individual cases and, eventually, the final boss that is christianity.) it makes perfect sense as the conclusion to his character arc and it fits the overall approach of the show far better. it's good is what i'm saying.

and i think it's important to show that kind of ending, because that's a pretty common and equally valid result of deconstruction. and i think it cements the show's treatment of christianity as something that's often (and maybe even easily) exploited, but not something inherently bad. something that can be very positive, even. guys he even has a dog he's not afraid of loving anymore. he's not afraid of loving anyone more than jesus and i don't think it's because he loves this dog less than bartholomew (though he was probably far more desperate for healthy affection and companionship when he was younger). i think it's because he figures god would want him to love that dog. he's choosing to believe that god would want him to love and to be happy and to be kind. he's not afraid of loving in the wrong way do you know how cool that is he's taking back control he's taking back something he loves from his abusers im so normal

[stop-breaking-my-heart-dragonage]

So I went searching for special dialogue for a romanced Alistair, who stayed with the wardens, about a HoF who made the ultimate sacrifice. Specifically for what he says in DAI. For reasons.

I know what he says about her when she's alive in DAI, so I was curious if he'd saying anything about her if she's dead, like Leliana and Morrigan do. After reading through all sorts of forms and reddit posts where most of the answers were "huh I dunno what he says in DAI, I've never done that route," I eventually found out what he says.

Nothing.

Romanced Alistair says nothing about a dead HoF in DAI. At first I thought this was odd? Surely there's something referencing the fact that he and the warden were in love? even if just for fanservice like in DA2? Some of the comments on these posts blame it on Bioware doing bad writing again but it's hard to tell if they actually mean that, or if they're conflating "I don't like this" with bad writing because honestly? I disagree.

Intentionally or not, Alistair not saying anything about his dead lover is completely in character for him. He doesn't know the Inquisitor. Why should he tell them anything about the love of his life that he lost ten years ago? He's not as open about that stuff like Leliana or Morrigan.

You know what's actually out of character? Alistair giving a random stranger he met for two seconds an item that belonged to his dead lover because "she doesn't need it anymore."

Wasn't it enough to ruin his face, DA2? Did you really need to throw in some botched fanservice as well?

Wait a minute, Varric's telling this story...

Alright, new headcanon: Varric is, as per usual, full of shit. Alistair did give Hawke an item because he felt bad that he couldn't help them with the qunari except it wasn't anything special. But that's not interesting enough, so Varric lied and said Alistair gave Hawke an item that belongs to THE Hero of Fereldan for the sake of showing how super special Hawke is.

[front-facing-pokemon]

[gingermintpepper]

As usual I read your tags always and so you said Apollo did not ask for resurrection of Asclepius and Hyacinthus so i just wanted to share this. About Asclepius death I read it on theoi.com, that earlier authors don't make him resurrect as a god but that's a later development mentioned only by Roman authors like Cicero, Hyginus and Ovid. But still Apollo has a role in Ovid's version

Ovid, Fasti 6. 735 ff (trans.Boyle) (Roman poetry C1st B.C. to C1st A.D.) : Clymenus [Haides] and Clotho resent the threads of life respun and death's royal rights diminished. Jove [Zeus] feared the precedent and aimed his thunderbolt at the man who employed excessive art. Phoebus [Apollon], you whined. He is a god; smile at your father, who, for your sake, undoes his prohibitions [i.e. when he obtains immortality for Asklepios].

So here it is actually because of Apollo the decision was taken to resurrect him as god. And with Hyacinthus, I don't think I've read about Artemis playing the primary role. I know in Sparta there was a picture of Artemis, Athena and Aphrodite carrying Hyacinthus and his sister to heaven.

This is not on theoi.com but I saw on Tumblr it's from Dionysiaca by Nonnus

Second, my lord Oiagros wove a winding lay, as the father of Orpheus who has the Muse his boon companion. Only a couple of verses he sang, a ditty of Phoibos, clearspoken in few words after some Amyclaian style: Apollo brought to life again his longhaired Hyacinthos: Staphylos will be made to live for aye by Dionysos.

So since he is singing inspired by amyclean stories it probably means in that place it was believed Apollo was the one to bring back his lover to life.

Apollo as god of order was very important so i think it shows how special these people (and admetus too) were to him that he decided to go against the order for them 🥺

ANON!! Shakes you like a bottle of ramune!! BELOVED ANON!!!!! I'm littering your face with kisses, I'm anointing you with olive oil and honey - you absolutely made my night with this because, not only did I get the pure serotonin shot of having someone interact with my tags (yippee, wahoo!!) I also got to have that wonderful feeling of "oh wow, have I misunderstood something that was integral to my understanding of this myth/figure this whole time or is this a case of interpretational differences?" which is imo vital for my aims and interests as someone who enjoys mythological content and literature.

I'll preface my response with this: Hyacinthus is by far the hardest of these to get accounts for because his revival itself, as you very astutely point out, is generally accounted for in painting/ritual format which muddies the waters on who interceded for what. I wasn't actually familiar with that passage from the Argonautica - and certainly didn't remember it so thank you very much for bringing it to my attention!

That said, what I've come to understand, both about Hyacinthus and about Asclepius is that in the accounts of their deaths, Apollo's position is startlingly clear.

For Hyacinthus, it is established time and again that Apollo would have sacrificed everything for him - his status, his power, his very own immortality and divinity. Ovid writes that Apollo would have installed him as a god if only he had the time:

(Ovid. Metamorphoses. Book X. trans. Johnston)

Many other writers too speak of how Apollo abandoned his lyre and his seat at Delphi to spend his days with Hyacinthus, but they also all agree that when it came to his death - he was powerless. Ovid gives that graphic account of Apollo's desperation as he tries all his healing arts to save him to no avail:

(Ovid, Metamorphoses Book X. Apollo me boy, methinks him dead. trans Johnston)

Bion, in one of his fragments, writes that Apollo was "dumb" upon seeing Hyacinthus' agony:

(Bion, The Bucolic Poets. Fragment XI. trans Edmonds)

Even Nonnus in the Dionysiaca speaks constantly of Apollo's helplessness in the face of Hyacinthus' fate where he writes that the god still shivers if a westward wind blows upon an iris:

and when Zephyros breathed through the flowery garden, Apollo turned a quick eye upon his young darling, his yearning never satisfied; if he saw the plant beaten by the breezes, he remembered the quoit, and trembled for fear the wind, so jealous once about the boy, might hate him even in a leaf...

(Nonnus, Dionysiaca, Book 3. trans Rouse)

And the point here is just that - Apollo, at least as far as I've read, cannot avert someone's death. He simply can't. Once they're already dead - once Fate has cut their string - all Apollo's power is gone and he can do nothing no matter how much he wants to. And this is, as far as I know, supported with the accounts of Asclepius as well!

Since you specifically brought up Ovid's account, I'll also stick only to Ovid's account but in Metamorphoses when we get Ovid's version of Coronis' demise, he writes that Apollo intensely and immediately regrets slaughtering Coronis. He regrets it so intensely that he, like he does with Hyacinthus, does his best to resuscitate her:

(Ovid, Metamorphoses Book Two. Apollo's regret)

And like Hyacinthus, when it becomes clear that what has happened cannot be undone, Apollo wails:

(Ovid, Metamorphoses Book Two. Apollo wept.)

Unlike his mother, Asclepius in her womb had not yet died and so, with the last of Apollo's strength, he does manage, at least, to save him.

(Ovid, Metamorphoses Book Two. Apollo puts the 'tearing out' in Asclepius.)

But it goes further than even that because Ocyrhoe, Chiron's daughter, a prophetess who unduly gained the ability to directly proclaim the secrets of the Fates, upon seeing the baby Asclepius, immediately prophesies his glory, his inevitable death and then his fated ascension:

(Ovid. Metamorphoses, Book Two. Ocyrhoe's prophecy. trans Johnston)

Before she too succumbs to her hubris and is transformed by the Fates into a horse so she can no longer speak secrets that aren't hers to share.

These things ultimately are important because it establishes two very important things: 1) Apollo can't do anything in the face of the ultimate Fate of mortals, which is, of course, death and 2) even when Apollo is Actively Devastated, regretful, yearning, mournful, guilty or some unholy combination of all of the above, when someone is dead, he accepts that they are gone. Even if he is devastated by it, even if he'll cry all the rest of his days about it - if they're dead? Apollo lets them go. In Fasti, when Zeus brings Asclepius back, he does not say Apollo asked him to - Zeus, or well, in this case Jove, brings Asclepius back because he wants Apollo to stop being mad at him.

(Ovid, Fasti VI. Apollo please come home your father misses you. trans. A.S Kline)

Even Boyle's translation which you used above in your findings hints that Zeus made Asclepius a god because he wanted Apollo to stop grieving. (i.e 'smile at your father', 'for your sake [he] undoes his prohibitions')

And like, Apollo was deeply upset by Asclepius' death - apart from killing the Cyclops in anger, in book 4 of the Argonautica, Apollonius writes that the Celts believe the stream of Eridanus to be the tears Apollo shed over the death of Asclepius when he left for Hyperborea after being chastised by Zeus for killing his Cyclops:

But the Celts have attached this story to them, that these are the tears of Leto's son, Apollo, that are borne along by the eddies, the countless tears that he shed aforetime when he came to the sacred race of the Hyperboreans and left shining heaven at the chiding of his father, being in wrath concerning his son whom divine Coronis bare in bright Lacereia at the mouth of Amyrus.

It all paints a very clear picture to me. Apollo did not ask for either of them to be brought back. Though bringing them back certainly pleased and delighted him, they are actions of other gods who are moved by Apollo's grief and mourning and seek to mollify him. Him not asking doesn't mean he didn't want them back which I think is a very important distinction by the by, but it simply means that Apollo knows the natural order of things and, even if it hurts, he isn't going to press his luck about it.

Which, of course, brings us to Admetus. And I'm really not going to overcomplicate this, Admetus is different because, very vitally, Admetus is not dead. Apollo can't do a thing once Fate has been carried out and Death has claimed a mortal but you know what he absolutely can do? Bargain like hell with the Fates before that point of inevitability. And that's what he does, ultimately for Admetus and Alcestis. He sought to prolong Admetus' life, not revive him from death or absolve him from death altogether and even after getting the Fates drunk, he's still only able to organise a sacrifice - a life for a life - something completely contingent on whether some other mortal would be willing to die in Admetus' place and not at all controllable by Apollo's own power.

All of these things, I think come back to that point you made - that Apollo's place as a god of order is very important and therefore these people are very special to him if it means he's willing to go against that order but, I also wish to challenge that opinion if you'd let me. Apollo's place as a god of order is very important and therefore, I would argue, that it is even more important that it is shown that he does not break the divine order, especially for the people that mean the most to him. The original context of my comments which started this conversation were on this lovely, lovely post by @hyacinthusmemorial which contemplated upon Asclepius from the perspective of an Emergency Medical personnel and included, in their tags, the very poignant lines "there's something about Apollo letting go when Asclepius couldn't that eats my heart away" and "you do what you can, you do your best, but you don't ever reach too far" and I think that's perfectly embodied with the Apollo-Asclepius dichotomy. Apollo grieves. He wails, he cries, he does his best each and every time to save that which is precious to him but he does not curse their nature, he does not resent that they are human and ultimately, he accepts that that which is mortal must inevitably die. There is nothing that so saliently proves that those who uphold rules are also their most staunch followers - if Apollo wants to delight in his place as Fate's mouthpiece, he cannot undo Fate. And, if even the god of healing and order himself cannot undo death, what right does Asclepius, mortal as he is, talented as he is, have to disrespect it?

The beauty of these stories isn't that Apollo loved them enough to bring them back. The beauty is that Apollo loved them enough to let them go.

[gensnix]

Why master Kohga can and should come back into a later dlc for totk

We all know about how important character's are introduced in both botw and totk right

With Link's companions it shows a small explanation of who they are under their names but with villans it's the opposite

And you know who else has there lil explanation below their name

Why none other than the great master Kohga of course!

Maybe having him be on our side could explain some things about the shekia tech being absent or why he thinks being on Ganondorf's side is a good thing and bring back the lore of shekia turning on the royals

So please nintendo let the man be something great in a future dlc I will pay you to do that

[bonefall]

Firestar getting treated to a character assassination after The Darkest Hour is my villain origin story tbh

You can see the EXACT moment where the brain worms go terminal when Tigerstar dies in front of him, and he starts going "oooga booga he was strong and noble and had good traits... well need him to fight all these evil foreigners..." Just ceremorphose already, this is #NotMyFirestar

[bruisedloverr]

you fucked up a perfectly good kylar, pc, that's what you did. look at them. they have severe anxious attachment issues.

[aeb-art]

they never went, but it was a nice thought at least

geo belongs you @8um8le as always 🙇

edit: realized this is a good soundtrack for this comic

[krotiation]

Katagawa Jr is such a fun character to think about cause there's so much you can assume not just about him but also the Maliwan family as a whole based on his design and what little we actually know about him

I can't imagine he has a whole lot of loyalty for Maliwan itself cause he really did seem to care more about the Zanara than anything else. The barcode tattoo on the back of his neck? The ECHOeye (a whole eyeball compared to Rhys' lense) with a big M on it? He didn't get those to market Maliwan. He got them to show his father he's dedicated to the company and get ahead of the rest of his siblings who got a head-start due to him being younger

There's no actual family at Maliwan. Kat and his siblings are just cogs in the machine. Parental love? Never heard of it. You either dedicate your life to this company or you're not a Katagawa

Here comes Atlas, a small but growing corporation vulnerable to attacks and perfect for a merger to prove to Kat's father just how much he deserves his attention and praise. Oh, the CEO used to be a Hyperion lackey? He knows what it's like to give his life to a company ("family") that doesn't care for him? But somehow he got out. He made a name for himself, literally ripping out his Hyperion branding and giving himself his own, and now he holds the adoration by many, something Katagawa couldn't even get from his own father

On top of that Rhys is around the same age, at least compared to the old coots that are in charge of the other major corporations out there. He's so cool. Imagine being friends with that guy. But the Katagawa family doesn't do friendship, nor love, nor anything remotely fond

Katagawa doesn't know how to befriend people, much less someone who's supposed to be his rival. Getting to know Rhys, stalking him and learning about all his favorite foods and favorite theme parks didn't do the trick so really, what choice does he have other than to force a friendship with a siege? He needs Atlas to impress his father anyway. Rhys becoming part of the Maliwan family, not as a sibling but as a friend, and having no choice but to be around Kat is a nice bonus

Rhys doesn't budge however, not even as Katagawa destroys the things he loves and threatens to cut him in half. He's rejecting him, just like his father, and that hurts. Then this little asshole actually goes out of his way to destroy something Kat loves for a change. It's not enough to take over Promethea and Atlas anymore, Rhys needs to hurt too

[roboticutie]

It's a side-mission that I don't think many end up doing, at least from the lack of talking about it I see, but still. The figurines. If you succeed a check in the pawn shop, you can take a figurine of a headless soldier on a horse. If you've done that, when you inspect the stained glass Dolores Dei you can get the task to give her any and all figurines you can find. Perhaps you can one day. Even when you get this task, though, it feels odd- it confuses your Logic because Dei has long since passed, but... Maybe you can give her these gifts somehow? You can find another figurine in the unplayable Wirral expansion pack (I only found it bc I didn't know you couldn't play Wirral w Kim). There are only these 2, according to the wiki, and I have not found more.

This task is another moment where the writers really manage to emulate that feeling of not only loss, but lost-ness that you get a few times in the game. When I did this task I thought it would be something extraordinary, maybe vaguely supernatural as there are a few things confirmed to be unexplainable happening with and around Harry, y'know? I had hope and intrigue and didn't even realize how strange and rare it must be to get this task on accident bc after typing it out I realized the starting parameters were VERY specific and easy to miss, actually. And I was so excited to find who to give it to, maybe a lost shrine, or someone reaching through a spot of pale and time, maybe when I found 3 or 5 I could lay them at her shattered feet and look behind the glass, something odd and unexplainable.

Then I met her in the dream. And just before it ended I was reminded that I'm supposed to give Dei the figurines. And that's when it dawned on me what Harry had forgotten, and I knew what he'd done to his memory of Dora by combining the two, and... It was so sobering and desolate. It felt the same way the end of a party feels, when you're the last to leave. The balloons are still up, but there's streamers on the floor, crumbs on the plates, bowls of snacks emptied, walls that held and echoed laughter are silent. The after image of something amazing, left only with the memory and the knowledge that that moment will never, ever happen the same way again.

You fulfill this task by giving all found figurines to Dora in the final dream.

And it does nothing. It doesn't work. Nothing will work. She would have liked them once, but like Dei, that Dora is dead. She died years ago and the Dora that remains is far, far away now.

Just like when I had no idea the carriage was Harry's until Kim spelled it out for us 2 hours later after chatting and whistling and relaxing; the figurines made what Harry was feeling and going through dawn on me so personally. I can't explain it in words well enough. I was so disappointed the figurines weren't some greater purpose, I was sad this was all we were holding onto them for, I was disappointed in Harry for trying to use trinkets to win her back, I was upset that they didn't do anything good, she didn't even want them; and I knew that's what Harry felt in that moment, too.

It's a level of "Show, don't tell," that not many writers set themselves up to be able to achieve. Even in this game there are only a handful of moments that are able to put you into Harry's headspace so precisely, and all of them are very specific and rely heavily on context given or lost on the player. It's impressive. I think about those figurines a lot.

[stop-breaking-my-heart-dragonage]

I'm not ready to shut up about Aveline and Carver--so, when you go see Aveline in Act 1, you can catch up with her a little bit and that's where this conversation can happen:

Aveline: "It's just one more change, though. The real end for me was Ostagar. What about you, Carver? You were there. Do you feel something similar?" Carver: No. Aveline: All right, then. Bit of a tit, your brother.

I wanted to see what she would say if Carver isn't in the party. Instead, she says this:

Aveline: Carver was there. I imagine he feels something similar. If he allows it.

......well, at least she didn't call him a tit?

[front-facing-pokemon]