aowyn

[aowyn]

they should make an international travel that is free if you're internet friends

#yes

[aowyn]

wake up vro

#art #hypnos #hades game #hades ii #hades ii spoilers

[aowyn]

all the new god portraits (so far) in hades 2 !!!

#IM SO EXCITED #hades game #hades ii #hades ii spoilers

[aowyn]

I love him

#prev SAME #qifrey #witch hat atelier

[aowyn]

There should be a fanfic writing game called the showrunners challenge where someone writes a story and partway through someone else can play things like "actor leaves after 4000 more words" or "topic now too politically sensitive due to unforeseen world events" or "lost rights to that reference"

#i wanna try this SO bad #favorite #reference

[aowyn]

Wizard worm just emerged from a wizarding hole! Lucky you!!!✨🪱🪄🍀

#wizard worm will you fix my left elbow pls

[aowyn]

this book is so clearly designed for people who have not experienced a decade plus of high dosage uninterrupted tumblr poisoning because to me this whole section reads somewhat like “enjoyers of food and beverages may be surprised to hear about ‘bread’ and ‘water’”

[aowyn]

The Tomb of Dragons by Katherine Addison to release on 11 March 2025

The end of Sarah Monette/Katherine Addison's The Cemeteries of Amalo trilogy, a spin-off of The Goblin Emperor (together known as The Chronicles of Osreth) has been listed as releasing on 11 March 2025, and there's now a summary:

"Thara Celehar has lost his ability to speak with the dead. When that title of Witness for the Dead is gone, what defines him?

While his title may be gone, his duties are not. Celehar contends with a municipal cemetery with fifty years of secrets, the damage of a revethavar he’s terrified to remember, and a group of miners who are more than willing to trade Celehar’s life for a chance at what they feel they’re owed.

Celehar does not have to face these impossible tasks alone. Joining him are his mentee Velhiro Tomasaran, still finding her footing with the investigative nature of their job; Iäna Pel-Thenhior, his beloved opera director friend and avid supporter; and the valiant guard captain Hanu Olgarezh.

Amidst the backdrop of a murder and a brewing political uprising, Celehar must seek justice for those who cannot find it themselves under a tense political system. The repercussions of his quest are never as simple they seem, and Celehar’s own life and happiness hang in the balance."

#OWO???? #the goblin emperor #preordering this rn

[aowyn]

Here's the full artwork I did for the upcoming Avatar concert! Thank you for having me🎶

Tour dates and info: https://avatarinconcert.com

#art #atla

[aowyn]

#favorite

[aowyn]

san diego comic con hotelpocalypse in two days........wish me luck

#im an overpreparer so ive made an extensive spreadsheet and selected the 12 choices that seem most likely to get #hopefully it all goes well on wednesday #said el

[aowyn]

#messages gotta SIMMER in my BRAIN before i reply to them

[aowyn]

dude shutUP , he's literally eeping

#art #hypnos #hades game

[aowyn]

If I ask nicely will people reblog this and tell me what their most common breakfast is? Not your favorite necessarily, just what you have for breakfast most frequently? 🙏🏽

#two fried eggs on toast #sometimes three if im really hungry

[aowyn]

on storytelling and repetition

“…the secret of the Great Stories is that they have no secrets. The Great Stories are the ones you have heard and want to hear again. The ones you can enter anywhere and inhabit comfortably. They don’t deceive you with thrills and trick endings. They don’t surprise you with the unforeseen. They are as familiar as the house you live in. Or the smell of your lover’s skin. You know how they end, yet you listen as though you don’t. In the way that although you know that one day you will die, you live as though you won’t. In the Great Stories you know who lives, who dies, who finds love, who doesn’t. And yet you want to know again.”

— Arundhati Roy on Indian mythology and folklore, in God of Small Things (1997)

“It was only once – once – that an audience went to see Romeo and Juliet, and hoped they might live happily ever after. You can bet that the word soon went around the playhouses: they don’t get out of that tomb alive. But every time it’s been played, every night, every show, we stand with Romeo at the Capulets’ monument. We know: when he breaks into the tomb, he will see Juliet asleep, and believe she is dead. We know he will be dead himself before he knows better. But every time, we are on the edge of our seats, holding out our knowledge like a present we can’t give him.”

— Hilary Mantel on Shakespeare’s Romeo and Juliet, in “Can These Bones Live?”, Reith Lecture, 2017

“So what makes this poem mnemonic is not just repetition. Rather, it’s the fact that with repetition, the repeated phrase grows more and more questionable. I’ve remembered “Come on now, boys” because, with every new repetition, it seems to offer more exasperation than encouragement, more doubt than assertion. I remembered this refrain because it kept me wondering about what it meant, which is to say, it kept me wondering about the kind of future it predicted. What is mnemonic about this repetition is not the reader’s ability to remember it, but that the phrase itself remembers something about the people it addresses; it remembers violence. Repetition, then, is not only a demonstration of something that keeps recurring: an endless supply of new generations of cruel boys with sweaty fists. It is also about our inability to stop this repetition: the established cycles of repetition are like spells and there’s no anti-spell to stop them from happening. The more we repeat, the less power we have over the words and the more power the words have over us. Poetic repetition is about the potency of language and the impotence of its speakers. In our care, language is futile and change is impossible.”

— Valzhyna Mort on Russian poet Yevgeny Yevtushenko, in “FACE – FACE – FACE: A Poet Under the Spell of Loss”, The Poetry Society Annual Lecture, 2021

#meta

[aowyn]

#art #cosmere

[aowyn]

So fucked up for Nirvana in Fire to mostly be a show about people sitting around and just talking while simultaneously being one of the most compelling, heart-wrenching, complex, character-driven shows to ever exist. Fucked up. They're just sitting or standing and talking about policies and rituals half the time. Why is every single character fully fleshed out. There's like fifty of them. Genius

#WATCH NIF #lyb