something. about. the horror of being sent on an impossible (death) quest and obligations and hospitality politics. the trauma of not having a home, and then the trauma of being in a house that becomes actively hostile to you, one that would swallow you whole and spit out your bones if you step out of line. all of this is conditional, your existence continues to be something men want gone.
it's about going back as far as I can with the perseus narrative because there's always a version of a myth that exists behind the one that survives. the missing pieces are clearly defined, but the oldest recorded version of it isn't there! and there's probably something older before that!! but it's doomed to forever be an unfilled space, clearly defined by an outline of something that was there and continues to be there in it's absence.
and love. it's also about love. even when you had nothing, you had love.
on the opposite side of the spectrum, this is Not About Ovid Or Roman-Renaissance Reception, Depictions And Discourses On The Perseus Narrative.
edit: to add to the above, while it's not about Ovid, because I'm specifically trying to peel things back to the oldest version of this story, Ovid is fine. alterations on the Perseus myth that give more attention Medusa predate Ovid by several centuries. this comic is also not about those, either! there are many versions of this story from the ancient world. there is not one singular True or Better version, they're all saying something.
Perseus, Daniel Ogden
Anthology of Classical Myth: Primary Sources in Translation, edited & translated by Stephen M Trzaskoma, R. Scott Smith, Stephen Brunet
cw: you two have a son together, mention of being married, old man Bakugou
older retired pro hero Bakugou, who you find hunched over his desk one night. it’s late and the day was long and your son was whinier than he usually is. you’d think the old man would be in bed right now, but alas—he’s not beside you.
instead, as you round the corner to get a full look at him, he’s wearing his reading glasses, adorning an old ratty tank, his arms still big but softer than the years from before. he has a book open in front of him, desk scattered with pictures you can’t see from your angle, scissors, stickers, glue sticks.
“What are you getting up to at this hour, old man?” You ask softly, smiling when Bakugou doesn’t even look up from what he’s doing. his tongue is sticking out in the corner as he cuts a squiggly line on a picture, posing it beside another on a blank piece of paper.
“Therapist said I should get into crafting,” he grunts, finally looking over at you from over his glasses. “Do things with my hands, feel busy, get my mind off’a shit.”
you pad over to where he sits, the overhead lamp on his desk focused on the big baby blue book with white pages. peeking over his shoulder, you rest your head on top of his, chin nestled in the still unruly blond and silver locks, overseeing his work.
and honestly? it almost makes you wanna cry. it’s a scrapbook, the page open to pictures of your wedding day, how pretty you looked, how big he smiled at you. you can see other scattered pictures on his desk—when you got a promotion at work, when he was number one for seven months in a row, a positive pregnancy test, the cutest baby you’ve ever seen, two little teeth coming in, baby being held in dads big ole arms that will always protect him.
“After this page, I gotta do the honeymoon.” Bakugou speaks gruffly, setting down a picture to wipe a hand down his face. “And then life accomplishment shit, the baby, his first steps.” He sounds so tired, and you can’t help but wrap your arms around his shoulders, sliding down to smush your face against his own.
“You always have tomorrow. Come to bed.” You say against his cheek, squeezing him when you feel the rejection start up in his belly. But he deflates, pulling his glasses off, reaching around to pull you in his lap. He looks so grumpy, with his frown lines and crows feet, and yet so handsome with his small smile and soft eyes.
“I’ll print more pictures tomorrow. And maybe go by the store to get some more stickers, too.” He tells you in between kisses, his words soft, his hands rough through your pajamas. You hum against his mouth, holding his nape, afraid to ever let him go.
“You do that. Now let’s go to bed.” You whisper, standing up and pulling him with you. He closes the scrapbook for now, and you glimpse at the cover, heart melting at the picture of you two holding up your son, both kissing his cheeks. The picture is captioned with “Our Life” and you don’t think you’ve ever been more grateful to have met him.
Anything can be used to hurt them as long as they are on the same plane of existence but I should probably elaborate on that- to preface this is a big major element of my world building I've had since for a decade now so buckle up.
In my story, there are several 'planes of existence' that make up a universe. Earth, and well everything we are physically aware of and can touch/see is the Physical Realm (P.R), aka the tangible zone where spiritual,dream, liminal influence is minimal.
The opposite of the P.R is the Plane of Pure-Existence where everything that cannot exist within the physical resides. It's where angels, demons, souls, ghosts, deities, entities, Heaven+Hell is and has several 'levels' of separation from the P.R.
The closer a layer is to the P.R, the more effect the souls (angels, demons, etc) inhabiting that layer can have on it. For example:
Layer one: A soul can possess a tangible body, move some physical igniting flammable material, conjure tangible elemental threats, communicate with tangible beings. (Think poltergeists)
Layer five: A soul can only communicate with faint elemental influences like a timely breeze.
Movement between the layers is very possible yet the more powerful/large an entity is, the more difficulty it has getting closer to the P.R. This is why guardian angels look the way they do so they are able to be close to humans with relative ease. It's also why The Admin isn't making frequent appearances to humans.
So I guess to answer your question: A human gun cannot harm an angel cause angels typically exist on an entirely different plane. But if they were in the P.R then yes a gun could be used against them. Though that then would beg the question if it would 'hurt' em or well...even inconvenience them
hi yes my first time posting my art here and I come bearing fanart for @hella1975 ‘s amazing atla fic The Art of Burning, you can find this specific scene in chapter 28! if you haven't read it yet I highly recommend.
Sometimes i remember a comics moment i randomly came across somewhere, where Sam Wilson mentiones a musical and Steve Rodgers says he doesn't like musicals, to whitch Sam goes "Guess that means you really are straight" and even tho i don't care about Cap America or the Avengers, the moment stuck in me for that quote by Sam. And like....Sci, any ideas if straight men actually don't like musicals or is that bullshit?
actually i think i know more gay men who hate musicals than i know straight men who hate musicals. i've had a drag queen stop me point blank when i was about to sing a barbra streisand song, and i know so many gays who pointedly hate abba. so based on my experience i think the inverse is true. most of the straight men i know are kind of impartial about musicals, but gay men? hate.
my theory is that a lot of gay men don't want to fall into stereotypes, maybe. but thaaaaat's just a theory! a gay theory.
[1] `there are often translations available in other languages long before English ones` This is really interesting! I'm familiar with translation in games, where english is often a very early target (a small game might get 0-5 translations, depending on amount of text) because the size of the market is larger.
[2] Do you happen to know why this is different for books? Is it faster to come to a deal about publication rights for some other languages to get started on the translation? Is translation to english harder (at least from French) than to say, Spanish?
The literary translation situation has long been very dismal in the English-speaking world! I don’t know a lot about video games, but are localisations provided by the company that makes the game? Because if that's the case it makes sense that games would get translated into English as a priority. For literary translations which are imported rather than exported, other countries have to decide to translate a foreign author and anglo countries (US, UK and Canada at least) are not very interested in foreign literature. There's something known as the "3% rule" in translation—i.e. about 3% of all published books in the US in any given year are translations. Some recent sources say this figure is outdated and it’s now something like 5% (... god) but note that it encompasses all translations, and most of it is technical translation (instruction manuals, etc). The percentage of novels in translation published in the UK is 5-6% from what I’ve read and it’s lower in the US. In France it's 33%, and that’s not unusually high compared to other European countries.
I don't think it's only because of the global influence of English* and the higher proportion of English speakers in other countries than [insert language] speakers in the US, or poor language education in schools etc, because just consider how many people in the US speak Spanish—I just looked it up and native Spanish speakers in the US represent nearly 2/3rds of the population of France, and yet in 2014 (most recent solid stat I could find) the US published only 67 books translated from Spanish. France with a much smaller % of native Spanish speakers (and literary market) published ~370 translations from Spanish that same year. All languages combined, the total number of new translations published in France in 2014 was 11,859; in Spain it was 19,865; the same year the US published 618 new translations. France translated more books from German alone (754) than the US did from all languages combined, and German is only our 3rd most translated language (and a distant third at that!). The number of new translations I found in the US in 2018 was 632 so the 3% figure is probably still accurate enough.
* When I say it’s not just about the global influence of English—obviously that plays a huge role but I mean there’s also a factor of cultural isolationism at play. If you take English out of the equation there’s still a lot more cultural exchange (in terms of literature) between other countries. Take Olga Tokarczuk’s Drive Your Plow Over the Bones of the Dead; it was published in 2009, and (to give a few examples) translated in Swedish 1 year later, in Russian & German 2 years later, in French, Danish & Italian 3 years later, in English 10 years later—only after she won the Nobel. I’m reminded of the former secretary for the Nobel Prize who said Americans “don't really participate in the big dialogue of literature” because they don’t translate enough. I think it's a similar phenomenon as the one described in the "How US culture ate the world" article; the US is more interested in exporting its culture than in importing cultural products from the rest of the world. And sure, anglo culture is spread over most continents so there’s still a diversity of voices that write in English (from India, South Africa, etc etc) but that creates pressure for authors to adopt English as their literary language. The dearth of English translation doesn’t just mean that monolingual anglophones are cut off from a lot of great literature, but also that authors who write in minority languages are cut off from the global visibility an English translation could give them, as it could serve as a bridge to be translated in a lot more languages, and as a way to become eligible for major literary prizes including the Nobel.
Considering that women are less translated than men and represent a minority (about 1/3) of that already abysmally low 3% figure, I find the recent successes of English translations of women writers encouraging—Olga Tokarczuk, Banana Yoshimoto, Han Kang, Valeria Luiselli, Samanta Schweblin, Sayaka Murata, Leila Slimani, of course Elena Ferrante... Hopefully this is a trend that continues & increases! I remember this New Yorker article from years ago, “Do You Have to Win the Nobel Prize to Be Translated?”, in which a US small press owner said “there’s just no demand in this country” (for translated works); but the article acknowledged that it’s also a chicken-and-egg problem. Traditional publishers who have the budget to market them properly don’t release many translations as (among other things) they think US readers are reluctant to read translated foreign literature, and the indie presses who release the lion’s share of translated works (I read it was about 80%) don’t have the budget to promote them so people don’t buy them so the assumption that readers aren’t interested lives on. So maybe social media can slowly change the situation by showing that anglo readers are interested in translated books if they just get to find out about them...
I've seen a few people talk about how much smoother things would have gone for the cast if they had A Mature Conversation about things, but like. they're teenagers. Not only that, they're all gifted kid teenagers who also have Issues (except Hajime who only has the Issues). How capable do you think they are of going 'alright now boys we need to talk about your misogyny' or somesuch
Me if I talked about Dean like some people talk about Sam:
Sam forcing Dean to stop being a demon was a violation of Dean's bodily autonomy.
Sam locking Dean up numerous times in season 8, 9, and 10 was a violation of Dean's bodily autonomy.
Sam tricking Dean into seeing a faith healer then dragging him into the tent when he was too weak to fight back was a violation of Dean's bodily autonomy.
Dean can't say no to Sam, so any time Sam says anything and Dean agrees, Sam has violated Dean's bodily autonomy.
Removing the Mark of Cain without Dean's permission violated Dean's bodily autonomy.
Punching Dean for wanting to jump into the ocean in a box violated Dean's bodily autonomy.
Always saying no when Dean wanted to take a break leading up to season 3 violated Dean's bodily autonomy.
Throwing Dean against a wall and trying to choke Dean to death violated Dean's bodily autonomy.
Ordering Dean to go and stay with Lisa as his dying wish violated Dean's bodily autonomy.
Trying to kill Benny and telling Dean he couldn't be friends with Benny anymore violated Dean's bodily autonomy.
Sam killed two different people over the course of the show to save Dean, violating Dean's principles, and his agency and bodily autonomy.
Guilting Dean into keeping Michael locked up in his head violated Dean's bodily autonomy.
Trying to force Dean to be his mommy violated Dean's bodily autonomy.
Guilting and shaming Dean into a parenting role with Jack violated Dean's bodily autonomy.
Being referred to as a dog who needed to be leashed by demons who wanted Sam to take control of Dean is a reflection of Dean's lack of bodily autonomy.
Sam lying to Dean about things that concern Dean's life is a violation of Dean's bodily autonomy.
Sam not letting Dean die whenever Dean is suicidal is a violation of Dean's bodily autonomy
Sam lying by promising to survive The Trials just so he can do them instead is a violation of Dean's bodily autonomy.
Sam letting Dean get turned into a vampire so he can use him to get into a nest is a violation of Dean's bodily autonomy.
Sam being perfectly comfortable with using Dean as bait is a violation of Dean's bodily autonomy.
Sam showing clear disapproval of various sexual partners Dean has is a violation of Dean's bodily autonomy.
Sam trying to kill Crowley is a violation of Dean's bodily autonomy.
Sam not looking for Dean when he was in Purgatory was a violation of Dean's bodily autonomy, but also if Sam had looked for him, that would also be a violation of Dean's bodily autonomy because he doesn't know what Dean would want.
it's scary in the dungeon meshi tag right now....................... like.................... i feel like the writing of this episode was brilliant in how it included so much information and gave us a clear history of shuro's experience, a clear view into his feelings of resentment, and made it extremely and plainly obvious, with its use of the theme of being well-fed, that this is him at his worst.
the fight between him and laios was entertaining in how it was presented in contrast with everything and everyone else, but having it be a childish fight between two people who suck at communicating in different ways and for different reasons, didn't have bad intentions, and yet hurt each other, did wonders for their respective characterisations. shuro finally eats a bite of the food that senshi, "the guy who teaches everyone about being well fed", kept for him, and with a clearer mind not only treats his companions better (showing how touched they are that he thanked them is a perfect example of "show, don't tell": he doesn't usually do that or hasn't been doing that, but right now he did!) but also takes one of these clear headed, mature decision that laios earlier complimented him for.
laios hit him first - it was inappropriate. shuro hit him back - that was an immature decision. the fight wasn't nasty, it was equal amounts of childish on both sides and it led them to communicate with each other, which was what was missing between them. it was something that they both needed, it was something that was just for the two of them, which is why everyone else left them to it. once he ate something, shuro immediately behaved much better, so it's easy to picture - especially when laios has described his past self in a good light - that when he is in good condition, he has other qualities as an individual. i'm not saying this because i want people to look at a character i like in a good light - i'm enjoying him because he's very pathetic - but because it seems so clear that this episode's writing screamed "this is this man at his worst". the use of food guys. remember the food
of course i don't think you should use physical fights as a mean of communicating with your friends but i don't know if you guys (saw the big dragon woman) noticed that their situation is a little bit messy and scary and tiring .
zuke headcanon that's been lingering on my mind for ages ... i think he has a pretty broad taste in music BUT his favorite genres alongside rock are oldschool jungle + breakbeat and R&B