ALSO, if you’re anything like me and cannot focus, make yourself sit to study and start a stopwatch, stop it after your mind starts wandering or your brain comes to a halt with its activities. even if you end up only focusing for 2 minutes like i first did, you can schedule your study sessions accordingly and slowly build up the time!
note: none of this worked on me when my depression and anxiety was untreated so that should definitely be considered. the only reason i can even think of studying is because of the stage my meds have helped me reach
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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
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When romancing Astarion, a line I really, truly love is after defeating Cazador, after the act 3 spawn romance scene when you have the option to say to him, "I promise I'll keep you safe always. You'll never need the powers of an Ascendant."
And he replies, "It would be nice not to rely on you as my great protector, but... well, I do appreciate the thought."
It's just so very relatable.
Of course he doesn't want to put his life in others' hands. Even if that was his intent when he started out, to have someone to protect him from Cazador, that doesn't mean that's what he, Astarion, wanted. It was what he felt he needed.
And now that he has the space to actually consider what he wants, while he knows he wants Tav (the entire night before is about that), he also knows he wants to be capable, to be able to stand on his own and walk together as equals.
Ultimately, he knows that having Tav be his 'great protector' only takes away from that agency that he's just now able to exercise, takes away from the balance he's striving for.
That being said! He also accept Tav's sentiment, "I appreciate the thought."
Which actually super impressive to me?
Despite everything he's gone through, he has the strength to accept help (which is not easy to do, in my experience) and acknowledge that leaning on each other is part of their relationship.
He knows he wants Tav at his side and that it's a give-and-take. That it's nice to just know that someone has your back and will catch you if you stumble.
That one line, which doesn't even have any follow up dialogue, and, admittedly, I initially thought felt somewhat out of the blue, is such a nice way to show his growth and path forward.
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Y’know before things went to shit a popular topic amongst jewish users on this site was about cultural Christianity, and a large part of that discussion was pointing out that certain ways of talking/acting/thinking were rooted in Christian culture, and were not culturally neutral, and the expectation of Jews (and people from non-culturally-Christian backgrounds in general) to conform to them was an expectation to assimilate and abandon our own cultural ways of talking/acting/thinking.
And this collective conversation has largely been abandoned as Jews on this platform now have much more loud and blatant forms of antisemitism to worry about
But I can’t really stop thinking about how ostracization, public shaming, guilt, conversational shut-downs, harassment, and throwing ad hominem buzzwords at various people to not have to engage directly with opposing ideas enough to form an actual counterargument have all been a serious issue with how people operate in left-leaning online spaces for a long time now, and how those things are also very common methods of group control in a lot of the more… well, controlling and loudly bigoted sects of American Christianity, with roots in American Puritanism.
And I think a lot of people who want to think of themselves as leftists or even activists should really take a step back and more deeply analyze their methods/praxis of realizing their ideals and how they interact with other people, whether or not they’re actually willing to be constructive about things, etc.
Like is burning bridges, shutting down conversations, refusing to engage intellectually with things you don’t like, callouts, etc… actually helpful and useful? Why is this the method so many default to, and where does it come from?
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mithrun thought of his lover as someone who's "untrustworthy". he looked down at her too, if this is anything to go by
she's a naga for ALL panels she's in with mithrun--you'd think if he wanted her to feel real, she'd atleast have been a doppelganger or something but she's been a chimera for most of the times we've seen her. mithrun's been dungeon lord for 5 years of his life, and his supposed lover has been a chimera for . probably all of it.
also consider: kabru is spinning the narrative about mithrun's time as a dungeon lord into something Laios can comprehend. i think that's critical. kabru says “his life in the dungeon couldn't have been happier” and i think he's being literal. there's little happiness in living in a lie, and personally—mithrun's expression here is pretty telling
is this anything
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I've been doing a lot of reading lately about the history of vampires in fiction and how the vampire as we know it today first entered literature, and the subject is honestly fascinating. The traditional folklore around vampires and vampire-like creatures is largely very different from what we'd think of as a vampire today, and it's also very different from how vampires appeared in even their earliest literary incarnations.
For one thing, there's nothing particularly alluring about most traditional vampires. They're bloated corpses that have crawled out of their graves, not dashing mysterious counts in lonely castles. They're not a particularly stylish or sexy monster.
However, from pretty much the moment that western literature first turned to the vampire myth for inspiration, writers saw something in the concept to sexualize. The poem "Der Vampir" (The Vampire) by Heinrich August Ossenfelder is often cited as the first ever true literary depiction of a vampire (published 1748!), and it is about a man corrupting a chaste and religious woman through his unwanted kiss/vampiric bite. John William Polidori's 1819 short story "The Vampyre" is widely seen as the first work to truly codify vampire fiction, and the titular Vampyre Ruthven is in large part inspired by the womanizing Lord Byron. Le Fanu's Carmilla depicts an intense attraction between Carmilla and her victim Laura. Stoker's Count Dracula is a man with overly flushed lips and hair on his palms, marks of Victorian fears of sexuality.
From the very start, vampires in literature have been a sexual monster. They're emblems of the seductive and terrible—the kiss of death that you can't help but be drawn to anyway. A violent forced intimacy that will corrupt you and drain away your very life force. There's a great deal of xenophobia and fear of the un-christian in early vampire fiction as well, but the fear of sex and sexual assault have always been a driver of literary vampires' horror and allure. Writers seem eternally split between desire for the vampire and revulsion at that very lust, even from the moments that the creatures first graced the page.
There's a great tradition of vampiric fiction both using vampirism to evoke sexual predators and making vampires themselves desirably sexy. Thus, given that it is very concerned with sexual assault and bodily autonomy as themes, often uses predation by a vampire to evoke sexual violence, and is deeply horny about vampires and blood drinking, Jun Mochizuki's The Case Study of Vanitas is actually one of if not the best modern successor to the canon of early vampire literature. In this essay, I will
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