30+, queer, she/they
I used to write Jaime/Brienne fic and then the gay pirates came for my throat so this is now an OFMD blog from now until the end of time lmao
Come find me on Ao3 at Dialects_and_Costumes!
Today's aesthetic: fic that spends several thousand words establishing Kink World, the world structured entirely around the author's excruciatingly specific kink, does one sex scene in like chapter two, then spends the next thirty chapters interrogating the sociopolitical implications of Kink World.
That ‘comment on your a03 work’ email hits like a line of cocaine every time. unmatched dopamine increase. shoutout to everyone who leaves a comment on fics. you deserve the world
chapters 5 and 6 of @epersonae and i's collab are live everyone!!! and also a fun update, our beta has finished the first pass with the first draft!!! so please join as as these guys slowly start healing and finding happiness (some of the sooner than others)
plain text in the alt text and under the cut
Image ID 1:
Ellipsus snippet reading:
Today Eddie's pissed that next to Ed, Eddie looks weak, feels weak.
Stupid fucking raid, and not enough drama for a show, but just enough for a fight, and Eddie has to see Ed cutting through the crowd of combatants like a knife, a slash to a sword-arm here, a gun-shot into a collapsing body there, and Eddie knows he's not moving like that anymore. At some point he'd dipped into the rhino horn, and then he wasn't sleeping right, and then the only thing that could keep him moving like that was more rhino horn, and this raid came on them so fast he couldn't get down even a bump, and now he's moving through the fray with half his brain tied behind his back.
And so he's pissed, and he comes back to the cabin pissed, and Ed is there, casually shrugging out of his jacket, and they're the same damn height, but still it feels like he towers over him, and suddenly the only thing Eddie wants is to see him on his knees.
End image ID 1.
Image ID 2:
Ellipsus snippet reading:
“You know everyone makes mistakes, right?”
He doesn’t answer.
“I don’t know anyone who just keeps trying the way you do,” and there’s something in Lucius’s tone that make Stede look up, and the expression isn’t mocking, somehow. “So — keep trying.”
He doesn’t want to try; he doesn’t want to have to go find his other self, figure out all the things either or both of them have done wrong. He wants to steam ahead and find Ed; isn’t that the important part? But there’s no directions to give and Lucius isn’t going to help him, and he wanders aimlessly around the ship trying to think of something to do, anything else to do.
And then belowdecks, almost exactly where Stede left him, there’s Albatross.
Just sitting on a crate.
Stock still and stone silent, his face completely blank in the slanted light from a porthole
everybody leaving tags on my letterboxd roundup like "they didn't do the nobody scene??" we're so fucking past that i need you to catch up. i went into the movie knowing they wouldn't do the nobody scene and frankly i had made peace with it like okay if you don't want odysseus calling himself outis because you don't feel like the joke translates well enough WHATEVER you dont need to film every line of the poem. what i was NOT prepared for is that THEY DON'T SPEAK TO POLYPHEMUS AT ALL. they don't steal a giant wheel of cheese, they don't get him drunk, odysseus doesn't taunt him after their escape, AND he doesn't cry out to poseidon or the other cyclopes on the shore. it's "revealed" that he can speak in the cave before their escape as he prays to poseidon. someone asks odysseus "should we try to reason with him?" and ODYSSEUS says "we're past that." resulting in an adaptation where odysseus does not use wit or trickery to escape polyphemus at all-- which is the case with every single obstacle he meets. this guy does not lie and he does not play tricks. his intelligence is restricted to battlefield tactics, the administration and direction of his men as units. You have to poke polyphemus so he opens his eye before you can stab it! I am very smart. the only point at which he could be described as "tricking" polyphemus is when-- because the movie is allergic to making odysseus look stupid or silly in any way-- they tie straw to their backs to be mistaken for sheep instead of riding the undersides of the sheep, and we are presented with an action sequence of trousered and armored soldiers somersaulting and army crawling under polyphemus' gently dangling hand. which i hate because it is a less clever solution that only works if polyphemus is extremely stupid (shepherd who doesn't know how many sheep he has) -- and more importantly because it removes IMO the most emotionally efficient moment in the odyssey, which is polyphemus talking to the one sheep that's walking slow because it has odysseus on its belly like "oh no are you feeling okay today? you're moving so slow, maybe you're upset because i'm in pain? you're the best sheep in the world and i love all of you my sheeps" like that scene is supposed to instantly retroactively humanize polyphemus and make you realize odysseus has been torturing a person with feelings who basically just wants to be left alone with his pet sheep and it's extremely good at that in every translation i've ever read. but not one of odysseus' enemies are allowed an inch of humanity in this entire adaptation which seems to be a veiled metaphor for the vietnam war so what can you expect. and yes because odysseus never does anything wrong or stupid or silly, OF COURSE he would never reveal his name and allow polyphemus to curse him, and his crew only "believes" that he's been cursed by poseidon thereafter, which removes the ENTIRE MAIN ANTAGONIST of the story and changes the central conflict from man vs. god to man vs. ????
'Sabriel', 'Lirael' and 'Abhorsen' by Tommy Arnold, cover art for the Daphne Press Deluxe editions of the 'Old Kingdom' trilogy books, written by Garth Nix.
12" x 17" Gallery-quality giclée prints on 100% cotton rag archival paper, in a signed and numbered TIMED release editions for $67 each, and as a 3 print set for $179.
16" x 12" Gallery-quality giclée prints on 100% cotton rag archival paper, in a signed and numbered TIMED release editions for $67 each, and as a 3 print set for $179.
24" x 18" Gallery-quality giclée prints on 100% cotton rag archival paper, in a signed and numbered TIMED release editions for $119 each, and as a 3 print set for $335.
On sale in a TIMED Release until Saturday April 12 at 12pm ET from Tommy's website.