#it's called artistic freedom arthur

[strangesmallbard]

What do you mean by "bad adaptation?" I would say that haunting of hill house is maybe an inaccurate? adaptation, or like maybe subversive adaptation is better, but it's still a good adaptation. Ig I'm curious if by bad adaptation you mean it doesn't match the source material in terms of story or in terms of narrative meaning or both?

while i enjoy flanagan's hill house and think it carries enough of the core themes to have a passing connection with the source material, i ultimately believe it works much better as an original story rather than as an adaptation. "bad adaptation" is definitely an oversimplification for the sake of a meme lmao - unsuccessful is a little closer to what i mean, which i'll explain in more detail below.

first, i want to clarify that analysis of book-to-screen adaptation that only considers 1:1 story accuracy (called "fidelity" by adaptation theorists) when judging the final product's merit is often super myopic. many adapters seek to faithfully recreate the story in a new medium using their own artistic skills, but other adapters like our boy mike flanagan employ more artistic freedom.

to adapt hill house, he changed the basic plot/character elements and explored the nuclear family in more definitive terms than the novel. he also set the story in contemporary times, allowing him to modernize the story. this form of adaptation is totally legitimate and can work amazingly, but i believe it requires a certain recognizability to be truly successful.

here is where i believe flanagan went a few steps too far. his hill house is a good story, but it's a fundamentally different story from jackson's hill house. (this is a whole book ahead, i'm so sorry.)

the characters

again, it's completely okay for adaptations to change up the characters + their dynamics. some works combine characters or remove them altogether if they feel their presence isn't necessary for the version of the story they're trying to tell. but the hill houses have an almost entirely different set of characters, with entirely different dynamics.

in the books, a scientist interested in paranormal phenomena contacts individuals with recorded experiences to explore hill house alongside him and the owner's son, luke sanderson. these individuals are eleanor "nell" vance and theodora, who doesn't have a last name. other characters include the caretaker, mrs. dudley, mrs. montague—the scientist's ouiji board-obsessed wife—and arthur, who works for mrs. montague. the characters bond as they discuss the house's history, their own backgrounds, and the origins of supernatural phenomena. meanwhile, hill house slowly ingratiates itself in nell, who's mourning the loss of her mother.

meanwhile, the tv show centers around the crane family, who move into hill house to renovate and eventually flip the property. the show chronicles their tragic interactions with the house—which resulted in the death of olivia crain, the family's matriarch—alongside the house's robust, terrible history. it also chronicles the crain family in current day after the youngest sibling, nell vance nee' crain completes suicide in the house. throughout the season, we see the crain family learn to deal with their tragic past, their ghosts, and the stories they tell each other to cope.

the tv show's story works really well for its medium, but it's a different story. while some core themes stay the same, they're approached from very different angles.

the house

until the very last episode, i would have argued that the house is the most successful aspect of flanagan's adaptation. it's big, scary, and wrong-looking. you don't want to walk into this house. the angles are quite literally wrong. the addition of actual apparitions complement book!hill house's tendency to entrap its victims and haunt them until they eventually join its history.

olivia crain assumes the role of book!nell in the flashbacks; the idea of a proper home/family drives their internal arcs in both books, with some key differences. nell receives the letter from dr. montague about hill house after losing her mother, whom she took care of her entire adult life. nell and her mother eventually resented each other, and this resulted in mach 10 complicated grief for nell, who suddenly has no place and no one to call her own, to call home. she arrives at hill house ostensibly to search for this place and her fears of eternal loneliness drive her spiral.

in flanagan's hill house, olivia crain's fears over her children drives her spiral. the house ostensibly sends her a premonition of nell's death, leading her to believe the house (and the world outside) will kill her children. in desperation, she tries to kill nell and luke. while these internal arcs are demonstrably different, there is also a through line that allows book readers to recognize olivia as the "nell" figure. this was quite good and fun, aside from my issues with olivia crain's character and how flanagan uses the theme of motherhood. that's for another essay.

HOWEVERRR the last episode happened. the crain kids reunite with their sister, leave their dad in the house, and even see the dudleys reunited with their murdered daughter. afterward, the crain kids live happily. flanagan gave hill house a redemption arc, dismantling the fear from the previous episodes in one ten minute montage. at the end of the book, nell dies and the book ends by repeating the opening line. hill house has stood for a hundred years, and will stand for a hundred more.

a thousand essays could be written on this line alone. does this refer to the perceived permanence of the nuclear family? will humans always destroy themselves if they can't confront the immovable haunted house in their own lives? and so on. you can't unhaunt hill house without writing a fundamentally different haunted house.

theo and nell

in jackson's hill house, the relationship between theo and nell are arguably the heart of the story. the majority of nell's interactions are with theo, including the main "haunting" of the book - when the ghost rattles the walls and door of nell's room. we watch nell become equal parts entranced with theo and resentful of her perceived freedom. she's drawn to theo's vivaciousness and regrets that she's so meek in comparison. she later dreams of living with theo, who gently shuts her down, sending nell further into the spiral that eventually leads to her death. theo is also the last person nell touches when she tries to leave hill house. while i read their interactions as super mega gay, there are many alternative readings. either way, nell and theo are inextricably linked in the book.

in flanagan's hill house, theo and nell are siblings. this automatically changes the relationship and, obviously, removes any possibility of romantic feelings. the most salient parallel is how nell tries to reach out to theo for help; her rejection pushes nell further towards her deadly return to hill house. (not that it was actually her fault, but theo felt like it was her fault.) otherwise, flanagan nell's greatest connection is to her twin brother and her mother, olivia crain. the latter is ostensibly the most like book!theo, but show!nell has very few memories of her mother, and what she does remember, she cherishes rather than interrogates.

theo continued

theo herself is a very, very different character. she's closed off emotionally and her sarcasm is biting, rather than charming, like jackon's theo. book!theo also has a roommate heavily implied to be her girlfriend, which has been the subject of many literary journal articles over the years. while i think it's genuinely great that flanagan's theo is openly gay, she's just. an entirely different lady. this choice is ostensibly subversive, but i think her overall lack of connection to the original character diminishes this quality. (in a more faithful adaptation, i'd love to see a depiction of theo's internal life; it could be a realy interesting juxtaposition to nell's pov, which dominates the original book's narrative.)

nell continued

we are veering a little bit into My Personal Reading of the Text, but i think it holds some merit for this conversation. in jackson's hill house, nell reads as gay and closeted. she feels fundamentally displaced in then-modern society. she's in her thirties and unmarried, and she also isn't a working professional. her sister tolerates her, but nell perceives herself as an unwanted presence. i believe she's partly attracted to theo because she wants aspects of her life - the little house theo describes, her confidence. when book!luke (who's very much not her twin brother) flirts with nell, she recognizes how much she hates the interaction. she doesn't want to flirt with men. this realization makes her a little giddy. the tragedy in hill house is that nell reached out a hand for help, for home, and only the house answered. everyone else lets her drive away.

making nell unequivocally straight in the tv show just. eschews this entire aspect of the book for me. show!nell has a husband and a loving family. she definitely has ptsd from her experiences at hill house (and the vision of her own corpse looming over her head) and grieves her mother, but those societal factors are gone. i can't entirely claim this is an adaptational failure, but it's definitely the biggest missed opportunity of the show.

tl;dr

both jackson's and flanagan's hill houses did what they set out to do. those things are just irreconcilably different. i enjoyed the show and its versions of the characters have stayed with me. but it's not a "successful" adaptation of the book's story, themes, and narrative as i understand them.

#the haunting of hill house #jomarchofficial #ask #this got much longer than i anticipated LMAO. i'm passionate about critiquing mike flanagan

[omegaplus]

# 4,459

Omega Radio's 50 Years Of Hip-Hop. When the 'Brentwood Era' started, I had the dial on WBLS, one of New York City's hip-hop / rap stations. It not only signified the first-ever genre I'd pay close attention to, but also signified the beginning of personal cassette dubbing.

For a few years, I'd record as much as possible off to the right of the dial, then later on Hot 97 and Kiss FM. I'd capture Kid Capri, Kool DJ Red Alert, Funkmaster Flex, and Ed Lover, Dr. Dre, and T-Money of Yo! MTV Raps. Running concurrently was In Living Color, a rap-centric die-laughing comedy show that introduced us to the Wayans Brothers, Homey The Clown, Fire Marshall Bill, The Homeboy Shopping Network, and more. My formative years listening to hip-hop / rap lasted as long from middle school to graduating senior year. There's no shortage of mostly positive memories in Brentwood, in thanks to all of my cassette dubs from that era.

I returned to hip-hop / rap when I discovered WUSB a few years later and stumbled upon one of their shows, Ghetto Radio, who showed me a more underground side of things. Street FM, Eminent Audio, and The Basement practically changed my life because they introduced me to sampling culture, forever opening up a new world in getting to know more about myself. As soon as I became a Stony Brook student, I inquired about joining the station. Now, I became a dee-jay and gave back to our listeners the same way WUSB gave to me. It wasn't until my second run at the station (Winter 2013) when I started Omega Radio and took my show more seriously.

For 11 years, we've taken every chance we get to play hip-hop / rap. Our shows started when we did a five-hour bonus broadcast to usher in a new year: classic Seventies' vinyl classics on New Year’s Eve, then three hours of the rough stuff on New Year’s. Since then, we paid it forward by delivering all-time legends (The Notorious B.I.G., 2Pac), more golden-era cuts (EPMD, A Tribe Called Quest, Monie Love), the Eighties (Kool Moe D, MC Shan, Eric B & Rakim, classic old-school moments (Whodini, Sugar Hill Records, Afrika Bambaata), and even white-label underground releases (Lo-Down Click, Erule, Brother Arthur). Let's not forget the ladies of the game, either (Queen Latifah, Monie Love, MC Lyte, and Yo-Yo to name a few).

Later on, we introduced deluxe editions of our shows consisting of golden-era legends still doing their thing (KRS-One, Onyx, Dres of Black Sheep), backpack artists (Jedi Mind Tricks, R.A. The Rugged Man, the Griselda camp), beat tapes (Fuzzoscope, All These Fingers), and newer artists (clipping., Danny Brown, Obnox, Dabrye). We also made some legend specific tributes for Public Enemy, N.W.A. (edited for FCC quality-control), and The Wu-Tang Clan, which happened to be Omega’s most popular show to date. As long as it isn't Kanye West or TekashiSixNine, we're good.

The good news? There’s no sign of up stopping. We'll continuously re-visit our golden-era finds until they’re depleted, and may even consider re-introducing our white-label bonus shows. And we’ll still play our new, current, and relevant hip-hop, rap, and backpacker finds on our deluxe shows.

Found below is each and every hip-hop / rap broadcast Omega WUSB has broadcast up until this point. We urge you to check them all out. Want to re-visit an era with the most creative freedom? Any artists you missed out on? Trying to find a one-hit wonder you want to make a legend out of? No worries. We have you covered.

Here's to fifty more years of hip-hop - and you can all thank DJ Kool Herc for that.

December 31, 2012-January 1, 2013; #5. (Double bonus.)

February 25, 2013; #10.

June 30, 2014; #55.

July 19, 2014-July 20, 2014; #56.

August 17, 2014; #59.

November 22, 2014; #68.

July 13, 2015; #87.

August 24, 2015; #91.

June 27, 2016; #114.

August 15, 2016; #120.

February 11, 2017; #132.

July 29, 2017; #142. (Partial.)

July 28, 2018; #168.

September 3, 2018; #173.

October 15, 2018; #177.

December 10, 2018; #183. (Wu-Tang Clan)

May 4, 2019; #194.

June 29, 2019; #199.

July 20, 2019; #201. (Public Enemy)

August 19, 2019; #205. (N.W.A.)

August 24, 2019; #206. (Partial.)

March 16, 2020; #223.

August 3, 2020; #236.

August 15, 2020; #237.

October 26, 2020; #245.

January 30, 2021; #254.

April 21, 2021; #260.

May 19, 2021; #264.

June 16, 2021; #268.

July 3, 2021; #271. (Double deluxe.)

August 11, 2021; #278. (Hip-Hop’s 48th)

January 3, 2022; #294.

January 12, 2022; #295.

April 25, 2022; #305.

May 21, 2022; #307.

June 20, 2022; #312.

August 22, 2022; #325. (Delayed.)

August 27, 2022; #326.

October 24, 2022; #333.

#omega #music #mixtapes #reviews #playlists #hip-hop #rap #backpack #personal #Long Island #damn #wow #whoa #hell yeah

[sunmuted]

Ink, Lens, and Lyrics – The Creative World of Patti Smith

Patti Smith, a pioneer of punk rock's raw emotion and lyrical depth, has left an enduring legacy in music history. Her journey as an artist highlights the importance of staying true to oneself, embracing rebellion, and pursuing passions.

In the 1970s, Smith was a leading figure in New York City's punk scene. Her debut album, "Horses" (1975), broke new ground by blending spoken-word poetry with rock music. Tracks like "Gloria" and "Land" showcased her unique style, captivating audiences and pushing the boundaries of what rock music could be.

Patti says these about her life as an artist: I first vowed myself that I would be an artist, or at least follow a calling within the arts when I was twelve. My father took us to an art museum in Philadelphia, and I saw Picassos for the first time. And when I saw these Picassos, I don’t even know what came over me, but I was so transfixed, and I felt that’s what I wanna do. I wanna do that, whatever that is.  

Born on December 30, 1946, in Chicago, Illinois, Patti Smith's childhood was filled with a deep passion for literature and the arts. Influenced by the writings of William Blake, Arthur Rimbaud, and Bob Dylan, she began a journey that blended music, poetry, and activism effortlessly. 

Smith's creativity knows no bounds. She is a writer, painter, and photographer, channeling her boundless imagination into various mediums. Her memoir, "Just Kids" (2010), offers a glimpse into her relationship with Robert Mapplethorpe and their bohemian life in New York City.

Throughout her career, Patti Smith has remained devoted to social activism and humanitarian causes. Her music acts as a powerful call for justice and freedom, addressing issues of oppression, inequality, and the human condition with honesty and integrity. As a pioneering woman in a male-dominated field, Smith has broken stereotypes and paved the path for future female artists. Her fearless embrace of individuality and rejection of societal norms have established her as an icon of rebellion and resilience.

#pattismith #justkids #horses

[honeyleesblog]

Unlocking the Zodiac Sign and Personalities of Those Born on May 5

They can be very broad and have magnificent outcomes in areas of science and theory. Nonetheless, it ought to be added that they additionally have imaginative ability. Notwithstanding their adoration for serious examinations, they show a ton of instinct and great taste. Where others stagger in obscurity, these individuals see their way clear as sunlight, because of their inward power. His abilities and functional achievement are shocking. They grow step by step, with incredible insight that accompanies age; they energetically concentrate on nature and life. They are profoundly strict, with assorted interests and feelings. They likewise stimulate compassion in their current circumstance. Very liberal. Their instinct permits them to find nature and its mysteries. The thought processes in their activities come from the climate. They have a specific inclination to forlornness and disengagement. Nonetheless, they are in many cases encircled by their companions. Albeit these individuals are not searching for anybody, they are needed by others. The imperfections of this birthday: On the off chance that those brought into the world on this day are not ethically evolved, they are however energetic as they may be impulsive. What they like today, they could totally dispose of tomorrow. Unlocking the Zodiac Sign and Personalities of Those Born on May 5 

 In the event that your birthday is on May 5, your zodiac sign is Taurus May 5 - character and character character: respectable, pardoning, charitable, desolate, chicken on a fundamental level, extreme; calling: tailor, veterinarian, writer; colors: brown, olive, orange; stone: emerald; creature: squirrel; plant: African violet; fortunate numbers: 16,18,25,45,50,56 very fortunate number: 17 Occasions and observances - May 5 African World Legacy Day Holland: Freedom Day Global Birthing assistant Day Mexico: Cinco de Mayo, recognizing the skirmish of Puebla, where Mexicans confronted the French, the first being the victors. Region of Buenos Aires (Argentina): Buenos Aires Author's Day (honoring the vanishing of Haroldo Conti). Worldwide Day of the Battle for the Freedom of Weed Denmark: Freedom Day Global Celiac Sickness Day Japan: Youngsters' Day Ethiopia: Freedom Day May 5 Superstar Birthday. Who was conceived that very day as you? 1908: Kurt Bდ¶hme, German bassist. 1908: Jacques Massu, French military (d. 2002). 1911: Andor Lilienthal, Hungarian chess player (d. 2010). 1913: Lola Lemos, Spanish entertainer (d. 2009) .3? 1914 - Tyrone Power, American entertainer (d. 1958). 1915: Alice Faye, American entertainer. 1915: Tom Hungerford, Australian author (d. 2011). 1919: Georgios Papadopoulos, Greek legislator. 1921: Arthur Leonard Schawlow, American physicist, 1981 Nobel Prize champ for material science. 1924: Leopoldo Torre Nilsson, Argentine movie producer. 1926: Ann B. Davis, American entertainer (d. 2014). 1931: Greg, Belgian visual artist. 1932: Antonio Agri, Argentine violin player, guide and arranger (f. 1998). 1937: Giovan Battista Pirovano, Italian footballer (d. 2014). 1940: Spear Henriksen, American entertainer. 1942: Marდ­a Cristina Gდ³mez, people group pioneer and Salvadoran instructor killed by the Public authority (f. 1989). 1942: Joaquდ­n Leguina, Spanish lawmaker and author. 1943: Michael Palin, English entertainer and author. 1943: Raphael (Rafael Martos), Spanish vocalist and entertainer. 1944: Bo Larsson, Swedish footballer. 1944: John Rhys-Davies, Welsh entertainer. 1945: Cდ©sar Alierta, Spanish money manager. 1947: Malam Bacai Sanhდ¡, Bissauguinean president (d. 2012). 1948: Bill Ward, English performer of Dark time of rest. 1950: Samir Kassir, Lebanese writer and instructor (d. 2005). 1950: Leticia Moreira, Uruguayan entertainer. 1951: Ron Arad, Israeli originator, craftsman and modern designer. 1956: Jean Pierre Noher, French-Argentine entertainer. 1957: Peter Howitt, English entertainer and movie producer. 1957: Pდ­a Uribelarrea, Argentine entertainer. 1959: Ian McCulloch, English vocalist, of the band Reverberation and the Bunnymen. 1960: Jorge Quiroga Ramდ­rez, previous leader of Bolivia 1961: Pedro Reyes, Spanish humorist. 1963: James LaBrie, Canadian vocalist, of the band Dream Theater. 1966: Shawn Drover, Canadian performer, of the band Megadeth. 1967: Maximiliano Guerra, Argentine artist. 1970: Sviatoslav Shevchuk, Russian diocese supervisor. 1971: Cristian Aldana, Argentine performer. 1971: Florencia Bonelli, Argentine author. 1972: Devin Townsend, Canadian performer and author. 1973: David Janer, Spanish entertainer. 1976: Juan Pablo Sorდ­n, Argentine footballer. 1978: Santiago Cabrera, Chilean entertainer. 1980: Albert Lopo, Spanish footballer. 1980: Yossi Benayoun, Israeli footballer. 1981: Craig David, English vocalist. 1981: Mariano Gonzდ¡lez, Argentine soccer player. 1983: Joan Verdდº, Spanish footballer. 1983: Henry Cavill, English entertainer. 1986: Pedro Antonio Centuriდ³n, an Argentine kid killed at 14 years old while automatically satisfying obligatory military help in Paraguay (f. 2001) .4? 5? 1987: Marija ვ estiე‡, Bosnian vocalist. 1987: Graham Dorrans, Scottish footballer. 1988: Skye Sweetnam, Canadian vocalist. 1988: Adele, English vocalist. 1989: Chris Brown, American vocalist. 1989: Larissa Wilson, English entertainer. 1990: Melody Ji Eun, South Korean vocalist. 1991: Colin Edwards, Guyanese footballer (f. 2013). 1991: Raდºl Jimდ©nez, Mexican soccer player. 1991: Shubha Phutela, Indian entertainer and model (d. 2012). 1992: Danny Sea, Venezuelan vocalist and maker. 1999: Nathan Chen, American ice skater.

[chorusfm]

Youth In A Roman Field – “Albatross” (Song Premiere)

Today is a great day to share the new single from Youth In A Roman Field, called “Albatross.” Youth In A Roman Field is comprised of Claire Wellin, the violinist and vocalist of Brooklyn’s indie rock band, San Fermin. On her latest solo offering, entitled Get Caught Trying, Wellin channels sweeping instrumentation backed with breathtaking vocals in crowd-pleasing arrangements. Wellin shared: ”Albatross” is a direct answer to a question I asked myself often while writing this record: ‘Am I here to break the cycle?’ Sonically, it’s influenced by the simplicity and subtlety of Nick Drake and Arthur Russell, whom I’ve loved for decades. Lyrically, it’s an honest expression of my own struggles with self-worth and power, an examination of destructive thought and behavior patterns. It’s an offering of love and acceptance to my younger self and a breaking-free of debilitating thoughts and the social conventions that cement them. It directly explores generational cycles and trauma as the thread between myself and the women who came before me. It is a pledge to rebirth, freedom, and celebration – that we, in fact, already know the ‘motions’ of our own way. And while we can’t retrieve any of our time spent in and on the past, we are here – for ourselves and for each other – now. This was a thrilling studio experience, as Jamie, Tiffany, and Scott all brought in game-changing ideas that had a huge impact on the song’s construction, specifically at the end, when Tiffany changed the entire vibe of the song with this incredible, nostalgic, wholly improvised tone-change. The movements in the video are based on & inspired by Somatic Exercises used for re-learning & improving walking, a practice I’ve gotten really into this year through physical therapy. It’s brought me a ton of relief from chronic pain related to years of repetitive stress injuries, for which I’ve spent time rehabbing since 2014. The simplest (and, interestingly enough, least capitalist) remedies have been the most effective, and we wanted to capture that discovery, joy, and simplicity of being to visually support the song. If you’ve been looking for the next great artist to put on your radar, look no further than Youth In A Roman Field. Youth in a Roman Field · Albatross --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/features/youth-in-a-roman-field-albatross-song-premiere/

[racoonjohn]

Mary-Beth is one of us 💪

#rdr2 #red dead redemption 2 #red dead redemption 2 comic #arthur morgan #mary-beth gaskill #writing the good fanfictions #it's called artistic freedom arthur #(arthur is now regretting the moment he gifted her a pen) #(arthur will also STILL encourage her to keep writing no matter what) #the fastest we scroll this post and the more it makes us laugh #because then arthur just barely looks down on the paper #and it means that what he read it's literally the opening paragraph x°D

[sad-sweet-cowboah]

Fanfiction Masterlist (Mobile Friendly) 18+

I realize I've never made a mobile friendly version of my masterlist, so here it is!

For information about requests, please visit this post: Request Rules

The vast majority of my works have adult themes, please refrain from reading if you are a minor or uncomfortable with certain subjects!

♥ = Smut and/or other adult themes

◙ = V!0lence and/or sensitive themes

☼ = Commissions

♠ = Prompt requests

Series:

My Little Secret: A female modern!reader adventure in which the reader discovers a man, Arthur Morgan, is a century - old vampire. Status - ongoing

My Little Secret part 1

My Little Secret part 2

My Little Secret part 3

My Little Secret part 4 ◙

My Little Secret part 5

My Little Secret part 6

My Little Secret part 7

My Little Secret: The Beginning *Please note this is NOT the beginning of the series and should be read in the order presented. (contains mild spoilers for the end of the game)

My Little Secret part 8

My Little Secret part 9

My Little Secret part 10 ◙

My Little Secret part 11 ♥

My Little Secret part 12

My Little Secret part 13 ♥

Part 14 coming soon!

And I'll Succumb To You: Set in the game time, @1pha!Arthur x Omega!reader. (Research about a/b/o if you're not familiar with this trope!) Status - ongoing

And I’ll Succumb To You part 1 ♥

And I’ll Succumb To You part 2 ♥

And I’ll Succumb To You part 3 ♥

Part 4 coming soon!

Arthur x modern!reader. My oldest series to this blog. This contains mostly oneshots (requests or otherwise) of Arthur leaving his video game life and experiencing the modern world. Status - discontinued

As We Meet ☼

Something to Remember ♥

The Hidden Truth part 1

The Hidden Truth part 2

The Hidden Truth part 3

A Sweet Release ♥

A Happy Hunt

Midnight Rumble ♥

The Beauty of a Friday Night

As Sweet As Sugar ♥

Envy

Birthday Surprise ♥

Pretty Little Black Dress ♥

Driving Lessons

An Artist’s Words

I’ll Comfort You

For the First Time ♥

How Do You Feel?

All Fair’s Fun

Under The Stars ♥

Sweltering ♥

Horses and Hard Labor

A Book of Thoughts

Appreciation

One Call Away ☼

Hands of Creation

Spooky Scary Special

Leather Bound ♥ (d0m!reader)

Who Did This/Please Stay With Me ♠

I Told You Not to Fall in Love With Me ♠ (not canon to this series)

Come With Me ♠

Promise Me You’ll Come Back ♠

Look At Me (#1) ♠

That Was Kind of Hot ♠

This is Going to Hurt ♠

This Is New/That Was Kind of Hot ♥♠

Unusual Bonding ♥

Oneshots: Stories written that don't necessarily fit the narrative of my other series, whether it's in-game or modern.

In-Game Arthur x Reader:

The Baby of An Outlaw

One Hell of A Vacation ◙

Ups and Downes

Ain’t a Favor ♥

Mine Now ♥ (High Honor and Low Honor version exclusive!)

It Started With A Skeleton ☼

Whispered at Dawn

When I’m With You, I’m Home ♠

Is That My Shirt? ♠

I’m Not Drunk Enough for This/When You Smile, I fall Apart ♠

You Can Do This ♠

I Know It Hurts/You’re everything to Me ♥♠

Come With Me (#2) ♠

This Isn’t Who I Am ♠

A Hundred Stitches ♥◙

Alternative Action ♥◙ (reader is punished when she disobeys Arthur)

Tied ♥ (s.u.b!Arthur)

Rekindled ♥

Tricksters (Giveaway prize) ♥

A Tail for Two (Giveaway prize)

Claimed ♥

Daydreams and Freedom (domestic, baby talk)

Always A First ♥

Savor ♥

Where We Rest in the Storm ♥ (@1pha!reader x Omega!Arthur)

Rest For the Wicked

Only Just A Dream ◙

Undoubtedly Deceived ◙

Dangerously Daring ♥

Modern!Arthur x Reader:

Look At Me (#2) ♥♠ (d0m!Arthur)

Look At Me (#3) ♥♠ (s.u.b!Arthur)

This Isn’t What It Looks Like ♠

Impromptu Office Meeting ♥

Among These Pages ♥

Of My Barest Thoughts ◙ (Postpartum body dysmorphia)

Favorite Way to End the Day ♥

Ficlets: Small drabbles.

Stop It ♥ (modern!Arthur)

Grind ♥ (game!reader)

Other: Event works

Ghost Hunting With An Outlaw (Arthur x Eleanor Ivie, a friend's OC - giveaway prize)

Snowmelt ♥ (Charles Smith x female!reader)

#Arthur Morgan x reader #Arthur Morgan x female!reader #Arthur Morgan #fanfic masterlist #Charles Smith x reader #trig words are partially censored to avoid Apple's screw-up of the tags

[wisteria-lodge]

Archetypes: Sorting Hat Chats

I’ve been asked about my rationale for naming different primary/ secondary combinations. I did this originally as a tool to help me sort characters - I wanted to see how these types tend to be used, so I could more easily see what subversions looked like. I'll run through my thoughts, but know there’s a lot of variation within each category. But even WITH that variation, I do think that each one has its own specific energy that makes it interesting to talk about. An explanation of the terms I'm using.

DOUBLE LION “THE REVOLUTIONARY”

Pretty straightforward. The Lion primary knows something is wrong, they know it in their bones even if they can’t articulate it, and they’ve got to go out and do something about it. Probably charging at whatever power structure is directly in front of them. It’s unlikely you find a character leading a revolution who isn’t a Double Lion. These guys are intense, inspirational, single minded.

The villain version of the Lion primary tends to be the person who “went too far" or "became the monster they were trying to fight.'' But I think that the much more interesting Lion primary villain trope is the Traitor. Since Lions work from their feelings, and their philosophies can’t necessarily be articulated or linked to individuals outside of them - they can definitely have their head turned while still feeling moral about it.

One of my favorite examples of this Revolutionary archtype is actually Christian Bale‘s character from Newsies. He’s the spark that starts the unionizing revolution, but 100% needs his Badger and Bird lieutenants to keep him focused and keep him from defecting

LION SNAKE “THE ROBIN HOOD”

These guys are similar to the Double Lion - they will recognize a cause or injustice revolutionary style - but Robin Hood doesn’t go up and bang on wicked Prince John’s door. His move is the snake secondary one: confront the problem indirectly. Undermine the regime by stealing tax money and re-distributing it to the poor. Be simultaneously Robin Hood the outlaw and Robin of Locksley the noble, infiltrating and getting information. The Lion Snake is more likely to work within society (or deliberately separate from society) versus just breaking everything down.

LION BIRD “THE LAWMAN / THE VIGILANTE”

The fact that the Lion Bird can either be the Lawman or the Vigilante shows off the very clear hero/villain split you get with Bird secondaries. We also see this with the Snake Bird (simultaneously the Mastermind and the traditional Villain) and the Double Bird (either the Scientist or the Mad Scientist.) This is why I think I had such trouble naming the Badger Bird. I wasn’t leaning into the duality of the Bird secondary enough. The Badger Bird can be the King Arthur, or he can be the Mob Boss, and he’ll look kind of similar either way.

The Lion Bird also has that Lion primary conviction and drive, but they want to follow up on it with investigation, evidence, and plans. I actually think there need to be more stories about Lawmen turning into Vigilantes and vice versa. Because Lion Birds are their Cause no matter what external alignment gets attached to it.

LION BADGER “THE LINCHPIN”

This is my own sorting - although when I came up with this name I still thought I was a Double Bird. The linchpin is the pin-axle thing at the center of a wheel that prevents the whole thing from falling apart, and I think it's a good way of talking about the energy of this combination. The Badger secondary means they’re a lot less single minded than the other Lion primaries: their power comes from being part of a group. They become the emotional “heart” a lot, and have a way of quietly keeping things together just by existing. They can be leaders, but a Double Lion will lead from up front while a Lion Badger will lead from in the middle (if that makes sense.)

I do think it’s really funny that this is a common sleeper villain trope. Peter Pettigrew, Prince Hans, and Randall Boggs of Monsters Inc. all became integral to a group, and then exploit their position within it. They’re kind of the evil bureaucrat. Maybe that's a good trope for children’s media

DOUBLE SNAKE “THE TRICKSTER”

This is another straightforward one. Double Snakes are in it for themselves (and maybe like three other people.) They're going to be clever and tricksy about how they get what they want, and will not mind doing things backward and unofficially. And they won't mind if you know that's what they're doing. There’s something very unapologetic about the Double Snake which makes for very attractive characters. They are consistently voted the sexiest... and when they’re villains they’re fun villains. You know what they want, and what they want is not that complicated. I think that’s a big reason for the appeal of Snake primaries in general. They’re the easiest primary to understand and explain.

SNAKE LION “THE LANCELOT”

I used to call these guys “The Rebel,” which... is too generic, doesn’t really mean anything. So I started thinking about the Lion secondary as the Knight secondary, and I liked that. Double Lions are the Crusader Knight, riding for their Cause. Bird Lions are Grail Knights, riding for their own personal truth. Badger Lions are Champion Knights, here to help the helpless and defend the innocent.

And if that's that case… Snake Lions have to be the Knight Errant, the knight who rides for his lady. It is that simple. Lancelot might be a Knight of the Round Table, but he’s riding for Arthur the person, not Arthur the King. And for his lady, Queen Guinevere. I feel like his dilemma is one that’s common to a lot of Snake Lions: what happens when they’re forced to split their loyalty? It’s tragic, but Lancelot can’t have Arthur and Guinevere simultaneously.

(At least not until my awesome Arthur/Guinevere/Lancelot OT3 which I will totally write at some point :)

SNAKE BIRD “THE MASTERMIND / THE VILLAIN”

The classic. We see a little more of the Bird Secondary split, and well… this is your stereotypical villain. They want power. They’re going to use an elaborate plan to get it. There’s a lot you can do with this sorting, but I actually do think it’s fun that whatever you do, this slight undercurrent of villain and/or mastermind… never quite goes away.

SNAKE BADGER “THE LOVER”

The Love Interest sorting. Chances are very good that if there is a love interest (who does not serve some other role in the story...) they're going to be a Snake Badger. Devoted to one person, solving problems by caretaking. This is the Badger secondary who is likely to have the smallest group, which is just going to make them look excessively devoted to their friends. This type is pretty gender neutral, which is fun. A lot of female love interests, but also your Mr. Darcys and Peeta Mellarks.

One of my favorite things about this trope (mostly just because I think it’s funny...) is that if you write a character who is not supposed to be a love interest, but who is a Snake Badger... subconsciously I think people are going to read them as a love interest anyway. Looking at you Jaskier, Horatio, and even Captain Barbossa.

DOUBLE BIRD “THE [MAD] SCIENTIST”

I think that (especially if you aren’t a Bird Primary yourself) your response to hearing a fictional Bird Primary’s motivation is kind of …huh. That seems random. Or oddly specific. You get your Hannibal Lecters, whose entire motivation is... wanting to eat people while drinking nice wine.

Double birds seem especially unusual, just in terms of society. They are Bird secondaries and they interact with the world through gathering data, but their Bird primaries mean that data can literally lead them to any conclusion, no matter how potentially wacky. These guys consciously build themselves from the ground up, and that can make them kind of detached - either in a logical way, or an unmoored way. They're written as either really stable, the rational mentor figure. Or really... not. And that’s how you spot a Bird villain. They’re not after money/power/safety, they’re after something weird.

BIRD LION “THE GRAIL KNIGHT”

This is the trope of Perceval or Galahad, questing after the Holy Grail chalice... which is really just meaning, and truth. It’s a personal quest. Grail Knights tend to ride alone, and a lot of the things that concern them are metaphysical, to do with identity, purpose, things like that. You can have extremely different Bird Lions, but I do think there is a sort of spiritual core there. Doctor Harleen Quinzel sees freedom and truth in whatever the Joker is doing, and then once she recognizes his hypocrisy, has to go build her own meaning.

I actually think these guys are pretty easy to spot because of that Lion secondary. When they change direction, they change direction, and there’s probably a period of despair between the direction changes. I’ve talked about how Bird Lions having a habit of falling apart pretty dramatically, and that’s where this idea comes from.

BIRD BADGER “THE SURVIVOR”

A rare sorting, but an interesting one. I call this one “the Survivor” or “the Last Man Standing” because, well, they seem to be. They seem remarkably stable. This is the Bird primary least likely to be a villain, and maybe the sorting least likely to be a villain. I think what’s going on is that they are grounded and integrated in whatever community they happen to be in (because of that Badger secondary), but they can define themselves and rebuild themselves in the Bird primary way. This makes them uniquely suited to building a new version of themselves for whatever situation they happen to find themselves in.

Maybe a better name for these guys would be “The Adapter.”

BIRD SNAKE “THE ARTIST”

Like all Bird primaries, these guys are inspired by their own projects and their own worldview, but because of that Snake secondary, Bird Snakes have a more easy-going ‘take the world as it comes' kind of energy. They are “the Artist” because everything they do is art: they want to use themselves and the world around them, put all of that towards whatever their Bird primary happens to be interested in.

You can have villains like the Nolan Joker, or the Talented Mr. Ripley, who kind of turn the world into their own personal philosophical social experiment. Or Scotty from Star Trek whose meaning is solely the well-being of the Enterprise. Maybe they just like traveling, and that's all they need. (It's a way for the Bird primary and the Snake secondary exist very happily together, so I wouldn't be surprised if that was pretty common.)

DOUBLE BADGER “THE PEACEMAKER”

Badgers are interesting, because while I think they’re generally regarded as “correct,” they’re also seen as kind of boring. That’s the case with both Badger primaries and Badger secondaries, which means it is doubly reflected in the Double Badger. They often get written as simplistic, the sweet Jane Bennet type who loves everybody and caretakes everybody and just wants everybody to get along.

They are often the targets of what TV Tropes used to call “Break the Cutie.” What could be more interesting than making this character, who wants to be happily part of a community, be forced to build protective models, be all tortured and angsty? I actually think we’re seeing a return of the Double Badger as an interesting character in their own right, with people like Aziaphale, and I'm here for it.

BADGER LION “THE PROTAGONIST”

What can I say? There are a lot of protagonists that are Badger Lions. They want to help the group - so we know they're the good guys - and then they charge and make stuff happen. Lion secondaries are very useful in fiction - you drop them into a situation and stuff just happens. I also think of this as the Starfleet officer sorting - because if you’re a Starfleet officer, either you are the sorting, or can model it really well.

I will say that this is kind of the stock Protagonist sorting, the way that the Snake Badger is the stock love interest and the Snake Bird is the stock villain. There’s just something sort of generic good guy about this one, which is why I want to see it used as a villain sorting more. Badger villains - mostly people who define ‘human’ very narrowly - are insanely terrifying.

BADGER SNAKE “THE ADVISOR”

Possibly “the Power Behind the Throne.” This is another one I had difficulty pinning down. I called it “the Politician” for a while, which unfortunately came off as a little bit more negative than I meant it to, since I think this sorting has a lot in common with Lion Badger, the linchpin of a heroic team. The difference is that Lion Badger takes on that role kind of unconsciously, while the Badger Snake does it very consciously.

Their loyalty is to the group, but their skill set is all about subversion and different ways of going around the group, which is why there’s an interesting contradiction at the heart of Badger Snake. A lot of real life Badger Snakes struggle with feeling like “bad people" and it's too bad. These guys are ridiculously powerful and competent when they are sure of themselves, and I love seeing them in action

BADGER BIRD “THE KING / THE MOB BOSS”

Another difficult one, despite (or because) I really like them. I was calling them “the Architect” because “The City Planner” sounded too boring… but that’s what they do. They’re all about the community but they problem-solve the way all Bird secondaries do, by prepping, and gathering knowledge. I talked more about this in the Lion Bird entry, but Bird secondary seems to have this villain split going on, and that’s what I see here too. This is a controversial love-them-or-hate-them sorting, and I think that’s why. There’s a lot of room in whether or not you see this sorting as villainous.

#sortinghatchats #masterpost #wisteria sorts #archetypes #writing #long post

[nellygwyn]

I thought I would share some portraits/info about notable black men and women who worked and lived in Georgian Britain. This is not an extensive list by any means, and for some figures, portraits are unavailable:

1. Olaudah Equiano (1745-1797) was a writer, abolitionist and former slave. Born into what would become southern Nigeria, he was initially sold into slavery and taken to the Caribbean as a child, but would be sold at least twice more before he bought his freedom in 1766. He decided to settle in London and became involved in the British abolitionist movement in the 1780s. His first-hand account of the horrors of slavery 'The Interesting Narrative of the Life of Olaudah Equiano' was published in 1789 and it really drove home the horrors of slavery to the general British public. He also worked tirelessly to support freed slaves like himself who experienced racism and inequality living in Britain's cities. He was a leading member of the Sons of Africa, an abolitionist group, whose members were primarily freed black men (the Sons of Africa has been called the first black political organisation in British history). He married an English woman, Susannah, and when he died in 1797, he left his fortune of roughly £73,000 to his daughter, Joanna. Equiano's World is a great online resource for those interested in his life, his work, and his writings.

2. Ignatius Sancho (1729-1780) was a bit of a jack-of-all-trades (he's described as an actor, composer, writer, abolitionist, man-of-letters, and socialite - truly the perfect 18th century gentleman). He was born in the Middle Passage on a slave ship. His mother died not long after they arrived in Venezuela and his father apparently took his own life rather than become a slave. Sancho's owner gave the boy to three sisters living in London c. 1730s (presumably as a sort of pet/servant) but whilst living with them, his wit and intellect impressed the 2nd Duke of Montagu who decided to finance his education. This was the start of Sancho's literary and intellectual career and his association with the elite of London society saw him ascend. He struck up a correspondence with the writer, Laurence Sterne, in the 1760s: Sancho wrote to press Sterne to throw his intellecrual weight behind the cause of abolition. He became active in the early British abolitionist movement and be counted many well-known Georgians amongst his acquaintance. He was also the first black man known to have voted in a British election. He married a West Indian woman and in 1774, opened a grocer's shop in London, that attempted to sell goods that were not produced by slave labour. Despite his popularity in Georgian society, he still recounts many instances of racist abuse he faced on the streets of London in his diaries. He reflected that, although Britain was undoubtedly his home and he had done a lot for the country, he was 'only a lodger and hardly that' in London. His letters, which include discussions of domestic subjects as well as political issues, can be read here.

3. Francis 'Frank' Barber (1742-1801) was born a slave on a sugar plantation in Jamaica. His owner, Richard Bathurst, brought Frank to England when Frank turned 15 and decided to send him to school. The Bathursts knew the writer, Samuel Johnson, and this is how Barber and the famous writer first met (Barber briefly worked as Johnson's valet and found him an outspoken opponent of the slave trade). Richard Bathurst gave Frank his freedom when he died and Frank immediately signed up for the navy (where he apparently developed a taste for smoking pipes). In 1760, he returned permanently to England and decided to work as Samuel Johnson's servant. Johnson paid for Frank to have an expensive education and this meant Frank was able to help Johnson revise his most famous work, 'Dictionary of the English Language.' When Johnson died in 1784, he made Frank his residual heir, bequeathing him around £9000 a year (for which Johnson was criticised in the press - it was thought to be far too much), an expensive gold watch, and most of Johnson's books and papers. Johnson also encouraged Frank to move to Lichfield (where Johnson had been born) after he died: Frank duly did this and opened a draper's shop and a school with his new wife. There, he spent his time 'in fishing, cultivating a few potatoes, and a little reading' until his death in 1801. His descendants still live at a farm in Litchfield today. A biography of Frank can be purchased here. Moreover, here is a plaque erected on the railings outside of Samuel Johnson's house in Gough Square, London, to commemorate Johnson and Barber's friendship.

4. Dido Elizabeth Belle (1764-1801) was born to Maria Belle, a slave living in the West Indies. Her father was Sir John Lindsay, a British naval officer. After Dido's mother's death, Sir John took Dido to England and left her in the care of his uncle, Lord Mansfield. Dido was raised by Lord Mansfield and his wife alongside her cousin, Elizabeth Murray (the two became as close as sisters) and was, more or less, a member of the family. Mansfield was unfortunately criticised for the care and love he evidently felt for his niece - she was educated in most of the accomplishments expected of a young lady at the time, and in later life, she would use this education to act as Lord Mansfield's literary assistant. Mansfield was Lord Chief Justice of England during this period and, in 1772, it was he who ruled that slavery had no precedent in common law in England and had never been authorised. This was a significant win for the abolitionists, and was brought about no doubt in part because of Mansfield's closeness with his great-niece. Before Mansfield died in 1793, he reiterated Dido's freedom (and her right to be free) in his will and made her an heiress by leaving her an annuity. Here is a link to purchase Paula Byrne's biography of Dido, as well as a link to the film about her life (starring Gugu Mbatha-Raw as Dido).

5. Ottobah Cugoano (1757-sometime after 1791) was born in present-day Ghana and sold into slavery at the age of thirteen. He worked on a plantation in Grenada until 1772, when he was purchased by a British merchant who took him to England, freed him, and paid for his education. Ottobah was employed as a servant by the artists Maria and Richard Cosway in 1784, and his intellect and charisma appealed to their high-society friends. Along with Olaudah Equiano, Ottobah was one of the leading members of the Sons of Africa and a staunch abolitionist. In 1786, he was able to rescue Henry Devane, a free black man living in London who had been kidnapped with the intention of being returned to slavery in the West Indies. In 1787, Ottobah wrote 'Thoughts And Sentiments On The Evil & Wicked Traffic Of The Slavery & Commerce Of The Human Species,' attacking slavery from a moral and Christian stand-point. It became a key text in the British abolition movement, and Ottobah sent a copy to many of England's most influential people. You can read the text here.

6. Ann Duck (1717-1744) was a sex worker, thief and highwaywoman. Her father, John Duck, was black and a teacher of swordmanship in Cheam, Surrey. He married a white woman, Ann Brough, in London c. 1717. One of Ann's brothers, John, was a crew-member of the ill-fated HMS Wager and was apparently sold into slavery after the ship wrecked off the coast of Chile on account of his race. Ann, meanwhile, would be arrested and brought to trial at least nineteen times over the course of her lifetime for various crimes, including petty theft and highway robbery. She was an established member of the Black Boy Alley Gang in Clerkenwell by 1742, and also quite frequently engaged in sex work. In 1744, she was given a guilty verdict at the Old Bailey after being arrested for a robbery: her trial probably wasn't fair as a man named John Forfar was paid off for assisting in her arrest and punishment. She was hanged at Tyburn in 1744. Some have argued that her race appears to have been irrelevant and she experienced no prejudice, but I am inclined to disagree. You can read the transcript of one of Ann Duck's trials (one that resulted in a Not Guilty verdict) here. Also worth noting that Ann Duck is the inspiration behind the character Violet Cross in the TV show 'Harlots.'

7. Bill Richmond (1763-1829) was a prize winning bare-knuckle boxer of the late 18th and early 19th century. He was born a slave in New York (then part of British America) but moved permanently to England in 1777 where he was most likely freed and received an education. His career as a boxer really took of in the early 19th century, and he took on all the prize fighters of the time, including Tom Cribb and the African American fighter, Tom Molineaux. Richmond was a sporting hero, as well as fashionable in his style and incredibly intelligent, making him something of a celebrity and a pseudo-gentleman in his time. He also opened a boxing academy and gave boxing lessons to gentlemen and aristocrats. He would ultimately settle in York to apprentice as a cabinet-maker. Unfortunately, in Yorkshire, he was subject to a lot of racism and insults based on the fact he had married a white woman. You can watch a Channel 4 documentary on Richmond here: 1, 2, 3, 4, 5

8. William Davidson (1781-1820) was the illegitimate son of the Attorney General of Jamaica and a slave woman. He was sent to Glasgow in Scotland to study law at the age of 14 and from this period until 1819, he moved around Britain and had a number of careers. Following the Peterloo Massacre in 1819, Davidson began to take a serious interest in radical politics, joining several societies in order to read radical and republican texts. He also became a Spencean (radical political group) through his friendship with Arthur Thistlewood and would quickly rise to become a leading member of the group. In 1820, a government provocateur tricked Davidson and other Spenceans, into being drawn into a plot to kill the Earl of Harrowby and other government cabinet officers as they dined at Harrowby's house on the 23rd February. This plot would become known as the Cato Street Conspiracy (named thus because Davidson and the other Spenceans hid in a hayloft in Cato Street whilst they waited to launch their plan). Unfortunately, this was a government set up and eleven men, including Davidson, were arrested and charged with treason. Davidson was one of five of the conspirators to not have his sentence commuted to transportation and was instead sentenced to death. He was hanged and beheaded outside of Newgate Prison in 1820. There is a book about the Cato Street Conspiracy here.

9. Ukawsaw Gronniosaw (1705-1775) was born in the Kingdom of Bornu, now in modern day Nigeria. As the favourite grandson of the king of Zaara, he was a prince. Unfortunately, at the age of 15, he was sold into slavery, passing first to a Dutch captain, then to an American, and then finally to a Calvinist minister named Theodorus Frelinghuysen living in New Jersey. Frelinghuysen educated Gronniosaw and would eventually free him on his deathbed but Gronniosaw later recounted that when he had pleaded with Frelinghuysen to let him return to his family in Bornu, Frelinghuysen refused. Gronniosaw also remembered that he had attempted suicide in his depression. After being freed, Gronniosaw set his sights on travelling to Britain, mainly to meet others who shared his new-found Christian faith. He enlisted in the British army in the West Indies to raise money for his trip, and once he had obtained his discharge, he travelled to England, specifically Portsmouth. For most of his time in England, his financial situation was up and down and he would move from city to city depending on circumstances. He married an English weaver named Betty, and the pair were often helped out financially by Quakers. He began to write his life-story in early 1772 and it would be published later that year (under his adopted anglicised name, James Albert), the first ever work written by an African man to be published in Britain. It was an instant bestseller, no doubt contributing to a rising anti-slavery mood. He is buried in St Oswald's Church, Chester: his grave can still be visited today. His autobiography, A Narrative of the Most Remarkable Particulars in the Life of James Albert Ukawsaw Gronniosaw, an African Prince, as Related by Himself, can be read here.

10. Mary Prince (1788-sometime after 1833) was born into slavery in Bermuda. She was passed between several owners, all of whom very severely mistreated her. Her final owner, John Adams Wood, took Mary to England in 1828, after she requested to be able to travel as the family's servant. Mary knew that it was illegal to transport slaves out of England and thus refused to accompany Adams Wood and his family back to the West Indies. Her main issue, however, was that her husband was still in Antigua: if she returned, she would be back in enslavement, but if she did not, she might never see her husband again. She contacted the Anti-Slavery Society who attempted to help her in any way they could. They found her work (so she could support herself), tried tirelessly to convince Adams Wood to free her, and petitioned parliament to bring her husband to England. Mary successfully remained in England but it is not known whether she was ever reunited with her husband. In 1831, Mary published The History of Mary Prince, an autobiographical account of her experiences as a slave and the first work written by a black woman to be published in England. Unlike other slave narratives, that had been popular and successful in stoking some anti-slavery sentiment, it is believed that Mary's narrative ultimately clinched the goal of convincing the general British population of the necessity of abolishing slavery. Liverpool's Museum of Slavery credits Mary as playing a crucial role in abolition. You can read her narrative here. It is an incredibly powerful read. Mary writes that hearing slavers talk about her and other men and women at a slave market in Bermuda 'felt like cayenne pepper into the fresh wounds of our hearts.'

#18th century history #georgian britain #black history #olaudah equiano #ignatius sancho #francis barber #dido elizabeth belle #ottonah cugoano #ann duck #bill richmond #william davidson #uksawsaw gronniosaw #mary prince

[edealbm]

Lost & Found ( 1)

https://www.youtube.com/watch?v=plMW8snu-x0

The rain was settling down on Seoul. The buildings, the streets and everything around was grey. She was there for work. She wasn't supposed to stay for long. Sometimes, you have to go away in order to find yourself, that's what she tells herself on her way back to the small appartement she found on the outskirts of town. She distinctly remembers the people she left behind. The boy waiting for her in Seattle. The life she could have had there. If only she could have stopped dreaming of something new. The brunette was walking down the street. The rain staining her clothes, her hair and her soul. When she reached her door and pined the password in, she was finally able to feel the warmth inside her little happy place. Being in Korea wasn't an easy life. But being an artist often times requires sacrifices. All around the small living space. Photographs printed. The New York skies, the sun in Los Angeles and the peace of her hometown Seattle. She was young. Carefree, lusting for freedom. Lusting for dreams that could never come true. For love that felt unreal. For songs that weren't written yet. For memories to be made. She was just like that. Often called a dreamer, a child for wishing for more. Never satisfied with anything. Always on adventures that never lasted long. Hopeful and hopeless all at once. An old soul trapped in a young body, that's what her grandma used to call her. A young girl wanting dreams much much bigger than her. That's why she's here in the first place. She was never afraid of anything. She was the polar opposite of what Seattle seem to be to her. It was her home. She was born there, she felt safe there, for a while. Until her spirit awakened, she guessed. When it happened she was unable to stop it. A constant stream of ideas, possibilities that needed to be fulfilled while she was young. At home however, life was planned ahead of time. Her mother married a man, when she was young. Love wasn't really in the equation of marriage. She grew up wondering what the point of it all was, yet she never lost hope in her love existing somewhere. That love, she thought , took the shape of a few boys but never ones that lasted enough to make an imprint on her. Boys that cared too much or not enough. Boys who loved her too much or not enough. Who understood her or pretended to. She felt alone with most people. Most people to the exception of one person. Her life long bestfriend : Arthur. They had known each other since birth. He was her next door neighboor and the person she trusted the most in this world. However, life doesn't always take the turns, you expect her to. While walking around her living room, she stops at a picture of them both, when they were 20 years old. When everything changed. They used to be so close, she thought. He used to be so special to her. Her special friend. There was the key word: friend. She still remembers the day. 15th of March 2013. He was walking her home from what they could consider a some-what of a prom. Laughing as they usually did. He was very sweet to her, like he had always been. It was special. The end of high school, the beginning of adulthood. The joys of childhood being over but the thrill of new beginnings starting just there, at the palms of her hands. Arthur looked at her. Eyes dripping with emotions. She secretly wishes, she could have taken a picture of his face in that exact moment. A mixture of adoration, fear, nerves, joy. Something she couldn't quite describe even to this day. He held her hand. Tightly. She felt electrified. He was truly the most important person in her world. And in this instant he held her whole sanity is his nervous, shaking hands. “ iris“ he said. That was the beginning of the end, she thought. He let her hands go and took quite a while to gather his thoughts and emotions towards her. ” can I be honest? “ . She nodded her head, fervently. “ of course, what's on your mind? “ . That's when he dropped the bomb on her, as she likes to call it. A strange moment where he bore his heart to her. She swore that she had never seen anything more beautiful that a human baring his emotions to another, in this moment. He was beautiful to her, but the sound of her heart shattering couldn't be ignored, indefinitely. He kissed her that night, after revealing everything he felt.

“ I am so in love with you Iris, sorry that it took me this long to realise. But you are my bestfriend, you deserve the truth. I love you. You are so sweet, beautiful, loving. And I want nothing more than for us to be together. Knowing that we will go to college together.. I just want to be able to love you more than I already do, in the upcoming years. Maybe build something long lasting together, you know? You always said, you wanted a family of your own and maybe we could have that, after our studies and everything?”

As she examines the picture, she feels a sudden emptiness in her heart. She wishes, that it wouldn't hurt the way it does now. Even after all this time, it still does. He was her bestfriend for god sake's. Why does it hurt? He told her everything she ever wanted to hear but it felt empty. She went to bed that night, confused and emotional. As she knew her friendship with him would soon end. She had to be truthful, no? She remembers the morning after the bomb, she walked to his house. Scared, shaking like a leaf, even though she knew she was meeting the only person who would take a bullet for her in a heartbeat. When she walked into his childhood bedroom, it felt different than before. The sour taste of upcoming heartbreak. She sat on his bed while he looked at her expectantly, while sitting at his desk. Surely, waiting for her to make up her mind. To mend or break his heart, she guessed. She looked intently at him and said the words that forever changed them both. “ I can't Arthur.” He looked distraught, his heart being slowly ripped out of his chest. “ we always tell the truth don't we? “ she asked, while he nodded his head , already dead inside. “ I can't lie to you. The way you feel about me is so beautiful, I wish so badly that I could reciprocate. I truly do, believe me. But you are my best friend. Truly. I can't mix, friend and lover. I can't cross that line. At least not with you. Not when you're a centerpiece of my life. We don't even know if we're going to the same college. I haven't figured out anything apart from this.” He looked at her, confused, as he thought that they had everything planned out. Seeing his dream life fall apart in front of his very eyes. “ but you said...” he tried to tell her. But she was too fast, now that the truth was coming out there was no way of stopping it. She was going to reveal her true self to him. All of her dreams and aspirations to him. No filters anymore. “ I know what I said. But I was so scared of losing you. And I didn't know yet. But I love you, as a friend you know? I thought of what you meant to me and I was willing to give my inner me up, to keep you around. Then I realised that it wasn't fair to you nor to me. I want my freedom Arthur. I want to travel. I want to discover my art and see where it takes me. I want to live and define myself with the memories I make. I can't stay here and die like a cattle. I want a life full of surprises. “

He looked at her and exploded, he couldn't keep in it anymore. “ I thought it was a child's dream. I thought that you had moved on from this fantasy. In real life, you don't always get to do what you dream of. You have to settle down eventually and I thought that I was the best option for you!”

She was shocked. He was asking her to give herself up. That fateful night changed everything and her mind was made. That was sure, not in the way he wanted however. “ You calculated all of this? You thought that my eyes were going to land on you, and say “he's the best I've got around, let's go for that” ? You really thought, that my dreams were going to be thrown to the trash? You know me, you know where I come from, what I had to deal with. This! The freedom of being me, is all I have. It is all the safety I have around and I, foolishly believed that you, out of all people, would understand that about me. You used to love that I couldn't be tied down. Now, you're blaming me for not returning your feelings. You said, you were my friend. Why are you behaving like every other person I have ever loved in my life? Why do I have to change myself to have a normal life? Why can't I be me and be loved for that? And worse, why did you lie to me? Why did you say that you loved me with all of this, when you knew that you couldn't? This isn't fair. This isn't friendship.”

There it was, rock bottom, hurtful, dreadful. Horrible. And right when she thought that it couldn't get any worse, he broke her heart, with his next few words. “ then I guess, we were never friends”

#christian yu fanfic #christian yu fluff #dpr christian #dpr live imagines #khiphop #christian yu smut #fanfiction #dpr #dpr we gang gang

[honeyleesblog]

July 19 Zodiac - Full Horoscope Personality

They show love for feel and beautiful patterns, however frequently express almost no common sense in daily existence. They additionally have specific enchanted capacities, which remain closely connected with their erotic nature. It ought to be accentuated that the present birthday can furnish appropriately ethically created individuals with a sweeping otherworldly love. By then, the premise of the personality of these created individuals is the ability to empower others and give them what they need. This longing to really focus on others should be visible even in lacking kinds. Overall they are tactful and cautious individuals, albeit dubious and suspicious of the genuineness of others. Garrulous and ready to offer their viewpoints impeccably. Their exuberant conduct makes them change their place of home, objects of interest and calling. Liberal of conduct, with a decent and cordial person. They are benevolent to other people, attached to giving gifts. His defects incorporate obstinacy and hardheadedness. They are exceptionally unsettled in affection. They are at risk for tumbling from a high spot, both in a real sense and metaphorically. They frequently accomplish a decent position, yet can't clutch it for a really long time. His life way is usually surprising and unpredictable. They come like a meteor: gleaming brilliantly, yet for a brief time frame. His prosperity is rarely steady, and his life circumstance will undoubtedly change. How to bring up a youngster brought into the world on this day? The idea of such a kid is cherishing, steadfast, particularly delicate and understanding, and his instructors might give him goals that firmly impact his creative mind. The kid will promptly surrender and attempt to understand those beliefs. Your creative mind is so rich and excessively dynamic that, without steady feeling, you can become exhausted, apathetic, unscrupulous, obstinate, or dormant. July 19 Zodiac - Full Horoscope Personality

  Assuming that your birthday is July 19, your zodiac sign is Malignant growth July 19 - character and character character: bright, watchful, legit, unfortunate, weak, harsh calling: statistician, airline steward, mariner tones: purple, blue, dark stone: onyx creature: gazelle plant: hackberry fortunate numbers: 6,13,19,30,49,53 very fortunate number: 18 Occasions and observances - July 19 Games: Franks, fifth day. Myanmar: Saints' Day. Roman celebrations: first day of Lucaria. Colombia: Day of the Legends of the Country and their Families. Nicaragua: Public Freedom Day. July 19 Superstar birthday celebrations. Who was conceived that very day as you? 1900: Arno Breker, German stone worker and planner (d. 1991). 1900: Nathalie Sarraute, French author (f. 1999). 1903: Robert Dalban, French entertainer (d. 1987). 1907: Isabel Jewell, American entertainer and artist (d. 1972). 1907: Georges de Mestral, Swiss architect and innovator (d. 1990). 1908: Oswaldo Hercelles Garcდ­a, Peruvian specialist (d. 1969). 1910: Francisco Coloane, Chilean brief tale essayist and writer (f. 2002). 1916: Ildefonso Aroztegui, Uruguayan engineer (d. 1988). 1919: Patricia Medina, American entertainer (d. 2012). 1920: Aldo Protti, Italian baritone (f. 1995). 1921: Harold Setting up camp, American evangelist. 1921: Rosalyn Sussman Yalow, American specialist, 1977 Nobel Prize in Medication (d. 2011). 1922: George McGovern, American government official and ambassador (d. 2012). 1923: Joseph Hansen, American essayist (d. 2004). 1923: Alex Hannum, American ball player (d. 2002). 1924: Pat Hingle, American entertainer (d. 2009). 1924: Arthur Rankin Jr., American producer. 1933: Pedro Rodrდ­guez Garcდ­a, Spanish scholar. 1934: Francisco Sდ¡ Carneiro, Portuguese Top state leader (d. 1980). 1937: Delfina Guido, Colombian-Argentine entertainer. 1937: Richard Jordan, American entertainer (d. 1993). 1938: Jayant Narlikar, Indian astrophysicist. 1938: Eugenio Chicano, Spanish pop painter 1939: Tracker S. Thompson, American essayist. 1941: Vikki Carr, American artist and performer. 1941: Vდ¡clav Klaus, Czech government official and state leader. 1941: Neelie Kroes, Dutch government official. 1944: Tim McIntire, American entertainer and artist (d. 1986). 1945: Paule Baillargeon, Canadian entertainer and chief. 1945: George Dzundza, American entertainer of German beginning. 1946: Alan Gorrie, English artist of Normal White Band. 1946: Ilie Nastase, Romanian tennis player. 1947: Bernie Leadon, American artist, of the band The Birds. 1947: Brian May, English guitarist, of the Sovereign band. 1948: Keith Godchaux, American artist, of the band Appreciative Dead (d. 1980). 1949: Ivar Kants, Australian entertainer. 1951: Abel Ferrara, American producer. 1952: Allen Collins, American artist, of the band Lynyrd Skynyrd (d. 1990). 1953: Renდ© Orlando Houseman, Argentine footballer. 1953: Zitto Segovia, Argentine chamamecero artist musician (d. 1989). 1954: Alvan Adams, American ball player. 1954: Imprint O'Donnell, American writer (d. 2012). 1954: Steve O'Donnell, American dramatist and maker. 1954: Alfonso Perales, Spanish history specialist and legislator (f. 2006). 1955: Ali Laarayedh, Tunisian legislator. 1955: Dalton McGuinty, Canadian legislator. 1955: Silvia Pდ©rez, Argentine entertainer. 1956: KA Applegate, American author. 1958: Brad Drewett, Australian tennis player (f. 2013). 1959: Juan Josდ© Campanella, Argentine movie producer. 1960: Molecule Egoyan, Canadian movie producer. 1961: Elizabeth McGovern, American entertainer. 1961: Hideo Nakata, Japanese movie producer. 1961: Campbell Scott, American entertainer. 1962: Aya Kito, Japanese creator (d. 1988). 1962: Anthony Edwards, American entertainer and chief. 1964: Tom Gabriel Fischer, Swiss performer of the groups Hellhammer and Celtic Ice. 1965: Evelyn Glennie, English percussionist. 1966: Nancy Carell, American entertainer. 1966: Blue Evil spirit, Jr., Mexican expert grappler. 1968: Jon Allen, American stone performer, of the band Confirmation. 1968: Robb Flynn, American performer, of the band Machine Head. 1968: Pavel Kuka, Czech footballer and mentor. 1970: Nicola Sturgeon, Scottish legislator, Boss Clergyman of Scotland. 1971: Russell Allen, American singer, of the band Ensemble X. 1971: Urs Bდ¼hler, Swiss tenor of the Il Divo group of four. 1971: Vitali Klitschko, Ukrainian fighter. 1972: Ebbe Sand, Danish footballer. 1973: Aდ­lton Gonდ§alves da Silva, Brazilian soccer player. 1973: Martin Powell, English performer of the band Support of Foulness. 1973: Antonio Zabდ¡lburu, Spanish entertainer. 1974: Rey Bucanero, Mexican grappler. 1974: Malcolm O'Kelly, Irish rugby player. 1974: Noel Schajris, Argentine vocalist. 1974: Vincent Spadea, American tennis player 1975: Luca Castellazzi, Italian soccer player. 1975: Kamijo, Japanese vocalist. 1976: Eric Prydz, Swedish DJ and maker. 1976: Benedict Cumberbatch, English entertainer. 1976: Gonzalo de los Santos, Uruguayan soccer player. 1976: Vinessa Shaw, American entertainer. 1977: Tony Mamaluke, American grappler. 1978: Dolores Fonzi, Argentine entertainer. 1978: Jonathan Zebina, French footballer. 1979: Josuდ© Anunciado de Oliveira, Brazilian soccer player. 1979: Luke Youthful, English rugby player. 1979: Zvonimir Vukiე‡, Serbian footballer. 1980: Xavier Malisse, Belgian tennis player. 1980: Giorgio Mondini, Italian dashing driver. 1980: Imprint Webber, American entertainer. 1980: Queco Pina, Spanish soccer player. 1981: Didz Hammond, English vocalist and bassist, of the groups Filthy Pretty Things and The Cooper Sanctuary Proviso. 1981: Nenდ©, Brazilian soccer player. 1981: Chris Spicuzza, American artist, of the band Chimaira. 1982: Sabrina Garciarena, Argentine entertainer. 1982: Jared Padalecki, American entertainer. 1982: Stuart Parnaby, English footballer. 1982: Jess Vanstrattan, Australian footballer. 1983: Craig Vye, English entertainer. 1984: Andrea Libman, Canadian entertainer and artist. 1984: Adam Morrison, American ball player. 1985: LaMarcus Aldridge, American ball player. 1985: Marina Kuzina, Russian ball player. 1986: Afდ«rdita Dreshaj, American artist and model. 1986: Leandro Greco, Italian footballer. 1987: Hugh Harris, artist and English guitarist, of the band The Wackos. 1987: Jon Jones, American grappler. 1988: Shane Dawson, American joke artist and entertainer. 1988: Joe Tracini, English entertainer and artist. 1988: Trent Williams, American football player. 1989: Luis Avilდ¡n, Venezuelan baseball player. 1990: Rosie Jones, English model. 1992: Eduardo Garcდ­a Martდ­nez, Spanish entertainer. 1995: Marდ­a Josდ© Alvarado, Honduran model. Miss World Honduras 2014 (f. 2014). 1996: Jonathan Araujo, Dominican ball player.

[burlveneer-music]

VA - Stylin' 1000 by Melbourne DJ Ennio Styles, 31 tracks from his radio show Stylin’ - a great selection!

3RRR Radiothon on now!:  rrr.org.au/subscribe Stylin' on-demand + playlists:  rrr.org.au/explore/programs/stylin My label Heard and Felt:  heardandfelt.bandcamp.com What I'm buying on Bandcamp:  bandcamp.com/enniostyles Streaming playlists and more links:  linktr.ee/enniostyles There's nothing special about 1000. My 1000th show should be about the same thing as every other show - great (mostly) new music across the soulful spectrum. And this Stylin' 1000 compilation is not meant to be any more special than the 500, 600 or 900 ones. The thing about 1000 though is it is roughly the number of new songs I listen to every week. So that's a million songs over the 20 years I've been presenting Stylin' every Friday afternoon on Melbourne's 3RRR-FM. The 1000 gets distilled down to about 30 over the two hours of the show, and then every two years about 30 appear on one of these comps. So when you look at it like that, these songs are very special! They certainly are to me. Some of these artists have been guests on the show. In the case of Melbourne artists Allysha Joy and Danika Smith, their recording was actually made live to air on the show. The others hail from all continents except Antarctica! While many are not household names, the artists and musicians heard here have worked with other Stylin' guests and favourites like Milton Nascimento, IG Culture, Amp Fiddler, Theo Parrish, Robert Glasper, Kamaal Williams, Orquesta Akokán, Derrick Hodge, Soul II Soul, Horatio Luna, Peven Everett, Hypnotic Brass Ensemble, 79.5, Mos Def, Talib Kweli, Lauryn Hill, Idris Ackamoor, Kendrick Lamar, Q-Tip, Faith Evans, Shabazz Palaces, London Elektricity, Cee Lo Green, Arthur Verocai, Mulatu Astatke, Tony Allen, Soulection and Hiatus Kaiyote. Since Stylin' 500 came out 10 years ago, the series has featured a pretty great roll call of artists, including Melanie Charles, DJ Harrison, Sampha, Brandee Younger, Leron Thomas, Zach Witness, Daniel Crawford, Andras Fox, Opolopo, Nduduzo Makhathini, Oddisee, Zeitgeist Freedom Energy Exchange, Silentjay, Jordan Rakei, JAB, Teymori, I'lls and Sterling Void. Some of these artists have gone on to sign with labels like Blue Note, Stones Throw, Impulse and Verve.

#various artists #compilation #ennio styles #stylin' #rock #funk #soul #jazz #radio show

[maxwell-grant]

I hope you don't mind me dropping asks on you every day? Anyways, a general question on modern-day attempts at using existing Pulp Heroes; do you think there is value in setting such tales in the modern day, rather than being period pieces? And if one does do so, do you think the best approach is to go full setting update, or to somehow translate the characters into the modern day, or to go the Legacy route?

I eagerly look forward to answering all kinds of questions, so don’t hesitate to send any my way!. Any feedback or excuse I get to go off on a subject is extremely appreciated. 

Okay so on to your question: 

...Man, that really seems like the billion dollar question when it comes to the pulp heroes, isn’t it? The one at least that every conversation regarding adapting these characters, giving them reboots or new stories, seems to inevitably get stuck on: Should these characters be left as is, or modernized? Is there any point to trying to modernize them when often, at least in the public view, the only thing that separates them from being diet superheroes is their time period? Can these characters even survive as anything other than historical footnotes if they don’t move past the trappings of time holding them back? I’ve been very firmly on both sides of the question at different points and I think every answer inevitably brings up solutions and problems of it’s own. 

For the moment, I’m going to start by saying that it’s something of a case by case basis. For example, The Scarlet Pimpernel is a timeless archetype, but one who’s specific characterization and history is so tied up to it’s time period that it’s far better to just reimagine the Pimpernel into a different character set in a different time, than to try and remove the Blakeneys from their time period, likewise with characters who cross into historical fantasy like Conan or western characters, where they have such strongly defined settings and playgrounds that you’d be losing much by removing them from it. 

But on the other hand, you have characters like The Phantom, or The Avenger, who very clearly could exist at just about any point in time and don’t have any specific complications holding them to the 30s (in fact The Phantom was arguably designed for this, being he kickstarted the whole legacy superhero concept). A lot of the times, people seem to think or insist that certain pulp characters cannot be separated from their time periods, even when they were well on their way to doing so before some unfortunate cancellation. The Shadow, for example. Gibson had no problems updating the character’s adventures to the 60s for the Belmont series, and if The Shadow had maintained the kind of continuous publication that Batman and Superman had, I have no doubt whatsoever that nobody would even peg him as a character that belongs to the 30s and the 30s only, even if a lot of important aspects of his character are tied up in 30s America and The Great War and whatnot. 

To try and streamline this response into something more general, I’m going to state that, yes, I do think it’s a case by case basis where some characters don’t work as well outside their time periods, and others should have left them ages ago, but in general? I think most of the pulp heroes would stand to benefit much more from being set, not just in modern times, but outside of time. Or at least, outside of a specific time period being something that defines and entraps them. Pretty much none of these characters, outside of historical fantasy examples like Conan or characters whose genres are locked into specific past time periods like cowboys, were intended to be period pieces, and yet that’s what they became, because time has been extremely cruel to the pulp heroes in many ways. 

To bring up superheroes briefly, while I maintain that I think the real secret to making pulp heroes work and achieve success again is to distance them from superheroes, or at least the popular blockbuster superheroes, as much as possible, the superheroes have been around running the show for a while now and experimenting a lot as an inescapable facet of pop culture that's worked out monstrously well so far,nso clearly there’s a lot to learn there. The superheroes by and large belong in shared universes held tight by copyright where the weight of accumulating timelines inevitably forces them to either undergo reboots every couple of years, or endure constant quiet retcons snipping away at continuity so the cohesive “Superhero Universes” can function. But there’s no such thing as some big “Pulp Hero Universe” existing anywhere near the same capacity, there’s works gesturing to the idea like the Wold Newton Universe and LOEG and Dynamite’s shared author works largely scrapped together from separate sources all drifting apart, and most of these characters have largely fallen through the cracks of copyright law and into outright non-existence, or are halfway there. Very few modern instances of "cinematic universes" outside of the MCU work, so what we do instead is go the opposite route, closer to DC's "throw anything at the wall to see what sticks" approach.

What I’m getting to is, I could flip through the pages of Jess Nevins’s Encyclopedia of Pulp Heroes, pick about 3 or 5 random characters, put them in a story regardless of whatever time period they used to be a part of, and make something out of it, without anyone stopping to question “Hey, hold up, why is Joel Saber not on Victorian England? Why are Uirassu and Tom Shark in a loving relationship when they don’t even belong in the same decade? Why did you turn Allan Crystal into a talking sparrow? You are betraying the source material, these characters don’t work outside of it”. Because nobody has any idea who those guys are, they might as well be just original names I made up (I didn't, btw), and nobody has any reason to care, they will only care if they read good, engaging stories with strong characterizations that give them a reason to be invested. And if achieving that requires ditching adherence to the source material (which doesn’t even exist anymore for at least a third of these characters), I cannot see that as a bad thing. 

He's nowhere near the ballpark of pulp heroes but I'm going to bring up King Arthur as an example because he’s been on my mind today. 

All of these, and countless others, are King Arthur. I’m no expert in Arthuriana, but from what I’ve gathered, I’d make a pretty good guess that one of the main reasons why King Arthur has been able to endure so strongly, and have so many variations that we have an entire area of study dedicated just to untangling those messes we call Arthuriana, has less to do with his historical or mythological importance (you hardly see that many stories about Cú Chulainn), but because the lore and imagery and events surrounding King Arthur have so utterly transcended the source material that people still dispute what the source material even was, or if he was a real person, or if he was created by the Welsh and stolen by Brits, and etc, and because he's completely free for any writers and artists to mold and use to anything they see fit.

King Arthur is not so much a character as much as he’s a sandbox that literally anyone can play in and reshape as they see fit, with no shortage of existing events and characters and magical items that you can treat as either essential staples, or guidelines and suggestions at best. I have three separate ideas for King Arthur as a big shark man in a greaser outfit who yields an oversized hair comb with fishhooks attached as Excalibur, one where he’s a monstrous dragon who sleeps in the ruin of his former kingdom guarding the only remaining memory of Guinevere left, and one where he’s a disembodied consciousness inside a giant mechanical bear. I could pick any of these and make a story out of them, or insert these into a story, any time I want, and nobody could stop me.

Point is, I think a lot, even most, of the pulp heroes would benefit from having some kind of “no-holds-barred, just do anything you want out of whatever you find interesting about the original” approach, a lot more so than the superheroes already do, because if there’s a single group of characters nowadays that best embodies an “anything goes” approach, a group that is almost entirely in public domain nowadays save for it’s biggest icons and therefore is already available for people to take and spin any way they want, it’s the pulp heroes. These characters have been in stasis for so long, or all but faded into nothingbbut mere footnotes in encyclopedia or records in libraries not even available online, and sometimes not even that. Most of their fanbases have largely died off and they are nowhere near close to gaining new ones, and our changing media tastes call for contrasts as much as it calls for profit. No sensible person would invest in most of these properties as they stand now, which is precisely what ultimately gives them the freedom to be anything at the conceptual stage. The only thing that really, really holds them back is time, which, again, has really not been kind to them. So why adhere to it? Screw time and whatever power it’s long held over these characters, let’s get weird with it. 

So if I have to choose between “full setting update, translating the characters to modern day, or the Legacy route”, all three of which are perfectly viable depending on the character, I think the best option, generally speaking, is full setting update, if only because the setting should never be the main priority in the first place. The setting, like everything else, is there to serve the story and the author’s needs and wants, and I’m of the opinion that the setting should always primarily exist in service of the characters, as my writing and my favorite writings are all character centered above all else.

I think putting the pulp heroes in radically different time periods and settings could even yield interesting results. Genndy Tartakovsky’s Primal stars a caveman Conan/Tarzan type protagonist interacting with dinosaurs, Alan Moore’s V for Vendetta is a Shadow-esque character set loose in a dystopian future, Grendel is the Fantomas of 1980s New York, and so on. The precedent is there and I think it can be taken much further.

Really I think a lot of the problems and arguments that have arisen over the years in regards to adapting the pulp heroes often result of people overthinking things, lord knows I do enough of that all the time. I really think it’s just something that only seems impossible because it hasn’t really been done yet. Of course, in regards to The Shadow I obviously have a whole different text as to whether I’d want him to be adapted or not, but in general, my ultimate response to what you asked is just do whatever you think is gonna make the story better and the characters more interesting. A.K.A, do whatever you want. 

[96thdayofrage]

It was the mid-1980s, and African American rock ‘n’ roll, R&B and blues musician and activist Daryl Davis had just finished performing a set with his band in a bar in Frederick, Maryland.

As he left the stage, a White man—who would later reveal himself to be a member of the Ku Klux Klan—went up to Davis, put his hand around his shoulder and expressed his approval and admiration for his performance. “This is the first time I heard a Black man play piano like Jerry Lee Lewis,” he told Davis after they exchanged pleasantries. Surprised with the statement, Davis quickly replied, “Well, where do you think Jerry Lee Lewis learned how to play that kind of style? . . . He learned it from the same place I did: Black blues and boogie-woogie piano players.” The White man was in disbelief and refused to accept Davis’ proposal.

Hearing about this incident on the Joe Rogan Experience podcast made me realise that I had been just as ignorant and oblivious as this man about the extent of the artistic contributions of Black people to American music. The moment also sparked within me many questions about my state of ignorance. Why did I not know about these artists? How much more did I not know? How much of the music I listened to was indeed Black?

As an Indian girl growing up in Kuwait in the 2000s, my exposure to American popular music came primarily through television channels like MTV Arabia (the Middle Eastern iteration of MTV) and MBC (Middle East Broadcasting Center) as well as the radio station Radio Kuwait FM 99.7. Hit singles from a range of American artists, including Black artists, were in heavy rotation along with other shows. My favourite was an MTV show called ‘Rewind’ which played classic pop, R&B and hip hop hits from the previous decades. Songs were played in cars and at parties and hummed in classrooms by local as well as expatriate teens of various nationalities who, like myself, were unaware of the cultural and historical backstories of the music.

For example, I heard of Elvis Presley, dubbed the “King of Rock ‘n’ Roll,” on television shows and news media due to his iconic status, but until recently, I had no idea that Presley was profoundly influenced by and “borrowed” from Black blues, gospel and rhythm ‘n’ blues artists of and before his time. He was influenced by radio performances of then local Black disc jockeys like B. B. King (who later came to be known as the “King of the Blues”) and Rufus Thomas (who also became a successful recording artist) and by performers at the Black nightclubs he visited during his teenage and young adult years.

Furthermore, I only recently learnt that many of Presley’s early recordings were covers of original songs by Black artists and that some of his biggest-selling songs like ‘Don't Be Cruel’ and ‘All Shook Up’ were penned by a Black musician by the name of Otis Blackwell. In fact, the first time I heard about it was last year in a YouTube video of a speech that Michael Jackson gave in 2002. While facts like this have now become somewhat common knowledge for most people in the West, my lack of awareness of Blackwell and others like him may be the residual effect of a time in the United States’ past when racial segregation permeated every aspect of life, including music and entertainment.

Dr Portia K. Maultsby is a renowned ethnomusicologist and professor emerita at the Department of Folklore and Ethnomusicology at Indiana University and the founder of the university’s Archives of African American Music and Culture. Maultsby took up the study of African American popular music traditions in the 1970s when there was no one looking into it as a valid area of research. She explains that segregation ensured that White Americans remained ignorant of Black musical traditions.

“Due to the segregated structure of the country for years and years, White Americans were kept away from the sounds of Black music,” Maultsby says.  During this time, many Black jazz, gospel, R&B and soul artists enjoyed popularity in and even toured different parts of Europe. However, within the United States, Black artists were relegated to the so-called category of ‘race music’, an umbrella term—later replaced by ‘rhythm ‘n’ blues’ in the 1940s—used to denote essentially all types of African American music made by Black people, for Black people. The songs were distributed by mostly White-owned record labels catering exclusively to Black audiences, which meant that the White population remained largely ignorant of the large volumes of work that was recorded by countless Black artists. Black artists also did not get paid as much as White artists or have as many resources, and segregation ensured that their performances were limited to smaller venues.

By the early 1950s, however, a number of independent radio stations (again, mostly White-owned) began popping up, including rhythm ‘n’ blues or “Negro” radio stations. Since it was not possible to segregate radio waves, Black music became accessible to everyone and White teenagers began taking an interest in it. Seeing this, the music industry recognised the potential of appropriating Black music and record companies started making sanitised covers of the music with White artists to distribute to White listeners. But as Maultsby explains, they did so while “keeping the original artists in the background, unexposed” and rhythm ‘n’ blues music, covered and performed by White artists, was now marketed to the mainstream White listener as ‘rock ‘n’ roll,’ a term coined by radio disc jockey Alan Freed.

Record companies and White artists wanted the Black sounds and styles that appealed to the White audience but they did not want the Black artist. American record producer and founder of Sun Records Sam Phillips had been looking for “a White man with the Negro sound and the Negro feel” when he found Elvis Presley. The Beatles got their start by covering various blues artists like Arthur Alexander and rock ‘n’ roll pioneer Chuck Berry. Janis Joplin, who was dubbed the “Queen of Rock”, wanted to sound like a Black blues musician and was influenced by Lead Belly, Bessie Smith and Big Mama Thornton. Pat Boone covered ‘Tutti Frutti’, an original song by musician, singer and songwriter Little Richard, and reached 12th place in the national charts of 1956—several places ahead of the original.

Covers like these were made by record companies much to the disapproval and discontentment of the artists. Little Richard, nicknamed “The Innovator, The Originator, and The Architect of Rock ‘n’ Roll” and whose style influenced big names like the Rolling Stones, Jimi Hendrix, David Bowie, Michael Jackson and Prince, told the Washington Post in 1984 that he felt as though he was “pushed into a rhythm ‘n’ blues corner” to keep him away from the White audience. He said that “they”—who he does not name—would try to replace him with White rockstars like Elvis Presley who performed his songs on television as soon as they were released. He believed that this was because “they” didn’t want him to become a hero to White kids.  

Little Richard’s statement reveals the racism and the lack of agency that Black artists suffered while under exploitative record labels. Exploitation happened to almost all artists in the music industry, but Black artists were particularly targetted as they would receive very little or nothing in royalties. Forbes reports that Specialty Records purchased ‘Tutti Frutti’ for a meagre 50 USD and gave him just 0.05 USD per record sold in royalties, while White artists received much higher rates—a discriminatory practice that was quite common in the industry. Richard, after he left the label in 1959, sued Specialty records for failing to pay him royalties.

Dr Birgitta Johnson is an associate professor of ethnomusicology in the School of Music at the University of South Carolina and teaches courses on African American sacred music, African music, hip hop, blues and world music. She explains that Black artists were not protected by copyright laws and would often have their music recorded and sold by record companies without proper contracts—in other words, their music would get stolen.

“Back in the day, there was no expectation that the Black artist could fight someone in court even though some of them did,” Johnson says. “If they didn’t have the copyright stolen from them, the record companies would own the music [instead of] the artists, and [the artists] wouldn’t know it because a lot of the time, they wouldn’t have the legal know-how to recognise what was happening in contracts. They wouldn’t get paid royalties . . . even though they were due royalties.”

While this exploitation of Black artists continued, in the late 1950s, after the development of smaller and more portable transistor radios, a wider audience of White teenagers began listening to Black radio stations. This new generation no longer had to depend on the family’s devices and gained more autonomy over what and who they listened to. “Young White people, who would become the hippies of the ‘60s, are the generation of people who started to press for their freedom . . . to [listen to] what they wanted to hear,” Johnson explains.

Listeners who heard the originals would call up the radio or go down to their local record store and ask for the originals, and record companies had to start supplying to demands to stay relevant in the market. “The covers made money but didn’t last long,” Johnson says, “because young White people no longer wanted the covers, the fake versions, the copies.”

The problem was that cover bands and artists tended to simply do whatever the producers asked them to do, which was usually to copy the original artist’s sound, style and moves, and more often than not, it made for bland and inauthentic renditions of the originals. The covers lacked the authenticity that Black artists conveyed in their performance and the young audience who had heard the authentic versions could see this. “They knew what the good music sounded like—it was almost like they understood... they may not have understood the racial dynamics of it, but they knew [the real thing from the fake],” Johnson says.

Moreover, artists who did covers were performing in styles that were foreign to them. “It was outside of their tradition; it was outside of their aesthetics; [and] they couldn’t bring the same excitement to it sometimes,” she explains. The music, performance and singing style had characteristic elements such as polyrhythms (layering of multiple rhythms), call-and-response, dance and improvisation—elements rooted in traditions that were brought to the United States by enslaved West and Central Africans between the 18th and 19th centuries. More importantly, the lyrics of songs by Black artists reflected the unique social customs, trends and living conditions of Black people, and these were not fully understood by people covering the songs. As a result, “[the covers] couldn’t compete with the real thing,” Johnson says.

Maultsby explains that due to the increasing popularity of the originals, record labels soon began recording more Black artists. However, she says, they watered down or “temper[ed] [their] heavy gospel-oriented sound” to make it more palatable for the White audience, and “one way they did [that] in the ‘50s and into the early ‘60s was to use pop production techniques” which meant a “background of strings and backup singers that sounded more White—concert-type singers—to soften the more raspier, emotional sound of the Black singer.”

By the 1980s, Black music gained exposure to an even wider international audience through television channels like MTV as well as broadcasts of live performances. Throughout the 1980s and ‘90s, collaborations between interracial duos were used as a mass-marketing strategy to increase the reach of Black artists and pop production continued to be used to “soften the Black sound.” Record companies also paired up White artists with Black producers to achieve that ever-popular Black sound.  

“Thus, more White artists embodying or imitating aspects of the Black style made it acceptable and soon . . . that Black sound began to define the American sound,” Maultsby explains. However, this imitation and dilution meant that people could never experience authentic Black music.

According to Maultsby, who helped pioneer the academic study of African American popular music, the way non-African Americans experience African American music, even in the United States, is from the perspective of an outsider, and this applies to the international audience as well.

“By and large, within African American communities, music is created as a part of everyday life . . . music is a part of our lived experience,” Maultsby explains. “When that music is then taken out of that context and placed in the music industry, it becomes a commodity for mass dissemination, and it takes on a different meaning and a different function.”

She explains that the live performances of legendary artists like Aretha Franklin or James Brown were very different from the studio-recorded performances because the records were “mediated so that [they] fit a certain format that [could] appeal to a broader audience.”

“Record labels didn’t like recording performances live because they felt the audience interaction would interfere with the performance,” she says. “But that audience interaction [was] very much a part of the way Black music is created and experienced.

The writing and coverage of Black music both in and outside of the United States also did a poor job of representing its true essence. As Maultsby explains, White journalists who covered Black music would write about it from a White perspective rather than a Black one.

“A lot of misconceptions early on had to do with the music being reported by White journalists who reported through the lens of White audiences,” Maultsby says. “When journalists wrote about Black music . . . in the US—and this carried on to Europe and the rest of the world [including] Asia [and the] Middle East—they wrote about it through their observation of performances in venues with predominantly White or all-White audience, or in general, non-Black audiences . . . they did not go into the Black community to see how the music was performed and experienced.”

Writing about Black music and culture from a Eurocentric or White point of view has resulted in early Black contributions to popular music being misrepresented as well as erased from the general consciousness. Black culture was appropriated, exploited and diluted and in the process, consumers were left with watered down, commodified versions of the art that did not represent the people that were at the heart of creating it, and its after-effects have carried over to the present-day, among non-Western consumers.

Black contributions to music are also rarely discussed in mainstream media, which is largely controlled by White executives.

“The influence of Black music in a lot of American music are things that only get discussed in classes or documentaries—sometimes award shows—but mostly in formal environments, unless you’re from that tradition,” says Johnson. “[Artists like] Steven Tyler . . . [have] said, ‘I grew up listening to the blues; I love the blues’ . . . but the people who promote him don’t really have any interest in [promoting that] narrative because it’s really about selling a personality when you think about how the music industry works.”

She explains that though most people are analytically aware that the United States is a diverse country, images that are promoted by American companies are very White-centric. What is sold to the rest of the world as “American” is usually centred around Whiteness, whether that’s through music, movies, television or other forms of entertainment.

“The outside world sees a very limited package and predominantly a White or Eurocentric image . . . people look at America and assume this is basically a White space even though we have all this diversity—we’ve always had this kind of diversity of culture,” remarks Johnson, who often does not get recognised as Black American when she travels internationally. “When I go to China, they don’t assume I’m American. When I go to Thailand, they don’t assume I’m American."

Even though a lot has changed for Black musicians and artists in the United States since its “race music” days, the impact of racism and Eurocentrism lingers on and affects the way Gen Z as well as millennials outside of the United States, like myself, understand pop music in the 21st century. Many tributes have been paid to pioneering and legendary Black artists in award shows, documentaries and biopics and their contributions have been studied academically by scholars like Maultsby and Johnson, but my awareness of Black music and culture as a non-American is not only limited by what’s been given to me in the media, but also by what’s been left out of the conversations around popular music. How do we change this?

As Maultsby expresses, it starts simply with acknowledgement—just like a symphony orchestra’s roots are acknowledged to be European no matter who performs it or how it is reinterpreted in different cultures, or how a sitar is recognised as an Indian musical instrument whether it’s played in a jazz performance or a symphony orchestra, we need to continue to learn and acknowledge the Black roots of the music even when it has a local interpretation or variation.

“We all know [the symphony orchestra] comes from Europe; there’s no question there; we don’t try to claim it as our own conception, but we do participate in that culture. That’s how we have to think about Black American culture,” she says.  

We need to recognise African American music for its role in shaping Western popular music, and understand what constitutes Black musical traditions and what differentiates it from the rest of the world, rather than generalise it as merely American music. And while music may have transcended cultural and racial boundaries, transcendence should not come at the price of obscuring and erasing the source.

“It’s fine as long as we keep in mind the source of that music,” Maultsby says. “We can say it transcends race—it just shows how influential Black has been internationally—but at the same time, we don’t need to erase the group that created the music and make Black people invisible in terms of their contributions. And that happens a lot.

“If we are not reminded that Black people are the ones that created the music you love, we question their contributions to society and to the world. We shouldn’t need to be reminded every day. It belongs in our consciousness.”

[imasimpforstevengrant]

Why do we like this clown so much?

Change the "we" for "I" and you get an usual tag I use whenever I post my content in Tumblr. And it sounds funny at first but whenever you start diving into that phrase, the deeper it becomes. So, I finally have decided to share my thoughts about this strange but wholesome attraction to this deeply flawed character. It's not something I usually do since I don't know how to write down my feelings properly and also in english so please forgive any typos (I'm from Chile so don't be surprised lol).

So...Why do we like this clown so much?

Why was it that a character precisely designed to scare and to disgust the fuck out of us ended up unchaining a series of feelings that shouldn't have taken place in a beginning?

Let's take a look at the background: Joaquin Phoenix was cast as Arthur Fleck/Joker in 2018. The first image of him as the aforementioned character revealed a deeply disturbed man. We knew the plot. A man driven to insanity after a brutal history of abuse, creating concern in people if the upcoming film would inspire real life violence. Incel violence and mass shootings, more specifically.

(the image in question)

As 2019 arrives, the two trailers generated so much hype that media needed to fuel its concern about it. Since it wasn't your typical comic book film, media basically bombed our minds making us believe this film was going to be a total disaster, an excuse to cause harm to others among other nonsense, as if the film would justify everything Arthur would do in the film, eventually. As the release date is closer, the film receives thunderous applause and unanimous praise from critics. At this, fans rejoiced and expressed impatience to watch the film.

October 5th.

People left the theaters amazed, shocked and genuinely moved by the inhuman treatment Arthur received in the film. The fear media tried so desperately to infuse in us with all the incel bullshit and such turned out to awake one of the most positive, best feelings in humans:

E M P A T H Y

The word that so gloriously cleared away any dark thoughts or actions not only proves media was wrong but it turned out to ridicule it in way nobody will forget: Hundreds of people advocating for mental illness, calling out to the kindness that could change a person's bad day and questioning how politicians and rich people are indifferent to social problems proved how much as a society we have changed in comparison with the one shown in the film.

However, since we are on Tumblr, I'll get straight to the point and try to explain why the fuck does this clown has us dying out of love and compassion (and lust).

I. Background.

As nurturing as we women are for a biological matter, we see a man deprived of a good job, is on seven different medications, working like a slave to sustain his ill mother, putting aside his own health and well-being to look for her, struggling to make his dream of being a comedian despite everyone stepping on him, underpaid and treated like a freak for a disorder he did not ask to suffer, which makes it impossible to be indifferent to all the horrible ordeal that eventually will reach the limit of what he can tolerate without going insane. It is impossible to not say or think, at least, that someone (even if it's just one person) should stand for him just as it is impossible not to feel the need to throw ourselves at him to shield him from people who hurt him or simply offer him our shoulder whenever he has had a bad day, specially when he learns he was sexually assaulted by his step father.

This horrid behaviour terrifies newer generations because they get a taste of what being a social outcast was like more than thirty years ago in comparison with today, where there's more acceptance and treatment for mentally ill people like Arthur. We see in him someone who could have been saved with a proper education and emotional support instead of descending into madness as a criminal. Others simply saw themselves being treated like him at some point in their lives and couldn't help but put themselves in his shoes.

II. Personality.

TRUTH BE TOLD:

There's something called "attraction by proximity". It is the explanation to the eventual love you feel whenever someone doesn't catch your eye at first terms of physical attraction but his/her personality does attract you. This happens to be the base of this situation. His shyness, introverted nature, tenderness and innocent desire to make people laugh and put on a happy face awake some kind of tenderness we cannot resist. This combined with the gloomy background increases our understanding (but not justifying) of the bad decisions he'll eventually take during the course of the film. This traces a line of harsh, almost hurtful contrast of the violence he shows later on the film. Once again, it is not justified in any way but it is certainly understandable.

III. Appearance.

Arthur Fleck is unconventionally attractive.

This happens to be a plus for most women. He is out of the male beauty standards (no abs, not too muscly or particularly tall), which makes him even more unique. It is precisely the fact that he's not a model one of the reasons women love him. He could easily be your man next door or your colleague or the guy you always see but never dare to talk for fear to bother him Because it's about proximity. Arthur looks like your common neighbour. He's not meant to be your typical desirable male protagonist at all.

... And yet.

Jesus Christ, he's so fucking hot I can't even---

It's not about how beautiful his green eyes are, his long slender fingers, his hair or his smile only. It's the charm behind it.

Another "magnet point" is the way he dresses. I know he's impoverished and his wardrobe tend to be repetitive but it is so unpretentious, so simple that is hard to not fall for. The modesty of the shirts, ironed trousers reminds us of a mature man deeply withdrawn into himself, love starved and longing to be seen and loved by others, like a war veteran who still fights the most important war: with himself. Is someone who needs to be listened and understood.

AND OF COURSE WHAT'S NOT TO LIKE ABOUT IT?

He's also brought back the old gentleman outfit, white shirts, red/yellow vest, red suit and elegant dancing moves and the retro style of the film boosts this attractiveness.

People keep comparing him with the previous interpretation of Joker (Leto's) whose costume appealed to young women with a tattooed, gangster, mumble rapper crazy-guy wannabe which didn't connect with the audiences (young people in general). This supposedly was to match or even have a sexy, tormented and desirable villain like Marvel's Loki. We all know how that story ended but it's the link for the next point below.

IV. Transformation

This is a particularly strong point considering how much we loved to watch the process of this weak, powerless, forgotten caterpillar into a beautiful and visible butterfly that will gracefully stir its wings for everyone to see its colours.

When Arthur transitions to the Joker, it's so cathartic to see taking revenge on those who wronged him (even when we're not supposed to root for him) like seeing his shyness fading away into a vivid confidence when dancing half naked in the bathroom, or witnessing him making way to make his name known to people in Murray Franklin's Show:

Adding to this newly gained confidence, there's another turn on: the way he walks.

At the beginning, his pace is hunched and limping, displaying his submission to violence, which makes the viewer more satisfied to see his broken yet beautiful soul turning the past pain of his existence into art: he lets music guide his moves as a way to tell the world he's a new man by cutting most of the sick, evil roots that harmed him, that he's invincible, that no one can stop him. Watching this cathartic display of euphoria was the most iconic scene in the film, following his speech at the TV and the inevitable meltdown that caused Murray's death.

Going to further appreciation, even his clown make up is beautiful. Why? Simple. The combination of colours, shapes and the intimidating glare just embellishes even more the character.

The dark blue triangles in his expressive eyes makes the light green colour to highlight, specially in dark backgrounds, giving the impression he's piercing your soul whenever he stares directly at the camera. Same can be said about the red smile and emerald green hair. They boost an already intimidating look.

The cold and warm colours paint a picture of a man full of intense emotions, mirroring it in a simple yet masterful artistic way.

Another interesting point is the way Joker dresses. Usually we had almost every single live adaption of this character in purple coat, hat, etc. But this particular version is not following any comic, which gives more freedom to creativity and once again, out of the standards of what we could have expected.

Red is a colour related to passion, action, love, strength, motivation and excitement. As for yellow, it indicates freshness, happiness and enlightenment and finally, green. Green is renewal, growth and regeneration. Colours that represent a new stage in his life, a mirthful chapter at last. We finally get to see our battered, always humiliated protagonist (or hero) descending into madness, but finally free from his repressed man who held his soul captive like a bird to fly away, to never come back. An insanity that despite being his downfall, turned out to be his ticket to freedom as he walks to the light in Arkham Asylum dancing at the end.

Ladies and gentlemen: behold the film nobody asked... But the film we fucking deserved.

Thank you for coming to my TED talk

❤️💚💛

#joker movie #the joker #joker film #joker 2019 #2019 joker #joker joaquin phoenix #joaquin phoenix #joaquin is so hot omg #dcedit #dc comics #he's so beautiful #arthur fleck imagine #arthur fleck #Arthur Fleck is I C O N I C #clown daddy #why do i like this clown so much? #i love this clown so much #hes baby #hes so pretty #omg hes so cute #protecc him plz #plz protecc #plz hug him #lol sorry #i had to #this movie gives me life #this man will be the death of me #i can't get enough of this dude #i can't get enough of this babe #arthur fleck x reader

[thereelbradbell]

Once and Future Volumes 1 & 2

Published By: Boom Studios

Written by: Kieron Gillen

Art by: Dan Mora

One of the most buzzed about comics to come out of the Covid-19 pandemic was Boom Studios Once and Future written by Kieron Gillen. The premise sounds neat enough: What happens when a group of Nationalist try to resurrect King Arthur for their political needs? The only problem the book isn’t about any of that.

The jaw dropping art, and eye-popping colors provided by rising superstar Artist Dan Mora are not enough to aid the hollow and annoying characters Gillen uses to guide the readers through his take on Arthurian legend. Gran who has experience with this type of thing wears heavily on the reader after one issue. The type of thing she has experience with is unclear, this book wants to be about so much and as a result comes across as a beautiful nothing burger of a story. Are they Monster Hunters? Are they Knights? Are they Freedom Fighters? Are they Archeologists? The story simply does not know!

Our main protagonist Duncan is dull and dim witted despite being portrayed early on as an academic. His character isn’t served well with his dear old Gran constantly calling implying he is a snowflake. The not so dynamic duo of Gran and Duncan are aided by a potential love interest of Duncan: a fellow academic Rose. For some reason that is not explained well, if at all Rose has access to some sort of magical push pin map that provides exposition to the reader about the next location where the generic Arthurian foes will show up.

Overall this book thinks it is some type of clever political commentary on Nationalism, at a time it is needed. Instead it is one of the weaker attempts in modern media history to use these public domain characters.

*Rating 1 out of 5 (Just for the Art and Colors)

#once and future #once and future king #king arthur #fantasy #kieron gillen #dan mora #boom! studios #comics #comic #graphic novel #tpb