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multiverseofseries · 1 year ago

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Diabolik: rubare è umano, spiegare è diaboliko

Diabolik, il primo film della trilogia dei Manetti Bros con Luca Marinelli, Miriam Leone e Valerio Mastandrea.

Diabolik: Miriam Leone e Luca Marinelli in una scena del film

C'era grande attesa, da parte mia, per la prima trasposizione cinematografica moderna di Diabolik, la storica creatura fumettistica delle sorelle Giussani per Astorina, dopo il cult pop del 1968 di Mario Bava con John Phillip Law, Marisa Mell e Michel Piccoli. La pesante eredità - tanto cartacea quanto audiovisiva - è stata presa dai Manetti Bros. e dal trio Luca Marinelli, Miriam Leone e Valerio Mastandrea e il risultato viaggia a metà strada. Una strada buia e tempestosa come quelle della pellicola.

Ricostruzione fumettistica

Diabolik: una scena del film

Uno dei pregi del film è la ricostruzione puntuale e dettagliata delle location fittizie anni '60 del fumetto - dalla capitale Clerville al centro montanaro Bellair, dove si svolge il prologo del film, fino alla città costiera di Ghenf - ma anche dei costumi e del trucco e parrucco dei personaggi, a metà tra il caratterista e il sopra le righe. Tutto sullo schermo trasuda pagine fumettistiche trasposte in versione live action, come se prendessero vita per dipingere una serie di vignette in sequenza, grazie anche all'aver girato in location come Bologna e Trieste per restituire un certo tipo di paesaggio urbano particolare, unico nel suo genere, comprese le automobili che sfrecciano tra le strade buie e tempestose.

La caratterizzazione dei personaggi - dal glaciale Diabolik di Luca Marinelli alla seducente Eva Kant di Miriam Leone fino al tutto d'un pezzo Ginko di Valerio Mastandrea - viaggia invece a binari alterni, a volte con una recitazione eccessiva, a volte fin troppo impassibile. Ma - nonostante il film si intitoli Diabolik - come ben sappiamo dai fumetti e dal famoso numero 3 a cui i Manetti Bros. si sono ispirati - non esiste Re del Terrore senza Eva Kant e a emergere nel film sono soprattutto le figure femminili più che quelle maschili.

Women power

Diabolik: Miriam Leone in un'immagine

Il film utilizza i personaggi - soprattutto quelli femminili che risultano quasi più rilevanti di quelli maschili rubando la scena - per parlare di tematiche femministe anche litteram ed estremamente (e tristemente) attuali. A fare una miglior figura di fronte al pubblico sono infatti Eva di Miriam Leone e la Elisabeth di Serena Rossi, due donne soggiogate in modo diverso dal protagonista ma che allo stesso tempo riescono ad emanciparsi. Eva è infatuata dal Re del Terrore ma rimane indipendente, lucida, calcolatrice: una femme fatale a tutti gli effetti. Elisabeth invece è totalmente perduta nelle proprie ansie e nelle proprie ossessioni, quasi fosse prigioniera nella grande casa dove vive: ad aspettare che il suo amato Walter torni a casa, che la guardi intensamente, che le dia quelle attenzioni che tanto anela, finendo preda del proprio esaurimento nervoso. Un esaurimento nato però da un vero e proprio abuso emotivo da parte dell'uomo. Una tematica sottile ma interessante da inserire proprio in questo film e nel nostro contemporaneo.

Diabolik: Luca Marinelli in una sequenza

Allo stesso tempo anche le due figure maschili dovrebbero restituire il concetto di Doppio, ma non riescono fino in fondo: Diabolik e Ginko dovrebbero rappresentare due facce della stessa medaglia, lo yin e lo yang, il buio e la luce che si alternano e si mescolano, che non avrebbero senso di esistere l'uno senza l'altro, ma questo non arriva appieno allo spettatore, a causa di un'interpretazione un po' ingessata nelle atmosfere degli anni '60 e nei propri abiti da parte dei due attori. Il vero "doppio" di Diabolik risulta così Giorgio (Alessandro Roja), che rappresenta la Legge e allo stesso tempo colui che viene soggiogato e ingannato da Lady Kant.

Spiegami quel colpo di scena

Diabolik: Valerio Mastandrea nei panni dell'Ispettore Ginko

Però quell'atmosfera è meravigliosamente restituita dai Manetti Bros. grazie anche agli omaggi al cinema classico, in primis quello di Alfred Hitchcock, con alcune inquadrature e alcuni movimenti di macchina che sono volti a mostrare il lato più thriller e noir della vicenda attraverso manierismi tecnici, dettagli e primi piani, e la colonna sonora di Pivio e Aldo De Scalzi è la ciliegina sulla torta. A livello narrativo il susseguirsi degli eventi, che partono con un bell'inseguimento e con un prologo avvincente, diviene man mano più elementare man mano che la pellicola scorre sul grande schermo: un insieme di causa ed effetto a volte troppo semplicistico, pensato quasi per un target che ha bisogno di molte spiegazioni su ciò che sta vedendo, anche a livello cronologico, compresi i colpi di scena della trama abbastanza prevedibili. Un cinecomic "troppo italiano", insomma, eppure l'atmosfera che ci restituisce il film è talmente "ferma nel tempo", quasi magica, che si perdonare gli scivoloni di sceneggiatura e recitazione, e la classicità di questo Diabolik anno 2021 eppure così 1960, che vediamo come un omaggio a una storia antica eppure senza tempo. Una storia di furti, omicidi, amori strozzati e passioni travolgenti.

Conclusioni

In conclusione in questo Diabolik dei Manetti Bros. si può osservare come sia evidente che i registi abbiano voluto omaggiare un certo cinema classico e allo stesso tempo la controparte cartacea originaria, cercando di catturarla sul grande schermo soprattutto attraverso una ricostruzione attenta nelle scenografie, nei costumi, nel trucco, nelle inquadrature e nei dettagli. Emergono maggiormente i personaggi femminili rispetto a quelli maschili, portando alla luce la tematica dell’abuso emotivo e dell’emancipazione femminile. il film si fa perdonare qualche scivolone nella sceneggiatura un po’ troppo elementare nel susseguirsi di causa-effetto degli eventi.

Perché ci piace 👍🏻

L’atmosfera fumettistica e degli anni ’60 fortemente curata tra scenografie, costumi e trucco.

La regia che omaggia grandi classici del genere thriller e noir come Hitchcock.

L’emergere dei personaggi femminili e della tematica dell’abuso emotivo.

Cosa non va 👎🏻

i personaggi maschili, un po’ troppo ingessati nei propri ruoli.

Alcuni scivoloni nella sceneggiatura e nel susseguirsi dei colpi di scena, abbastanza prevedibili con qualche spiegone di troppo.

#diabolik #diabolik lovers #manetti bros.#miriam leone #valerio mastandrea #luca marinelli #movie review #review #recensione

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ekingston · 4 months ago

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Masterlist [last update: March 2nd, 2025]

If you like, you can add your work to the collection on ao3! Just type 'multi_fandom_flash_fiction' into the 'add work to collection' field.

Cupcakes by @waknatiouswrites canon-compliant | secret identity | a fork | Cat Grant/Kara Danvers | tumblr

Friends! Lovers! Writers of fan fiction, foe fiction and original fiction alike! Are you drowning in WIPs? Do you find yourself procrastinating instead of writing? Do you abandon all of your current projects every time you think of a shiny new idea? Fear not! I’m here to make your problems even WORSE by bringing you a

The following picker wheels will randomly assign you a genre, a premise, a trope, and a subject (an item, concept or character that has to come up in your fic in some way).

The challenge is to write a fic up to 1000 words long.

For extra credit, make it exactly 100, 250, 500, 750 or 1000 words long.

Please reblog with the prompts you were given, and if you’re up to the challenge, link to your work in the comments!

#multi fandom (and original!) flash fiction challenge #i'll be adding on as they pop up in my feed #i haven’t gotten round to reading them all yet but what i've seen so far looks SPECTACULAR #if i missed any please let me know!

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safereturndoubtful · 2 years ago

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Werfen, Austrian Alps - Thursday 21st September

Just a quick update from the journey south.

For the last time, thankfully, I picked up Roja’s Animal Health Certificate from Folkestone. The collection date can’t be changed, and the vets don’t open until 10 am; if not for that I would have crossed to France last night, it’s so much quieter at night.

I have a French Pet Passport now, which lasts all his life, but need a stamp in it from a French vet before I can use it. It will save me at least £100 each crossing, as well as the hassle of collection.

I was in the 12:20 crossing, and drove until 5:45 pm, the kick off time for the World Cup game, Italy versus Uruguay. I came off the E25 just before the Belgium Luxembourg border at Habay and had located a recent archaeological site, of a Roman villa, which is now constructing a small museum, but opened its outdoor site to visitors this summer. It’s ten minutes off the main highway, yet quiet, and deserted. Good for a half time walk also.

We were away this morning after an hour’s exercise, on a fine morning. It’s 370 meters up here, the Belgian Highlands, it could be nicknamed. The second chore of the day was to load up with Belgian beer at the nearby Carrefour. That done, my research on fuel prices paid off, filling up at €1.68 a litre rather than €1.95 in Belgium.

I drove from 9:30 until just before 6 pm, covering just short of 500 miles, through Germany into Austria at Salzburg. The German roads are pretty much like the English, very busy and with plenty of road works. We were held up for an hour or so I’d guess, just the weight of traffic. It’s very different to the toll roads of France, which are empty, though expensive.

At the Austrian border I picked up the necessary vignette and fuel, again at a lesser price than the neighbouring country, this time Germany. Then headed up the Salzach valley into the Alps.

I’m three hours away from my first destination, Krn in Slovenia. It’s inside the Triglav National Park, wild camping is strictly forbidden and enforced with weighty fines, so I’m aiming for a high rural campsite.

It was 27C in Salzburg at 5 pm, but much cooler now, 15C, and rain tomorrow, so a cooler day again.

Just a report back from my mail to Cumbria Healthcare, re the hip… they assure me that my waiting time is typical, and there are two waiting lists, the first to see the hospital consultant, and the second for the operation itself.

“…I have been, in some respects, the slave of circumstances beyond human control.”

One of my favourites, Poe from William Wilson.

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spanishskulduggery · 2 years ago

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what are some spanish books you'd recommend? (i'm probably about a high schooler in terms of reading comprehension, but if you have any difficult/gritty recommendations, that would be perfect) muchos gracias :D

(An anon sent in a similar question looking for B1/B2 level books)

One of the better contemporary authors of what you might consider YA fiction is Laura Gallego García so I'd recommend her especially if you like fantasy.

I first found about her from Las memorias de Idhún. If you're on Netflix, you can see an anime based on it called "The Idhun Chronicles" - and one of the main actresses is Michelle Jenner who is an extremely well-known Spanish actress [she played Isabel in the well-known historical drama Isabel about the Catholic Monarchs in Reconquista times]

If anyone has any other suggestions, please write them in

Other books/stories you might like:

Esperanza renace by Pam Muñoz Ryan

Como agua para chocolate by Laura Esquivel

La casa en Mango Street by Sandra Cisneros

La sombra del viento by Carlos Ruiz Zafón [fairly advanced]

La casa de los espíritus by Isabel Allende [somewhat advanced]

El Conde Lucanor by Don Juan Manuel [advanced at times; but it's styled like fables or multiple short stories]

El burlador de Sevilla y el convidado de piedra by Tirso de Molina [advanced at times with language, but very easy to follow; also a play]

I would also say look into translations of things like Harry Potter, Percy Jackson, or Hunger Games [Los juegos del hambre] and other YA fiction that is more geared towards highschoolers and teenagers because the language used is not as complex but still really useful. Also, many 1st person novels are really good for showing you the yo forms of a lot of verbs especially irregular verbs.

Also some people really recommend El alquimista "the Alchemist" in the Spanish version by Paulo Coelho. It's a very well-known book for high schoolers though it is somewhat advanced in places

PS Also gotta recommend Hombres necios que acusáis by Sor Juana Inés de la Cruz. It's a poem, but it reads like the rawest slam poetry you've ever heard and also still frighteningly relevant in feminism

You may also enjoy short stories. If one author has multiple stories I'll just include the name once in the list. Some of these are translations of other short stories you'll probably know of which helps the comprehension better!

El rubí by Rubén Darío La ninfa El velo de la reina Mab La muerte de la emperatriz de China El palacio del sol

Blancanieves [Snow White] by the Brothers Grimm Rumpelstiltskin Pulgarcito [Tom Thumb] La Cenicienta [Cinderella]

Cuentos by Esopo [or, "Aesop's Fables"]

El barril de amontillado by Edgar Allan Poe Los crímenes de la calle Morgue La máscara de la muerte roja

El loco de Sevilla by Miguel de Cervantes [a story within a story; it's from Don Quixote, but it's a very well-known vignette in the novel] La pastora Marcela [also a story within a story; some frame of reference, Don Quixote is riding around and comes across a funeral and people are accusing a shepherdess Marcela of spurning this dude's love and he couldn't handle it - Marcela then appears out of nowhere and drags everyone and we love to see it]

Cine Prado by Elena Poniatowska

El regalo de los Reyes Mago [The Gift of the Magi] by O. Henry

La sirenita [The Little Mermaid] by Hans Christian Andersen

Caperucita Roja [Little Red Riding Hood] by Charles Perrault La Bella Durmiente [Sleeping Beauty]

Las mil y una noches [1001 Nights] by Anonymous

La muñeca menor by Rosario Ferré

El almohadón de plumas by Horacio Quiroga

La noche boca arriba by Julio Cortázar

Los dos reyes y los dos laberintos by Jorge Luis Borges

Biblioteca Digital Ciudad Seva

This is my usual go-to for reading classics translated into Spanish [there's also the Gutenberg Project if you're looking for ebooks]

Just some general advice:

-Anything by Cervantes is quite old and you will need to find a more modern version or you'll end up with some very antiquated spellings and grammar. He wrote Don Quixote and some other short stories/plays, and all of his mini-stories from Don Quixote are the same general difficulty.

-I do love Borges but for God's sake DO NOT read El jardín de los senderos que se bifurcan "The Garden of Forking Paths". It is advanced, and confusing even for native speakers. I mean this is a story people dedicate a thesis on to try and unravel. It's the kind of thing that you read, you read the wikipedia/rincón del vago entries, and reread and still get confused

-If you're feeling like you want a good challenge, try reading El Popol Vuh which is a book of Maya myths/history/etc, and it's an extremely important in indigenous cultures and history. People have called it the Maya Book of Genesis [though be aware the original translation was done by a Dominican friar named Francisco Ximénez, and there are some modernized versions]

...

Also, speaking of Rincón del Vago is like a Spanish version of Sparknotes. I'm not saying you should be using it to do your homework, but if you happen to find something like Alice in Wonderland / Alicia en el país de las maravillas you can read through the entry in Spanish as reading practice

#Spanish #langblr #recommendations #books #learning spanish #language #languages #learn spanish #asks #ref #refs #recursos

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rae-gar-targaryen · 2 years ago

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Rae if you ever write a Jamie fic…. I’d owe you everything. even if I might be the only one to read I will consume it over and over again

I started one forever ago called "known for giving love away" and it was like a five different kisses with Jamie kind of thing, and I'm thinking maybe I still want to do that? Or maybe just a little vignette of being in an established relationship with Jamie... You know, my special brand of sexy domesticity...

But first and foremost, Dani Rojas 💜🌿

#sweet sierra #rae writes for Ted Lasso

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kyndaris · 3 years ago

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Once a Guerrilla, Always a Guerrilla

Revolution is not an easy feat. It is not so simple as being idealistic. Nor is it simply seeing who has the most guns and the bigger army. To be a guerrilla takes grit, good leadership and an end goal. It also means having combat training, the funding and connections to ease the way. Just because you managed to defeat a tyrant, without sending our a counter-message, it is just as easy to be seen as a replacement dictator. For a revolution to truly take hold, one has to change the hearts and minds of the people. Those are the lessons I learned when playing through Far Cry 6 as the lucky one: Dani Rojas.

Now, I am no stranger to the problematic issues of supporting Ubisoft. The company, much like several other major publishers has been embroiled in controversy. NFTs, toxic workplace environments...the list goes on.

In so saying, the messaging from Far Cry 6 feels like a cry for help. And perhaps it is time for something to truly shake up the culture of game companies so that they can retain staff and make the games that everyone loves so much.

But, back to Far Cry 6, shall we?

The game starts with Dani Rojas and their friends planning to escape to America. They enjoy one last drink, only for it to be interrupted by several soldiers. Alejo antagonises a group and is shot dead. Fearing for their lives, Dani and their friend: Lita flee for the boat that would be their ticket to a world of poor pay and being judged for their accent and colour of their skin. Sound familiar to any real-world examples? But even being paid to stock supermarket shelves can be seen as a blessing for many illegal migrants to the USA. And even if they might never achieve the dream purported by the land of the free, at least they are free of the conflict that might engulf their very lives.

Unfortunately, their escape via boat does not go as planned. El Presidente boards their little fishing boat to reclaim his son, Diego. After a tense conversation, the two leave and everyone else is condemned to a watery grave.

Somehow, through the powers of plot convenience, Dani survives, washing ashore on the Isla Santuario. There, they meet Clara Garcia and the rest of Libertad. So begins their bloody journey to retake their home from the power-hungry Anton Castillo.

From a narrative standpoint, Far Cry 6 keeps many of their serious moments quite light. Yes, there’s plenty of murder and gunning down soldiers of Anton’s regime, but there are many lighthearted moments such as the Yaran Story missions in order to recruit amigo: Chicharron. Then, of course, there’s Bicho, or Paz as he is later called.

Thank goodness for not having Hurk, or a version of him, being inserted into this title.

I did, however, like seeing the interactions between La Morale, Libertad and the Legends of ‘67. They brought a sharp contrast to the different factions that fuel why people may seek change, but they also highlight all the similarities between both revolutions. Many of the main players were students hoping to make changes to the country that they love.

Bella Ciao is also a great song given its history and how the game is also focused on routing out fascist leaders. As I was playing through one operation that involved burning tobacco leaves, my mother overheard and she did as the Leonardo DiCaprio meme. Sometimes I forget that she’s actually lived through quite a few things and what sounds novel to me is something she actually knows from real-life history.

Also, on a musical front, I really liked how Dani would sing to several songs on the radio. I did a double-take when I first heard them sing to Havana by Camila Cabello before subsequently YouTubing it to see if others had noticed.

From a performance perspective, I liked all the little vignettes with Anton and his son, Diego. But from a story standpoint, it never felt as if Anton had much bite. Giancarlo Esposito shines in the role, but it is always far removed from Dani’s actions. There were only a few occasions where the two crossed paths but none of them had me sweating in my seat as much as the confrontation between Vaas and Jason. Nor did I get terrifying but sexy chills like I did with the Seeds.

(Kyndaris, you need to stop reading Jacob Seed x Deputy and Joseph Seed x Deputy fanfiction!)

On a gameplay front, Far Cry 6 is a lot more streamlined than previous titles. No longer are there radio towers to visit to reveal all the dots on the map. Rather, missions can be discovered by chatting to guerrilla fighters at camps or liberated outposts. There’s also no skill tree. Nor does Dani Rojas have to go hunting in order to craft more weapon holsters, healing syringes and ammo pouches for specific weapons.

Everything else played out as smoothly as one could expect from the franchise. The guns were weighty and packed a decent punch. The wingsuit was a great tool to soar through the skies and most of the vehicles handled quite well. My one gripe was the default controls for planes. After fiddling with them, I was able to fly much better and smashed through Yami’s race.

Far Cry 6 doesn’t stray too far from the formula established in the previous titles. There’s nothing that’s incredibly innovative and the twist at the end with Diego made some kind of sense. The Far Cry series is never content to give players a ‘good’ ending. In the worlds that they create, nothing is ever truly black and white. Just because one despot has been overthrown, it doesn’t mean that the world can right itself. Look no further than Far Cry 4 or even the apocalyptic ending that came when the Deputy fought back to save Hope County.

While I never quite connected with Diego as I would have liked to, it also felt like he was an authentic thirteen-year-old boy that was out of his depth and who wanted to live in a better world. And hey, who wouldn’t want that?

On a side note, the whole Jose threatening to poop on something belonging to Diego as he slept reminded me of something I read once. Probably something from the annals of Horrible Histories. But at least we got to underscore what a terrible and entitled person he was.

#far cry 6 #video games #the right tool for the right job #I'll be quoting Juan's lessons for a while #sad that there aren't any good ships for Dani

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ao3feed-supercorp · 5 years ago

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if there is a right time, darling, well, it's never been now

by whythinktoomuch

A sorta love story told in a series of sorta vignettes.

a.k.a. how Kara Danvers spent Valentine's Day for the past 5 years

Words: 2634, Chapters: 1/1, Language: English

Fandoms: Supergirl (TV 2015)

Rating: General Audiences

Warnings: Creator Chose Not To Use Archive Warnings

Categories: F/F

Characters: Siobhan Smythe, Andrea Rojas

Relationships: Kara Danvers/Lena Luthor

Additional Tags: canon compliant if you squint, some mention of superbanshee, some mention of superrojas, but supercorp endgame because i'm a weak binch, but it was ca, i can't even say it :/, also v brief mention of km and gc i am sofa king sorry, but it was cano

from AO3 works tagged 'Kara Danvers/Lena Luthor' https://ift.tt/3bH9rhJ via IFTTT http://archiveofourown.org/works/22732441

#supercorp #Kara x Lena #Kara Danvers x Lena Luthor #karlena

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irenemvallone · 7 years ago

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Black Jacket

A very goofy post-apocalyptic vignette for @doktorpeace. This was basically an exercise in stream-of-consciousness fiction, and I think it turned out well with that in mind.

If you enjoy this story and want to see more like it, consider donating to my Ko-Fi. I’m also planning on opening up commissions soon, so keep an eye open for that!

Sinbad’s is quiet when I walk in. The dance floor, usually packed like a can of road-rash on a Friday night like this, is empty. The holo-juke is a sad gray tombstone in the corner, its usual rotating cast of hologram performers sleeping inside. I can hear their neural nets circling around inside the pattern buffer like teeth rolling around in a sink—clink, clink.

There are two Dollies at the bar, one standing, one sitting. The sitting one holds a gun in his hand while the standing one watches the door. He taps his friend on the shoulder when he sees me come in. They both turn to me, identical twins in black suits and fedoras—ancient stereotypes of G-men, built by an architect fed on secondhand pop-culture and sugary cartoons. Their cycloptic red camera-eyes rotate and whir in their silver-plated faces, staring me down. Maybe a little kid would be spooked.

The bar stands between them and Sinbad himself, a big man—even bigger than me—with a penchant for e-cigs and a tragic allergy to sleeved shirts. He leans against the counter and twiddles his thumbs nervously, eyes darting back and forth between me and the gun, clearly wishing he could be somewhere else.

“Evening,” I say to him, lowering my sunglasses as I approach the bar.

“Don’t ‘good evening’ me, Roja,” he says. He’s got a soft voice for such a big man.

“Didn’t say it was good.” I tuck my sunglasses into my jacket pocket, looking the Dollies in the eye. The spikes on my shoulders bristle like cat hairs.

“I told you to leave me out of this shit,” Sinbad says, ignoring my correction. “Your business is bad for my business. In case you hadn’t noticed, the place is dead as my bastard first husband. Not even the most strapped-for-cash dance-floor Sally wants a Silver Dollar in their pocket.”

“You know,” I say, flipping him a folded-up wad of bills, “I could really go for some cheese fries. How about you fellas, you want anything? I’ve got the cash.”

They don’t answer, but they do let Sinbad go. He grabs the cash and hustles off into the kitchen. That man’s got reason to fear the Dollies—hell, maybe I do too—but fear is a useful thing. It’s the most efficient fuel on this whole bombed-out turd of a planet—perhaps second only to cheese fries. Hell’s bells, I want those cheese fries.

“Physical currency is contraband, Ms. Valdez,” says one of the Dollies.

“Contraband these nuts.”

“We’ll see who’s making jokes when the Banker’s got your guts for garters,” says the other, the sitting one. He’s got the gun, and he definitely talks like it. I pretend to mull this concept over for a moment while inspecting my fingernails. The paint on my left pinky is chipped. I make a mental note to pick up some nail polish on the way home. Something red, maybe. I’m feeling red.

“That would be a considerable waste of my market value,” I eventually respond. “And I didn’t even think the Banker had legs.”

The sitting Dolly doesn’t answer for a little too long. “I told you not to make jokes, Daryl,” says his friend.

“This is no joke,” Daryl says. “Your payment plan has expired, and you’ve defaulted on your loans. It’s time for repossession.”

“You want it?” I ask. “Come take it. It clashes with my eyes anyway.”

“You think we’re stupid?” Daryl asks.

“I think you’re built to absolute minimum standards to save time and money. I think those brains in your shiny little heads were culled from the lowest till-jockeys the Banker could scrape out of his vault. In short, yes—I think you’re stupid.”

I can’t help but crack a smile. Disrespect tweaks the Dollies—tugs at some sinew strung up in their last vestiges of humanity. They think they deserve respect just because the Banker bumped up their credit scores in exchange for turning them into pickled heads. And when they don’t get it, they start boiling in their own brine.

I can almost see the steam coming out of the Dolly’s metal ears. He gets up slowly from the bar, keeping one hand on his gun. His friend looks on.

“I’ve had just about enough of this,” he says. “You messed with the wrong Silver Dollar.”

He lifts the gun and fires. The sound of the gunshot hangs in the air.

Through the window to the kitchen, I see Sinbad peek up.

My jacket is holding the bullet.

“The buck stops here,” I say.

He shoots again, but it’s no use. My jacket explodes into a roiling storm of tendrils and spikes, shredding the air in a swirl of brambles and thorns. They split and spiral, snatching bullets out of the air as they crawl slowly towards me—like the other kind of slug—chug, chug. The Dolly moves in slow motion, hands sliding back as the gun recoils, lifting into the air, dropping the gun and letting it glide down to the floor as tendrils slither towards it and wrap around the grip and trigger and barrel, stripping it down to its base metals and plastics and shredding them like cheese before slurping them up into its hungry, hungry self.

Finally, we all blink.

I’m still standing. The gun is gone. The Dolly is gone. In the place where he stood is a hairless, wrinkled head, lying on the floor in a puddle of brine, wearing only a pair of aviator shades.

The other Dolly steps over him and walks out of the bar.

“Hey,” Daryl says as his friend walks away. “Hey! You just gonna leave me here?”

“Some fairweather friend, huh, prune-boy?” I walk over and look down at him. He looks so puny on the floor. My jacket’s buttons rumble with hunger, but I tug the sides together across my chest, and its spikes jangle with acquiescence.

“That’s ours,” Daryl says, his voice quavering. “You got no right to do this.”

Is it a trick of the light, or do I see a little bit of sweat under that prune juice?

Sinbad comes out of the kitchen, a big platter of cheese fries balanced on one hand. “Is it over?” he asks. “And equally important question: Are you still hungry?”

“Of course,” I say, watching him set the fries on the counter. “But my friend’s pretty stuffed.”

The leather constricts around me, putting gentle pressure on my shoulders, tapping me for attention—“Please, miss, can I have a turn to speak?”

“Pretty stuffed,” I repeat. “If only I had someone to share this with.”

I look down at Daryl, still lying on the floor.

"Hey, no,” he says as I pick him up. “No, I—hey. Put me down.”

"You hungry, Daryl?” I ask him, setting him on top of the bar on his cauterized neck-stump.

“I don’t have a stomach.”

“Fantastic,” I say. “You’ve got no stomach to fill. You can eat as many cheese fries as you want. I envy you, really.”

“Turn yourself in to the Banker. He’ll take out your stomach.”

I grab a fry and stick it in my mouth. Not enough cheese on that one. “Credit score’s not good enough,” I say.

He regards me, then the fries, then me again. “We’ll get you eventually,” he says. “Crime doesn’t pay.”

“It pays for cheese fries.” I grab one and shove it into Daryl’s mouth. I watch him chew on it, then take one of my own. This one has the perfect amount of cheese. It melts onto my tongue—an ambrosia of success, liquid orange freedom, the sun shining in my mouth for another day. Not that the two of us would have it any other way.

Daryl swallows his fry. I don’t know where it goes.

“You know,” he says, “These are actually pretty good.”

“Yep,” I say. “Sinbad’s the best bar in town for a reason.”

“Can I have another one?”

“No.”

#fiction #post-apocalyptic #sci-fi #short fiction #Irene Vallone

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internationalwrestlingnews · 4 years ago

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#WWE Eva Marie hizo su regreso a WWE correctamente en junio en RAW, después de vignette de Eva-lution durante mucho tiempo. Desde entonces, se ha convertido en un pilar de la marca roja todas las semanas. También quiere manejar a Brock Lesnar en la empresa. Eva Marie se asoció con Doudrop desde que regresó a la empresa y la historia ya ha dado algunos giros y vueltas interesantes. Mientras hablaba en Oral Sessions con Renee Paquette, Eva Marie habló sobre su regreso a WWE. Marie afirmó que Vince McMahon se acercó personalmente a ella a través de correos electrónicos y finalmente regresó. "Tuve una conversación con Vince a través de correos electrónicos", dijo Eva Marie. “Así que así fue como empezó. Siempre manteniéndome en contacto por correo electrónico de las cosas que estaba haciendo fuera de WWE, asegurándome de que él fuera plenamente consciente de que "Eva Marie estaba lista y dispuesta a volver, cuando lo creara". Y esa puerta estaba abierta por mi parte. También es una de esas cosas en las que si quieres algo, pídelo. O ve a buscarlo. Y asegúrese de que otra persona lo sepa para que no se cierre por completo. Qué es lo peor que puede pasar? Estás en la posición anterior, en la que estabas originalmente ". Eva Marie también declaró anteriormente que los fanáticos no tienen idea de hacia dónde se dirige su historia actual con Doudrop. Tendremos que esperar y ver cómo avanza la historia, ya que Eva Marie está feliz de estar de regreso en WWE. https://www.instagram.com/p/CTNJWIJgJbz/?utm_medium=tumblr

#wwe

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ao3feed-dctvfemslash · 5 years ago

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if there is a right time, darling, well, it's never been now

read it on the AO3 at https://ift.tt/3bH9rhJ

by whythinktoomuch

A sorta love story told in a series of sorta vignettes.

a.k.a. how Kara Danvers spent Valentine's Day for the past 5 years

Words: 2634, Chapters: 1/1, Language: English

Fandoms: Supergirl (TV 2015)

Rating: General Audiences

Warnings: Creator Chose Not To Use Archive Warnings

Categories: F/F

Characters: Siobhan Smythe, Andrea Rojas

Relationships: Kara Danvers/Lena Luthor

read it on the AO3 at https://ift.tt/3bH9rhJ

#lena luthor x kara danvers #supercorp #supergirl femslash #kara danvers #lena luthor

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pjrbfumonegliocchi · 8 years ago

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Recensione critica di Puca Jeronimo Rojas Beccaglia Titolo: Fun / More Fun Autore: Paolo Bacilieri Editore: Coconino Press - Fandango Caratteristiche Fun: 144 pagine B/N + colori, 17 X 24 cm, brossurato, 18.00 €. Caratteristiche More Fun: 160 pagine B/N + colori, 17 X 24 cm, brossurato, 19.00 €.

Sabato 8 Aprile ho passato una giornata con Paolo Bacilieri, abbiamo presentato il suo ultimo lavoro, il dittico Fun/More Fun, edito da Coconino Press – Fandango, al circolo Arci Cosmonauta di Viterbo all’interno della manifestazione Librimmaginari.

Due i personaggi principali: Zeno Porno (sempre lui!): autore Disney ed ex agente della CIA, eroe un poco bislacco “anche” alter ego dell’autore. Pippo Quester (scrittore con il faccione di Umberto Eco): mentore di Zeno alle prese con la gestazione di un libro. Il fumetto si struttura inTREcciando tre filoni narrativi. Uno ambientato nella Milano contemporanea dove Zeno Porno conosce Pippo Quester che sta scrivendo la storia del cruciverba e di coloro i quali hanno prestato intelligenza, sensibilità e intuizioni nella produzione e nell’evoluzione del gioco. I due si ritroveranno coinvolti in un giallo dove una ragazza (Mafalda) sembra praticare l’arte della menzogna alla perfezione e avere molto da nascondere. Questa dimensione narrativa (la fiction) fornisce a Bacilieri il pretesto per fare un excursus all’interno della storia (poco conosciuta) di uno dei giochi enigmistici più famosi al mondo. Drammaturgia e storiografia corrono parallelamente e si supportano a vicenda. Il terzo elemento che viene inserito consta di storie brevi a colori (con allusioni all’estetica de “La Settimana Enigmistica”) senza un ruolo narrativo specifico ma che arricchiscono la lettura con improvvise divagazioni ammiccando alla struttura del cruciverba, al modo in cui le parole s’incrociano senza evidenziare necessariamente dei nessi logici. Una pubblicazione di storie brevi (che riuniva materiale in parte già pubblicato) è il progetto di libro che l’autore stava preparando quando Stefano Bartezzaghi, figlio di Piero (famoso enigmista) e fratello minore di Alessandro (condirettore de La Settimana Enigmistica), gli suggerisce l’idea di un fumetto sulla storia del cruciverba. Stefano ha scritto “L’orizzonte verticale”, libro edito da Einaudi sull’invenzione e la storia del cruciverba e Bacilieri, dopo averlo letto si entusiasma dell’idea. In questo meccanismo di suggestione credo stia il volano dell’opera. Perché fare una storiografia a fumetti se questa è appena stata fatta nella più “consueta letteratura”? Dov’è la necessità poetica? Perché inserire una fiction palesemente ispirata (anche) ai fatti che hanno scaturito l’inizio del progetto? Perché costruire un giallo a partire da un pretesto? Perché non rinviare il progetto delle storie brevi invece d’inserirle quasi per forza? Credo che Bacilieri abbia intravisto una opportunità per sé stesso e per il medium. Il fumetto in quanto tale, la sua specificità, il suo potenziale, è il valore aggiunto del progetto. La narrazione storiografica di Bartezzaghi e i fatti storici noti vengono integrati (in molti sensi e in molte direzioni). L’autore sembra dirci “Ho voluto raccontare a fumetti la vicenda (sotto mentite spoglie) di come e perché ho deciso di fare un fumetto storiografico e di come strada facendo ci sia finito dentro molto altro trasformando il libro in una sorta di panino farcito”. La vita entra dalla porta principale mischiandosi all’immaginazione. Le dimensioni si sovrappongono, convivono, e questa è prerogativa dei comics. Chiaramente Bacilieri racconta anche la storiografia di Quester/Bartezzaghi perché la tesi è che Pippo Quester (il cui nome è preso da un racconto di Thomas Mann) sta a Stefano Bartezzaghi come Zeno Porno sta a Paolo Bacilieri. Nella fiction Pippo sta raccogliendo materiale per scrivere il libro che Stefano ha nella realtà già scritto. Zeno Porno ascolta gli aneddoti che finiranno nel libro e così realizza quel percorso di conoscenza che Bacilieri ha fatto per realizzare il fumetto e che il lettore farà leggendolo. Si fortifica così il (fondamentale) sodalizio fra personaggio, autore e lettore perché identico è il sentiero cognitivo, svolto i tre tempi diversi tutti presenti dentro le pagine del libro. Questo coagulo di dimensioni rende l’opera potente, la eleva al cubo. Le lunghezze d’onda di sceneggiatura, produzione e fruizione finiscono per entrare in fase determinando quel valore aggiunto al sistema che è poi l’energia potenziale dell’opera.

Il dittico Fun/More fun è quindi la dimostrazione di come il fumetto racconti altro (e in modo diverso) e che alcune narrazioni rendono bene solo come successione di vignette. D’altronde, specie se d’autore, il fumetto interagisce spesso con le circostanze reali facendole “entrare” nella narrazione. In questi continui giochi di sovrapposizioni è divertente riconoscere Tanino Liberatore o Giorgio De Chirico che prestano i loro volti a dei personaggi. Oppure individuare riferimenti ad altri fumetti di Bacilieri (Weneto). Molti i nessi fra cruciverba e fumetti. Entrambi “ospiti” di testate giornalistiche simili. Entrambi figli della stessa epoca, hanno risposto alle stesse necessità (l’intrattenimento moderno) in modo intelligente e divertente, tanto che dopo più di un secolo godono entrambi di ottima salute. Ma l’aspetto che sembra aver suggestionato l’autore più di ogni altro è quello che riguarda la griglia. Oltre ad un rapporto privilegiato con la parola che completa il senso dell’impianto grafico, fumetto e cruciverba hanno in comune il progetto basato sulla geometria. Vignette e caselle, tavole e cruciverba, il bianco e il nero. La matita. Questo parallelismo porta inevitabilmente all’architettura come forma espressiva progettuale per antonomasia. Ma il fecondo rapporto dialettico fra fumetto e architettura è già patrimonio del linguaggio a fumetti e Bacilieri pare saperlo bene. L’architettura intesa come ricostruzione storica, ambientazione, proscenio, scenografia dentro cui far svolgere l’azione, sviluppare una drammaturgia, far vivere personaggi e metterci dentro delle storie. Ma anche come forma d’arte d’elezione per farsi ispirare nella costruzione grafica di una tavola. La piantina o il prospetto di un palazzo non sembrano una pagina a fumetti? Le stanze o le finestre non sono (quasi) vignette? Bacilieri, autore colto e maturo, raccoglie la “sfida” di Bartezzaghi sapendo cosa, come e quanto il linguaggio a fumetti sia in grado di dare. Intuisce che può raccontare la sfida stessa, “rappresentare” gli aspetti storiografici e “raccontare” quelli grafici. Arricchire l’esposizione dei fatti con invenzioni (im)pertinenti. Divagare sul tema in modo (apparentemente) gratuito. Rivolgersi all’architettura per produrre il concept grafico dell’opera e al tempo stesso ambientare storia e cronaca. L’opera inizia e finisce con una serie di tavole che raccontano tutto senza dirlo. 11 tavole di “preludio” e 6 di “titoli di coda” in cui il disegno delle architetture, delle griglie grafiche dei fumetti e dei cruciverba si susseguono senza soluzione di continuità in una sublimazione estetica che dal realismo porta all’astrazione geometrica e viceversa. Un dittico imperdibile, un lavoro colto ed elegante, che racconta in modo un poco barocco una favola razionalistica.

3 domande all’autore

Puca Jeronimo Rojas Beccaglia- Cosa è stato determinante nella scelta di fare Fun/More Fun? Paolo Bacilieri- Leggere il libro di Bartezzaghi, credo, “L’Orizzonte verticale”. Vi ho trovato dentro un sacco di personaggi straordinari che chiedevano a gran voce di essere disegnati, raccontati a fumetti. Da me.

PJRB- Il tuo è un fumetto “intelligente” senza essere pesante. È una intenzionalità poetica o le cose hanno assunto una loro dimensione a prescindere? PB- Lo spero. Ho preso senza dubbio qualche rischio con questo progetto, quando potevo semplicemente limitarmi all’aspetto storico, ho inserito delle storielle, di poche pagine ciascuna, a colori, e una vicenda contemporanea, con Zeno e Pippo Quester. L’ho fatto a ragion veduta, mi sembrava giusto, eticamente, esteticamente, ma soprattutto emotivamente.

PJRB- Il doppio finale lascia alcuni dubbi su quale sia la verità. In entrambi i casi abbiamo un personaggio che si squalifica. Sei stato un poco cattivo o sbaglio? PB- Mah, non troppo, spero, io tutto sommato voglio bene ai miei personaggi. Però il fatto di lasciare dubbi, di aprire voragini, invece di chiudere tutto, è voluto. Perché la cosa bella sia dei fumetti che del cruciverba è il prima, quelle vicende che ci tengono con il fiato sospeso, le vignette della pagina successiva, quelle caselle bianche da riempire, le definizioni che ci risultano misteriose, ignote. Il dopo, quando tutto è risolto, è meno interessante, n’est pas, Puca? PJRB- Oui mon ami et Umberto Eco serait d’accord...

Recensioni critiche di libri editi da Coconino Press – Fandango

“Quaderni giapponesi” di Igort https://goo.gl/FgJKtG “Renè Tardi prigioniero di guerra allo Stalag II B” di Tardi https://goo.gl/eKKYHx “Oceania Boulevard” di Marco Galli https://goo.gl/aAvl4U “Nella camera del cuore si nasconde un elefante” di Marco Galli https://goo.gl/3Arhro “L'intervista” di Manuele Fior https://goo.gl/n44KvW “Il fotografo” di Guibert, Lefèvre, Lemercier https://goo.gl/MO3zki “L’arrabbiato” di Baru https://goo.gl/qs8VIn “Maus” Art Spiegelman https://goo.gl/qdh38s “Polsi sottili” di Giorgio Carpinteri https://goo.gl/1Vyua8 “unastoria” di Gipi https://goo.gl/nQOrcW “Questa è la stanza” di Gipi https://goo.gl/BB08Xn “Le straordinarie avventure di Penthotal” di Andrea Pazienza https://goo.gl/0HM97 “Zanardi. La vecchiezza è una Roma, senza burle e senza ciance, che non prove esige dall’attore ma una completa, autentica rovina” (Zanardi 2 1984-1988) di Andrea Pazienza http://on.fb.me/1lqaeYP “Zanardi. Calze annodate cravatazze e defi” (Zanardi 2 1984-1988) di Andrea Pazienza “http://on.fb.me/1lqaRlm “Il ladro di libri” di Alessandro Tota e Pierre Van Hove http://on.fb.me/1QkBGV2 “Poor Sailor” (Golem Stories) di Sammy Harkham http://on.fb.me/1Rxqo0L

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ladyforallseasons · 8 years ago

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More Summer vignettes starting with the 4th of July! - Met Rooftop Show, The Theater of Disappearance by Adrián Villar Rojas - Chuck Close tile images at the 86th Street Subway - Chinatown - Roaming Gowanus, Brooklyn

#summerinthecity #summer

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nofomoartworld · 8 years ago

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Art F City: This Week’s Must-See Art Events: Arctic Performances and Rooftop Sculptures

This is a bit of a slow week in New York’s art world. That’s a good thing, because everyone will need their energy for our goth party next week.

Nevertheless, we managed to track down at least one art outing per day that looks promising. Tuesday, Wong Kit Yi is closing her show of Arctic-specific performance documentation at P [exclamation]. Karaoke is rumored to be involved. Wednesday, Hercules Art Studio Program is opening a show about painting and the body that couldn’t feel more relevant to contemporary discourse. Thursday, we found a subversive performance night at Ridgewood’s The Woods, and Friday we’re looking forward to checking out Adrián Villar Rojas’s rooftop installation at the Met. This weekend MoMA opens the must-see Making Space: Women Artists and Postwar Abstraction, and the Queens Museum will host a Sunday book launch of election-woe poetry.

Remember: rest up. You’ll need that energy for dancing.

Tue

P [exclamation]

334 Broome New York, NY 6:00 p.m. - 8:00 p.m. Website

Wong Kit Yi: Futures, Again Closing Reception

Two years ago, Wong Kit Yi offered collectors the chance to commission performances ahead of a residency in the Arctic. Now, the results of that process are on view for the first time. The show comprises seven photographs documenting the commissioned works alongside ephemera from the Arctic trip. The show closes Tuesday night, “with a chance of Karaoke”.

Wed

SVA Amphitheater |

209 East 23rd Street New York, NY 1:15 p.m. - 2:30 p.m.Website

The Building Toy Project

The Building Toy Project (Lucie Meichun Cai, Ke Hu, and Yujia Liu) asks us to reconsider the idea of architecture as a static space. With the advent of augmented reality and VR, it won’t be for long.

The team has designed a series of interactive virtual spaces that invite viewers to manipulate the architecture. It looks like the future is going to be a lot more playful.

Hercules Art Studio Program

25 Park Place New York, NY 6:00 p.m. - 9:00 p.m.Website

We The Watchers Are Also Bodies

This show, from curator Natasha Marie Llorens, is organized around assumptions about painting’s relationship to the body. Namely, that paying attention is one of the tentpole phenomena of the medium. And importantly, “politics that disavow the body are vicious.”

It’s the kind of topic I’m tempted to describe as timely, given the discourse surrounding the Whitney Biennial and issues of representation. But maybe it’s a topic that’s timeless? De Kooning said “Flesh was the reason oil paint was invented” way back in 1974, after all.

I’m not familiar with all the artists in the show, but it does seem the curator made smart choices. Eric Mack’s visceral paintings on fabric, for example, conjure a number of bodily associations—some seem to suggest care or an act of violence alternately, while others could allude to nomadic architecture and the idea of “shelter”.

Artists: Sophie Grant, Maryam Hoseini, Eric Mack, RJ Messineo, Sophy Naess, Jennifer Packer, Rit Premnath, Em Rooney

Thu

Andrew Kreps Gallery

537 W 22nd Street New York, NY 6:00 p.m. - 8:00 p.m. Website

Kevin Jerome Everson: Century

Kevin Jerome Everson’s thoughtful short films are informed by documentaries, identity politics, and formalist filmmaking, but manage to feel like something totally apart from all of the above. Some of the works play with narrative, combining real and imagined (or exaggerated) vignettes from the lives of working class African Americans. Another follows cars manufactured in the artist’s Ohio hometown decades ago as they make their way to be crushed in a junkyard.

The Woods

1826 Palmetto Queens, NY 7:30 p.m. - 12:00 a.m.Website

KarnaL KriminaLz [fujeetiv fleshh]

Every once and a while, we get invited to an event with a roster of artists we don’t (yet) know in a place we’ve never heard of, but we feel like we have to go. This is one of those nights. How can we pass up something called “Ghost Piss”? Ridgewood art space The Woods, in conjunction with curators Wild Embeddings and Pulsar, is hosting a night of performance art that sounds wonderful and weird.

From the listing: “Ulay said there is ‘a criminal touch to art’. Given today’s fascist phenomenons, what does it mean to approach one’s creative output with this sense of criminality — whether in attitude or imposed embodiment? Shall we not all become delinquents together…disobedient?”

Artists: Hector Canonge, Verónica Peña, Spitline, STITSR, Lion Ayodele, Tracy Fenix, Caitlin Baucom, Quinn Dukes, Ilse Lansdale, Nip Slip, Ghost Piss

$10 Suggested Donation

Fri

The Met

1000 Fifth Ave. New York, NY 10:00 a.m. - 5:30 p.m. Website

The Roof Garden Commission: Adrián Villar Rojas

Spring is in the air, which means it’s time to take advantage of outdoor art stuff.

Arguably the most promising outdoor artwork this year is Adrián Villar Rojas’s new installation on the Met’s roof. The Argentine artist, who often works in concrete, is creating a series of large-scale sculptures that are inspired by the Met’s permanent collection. (The above image is from a previous commission). We can’t wait to see this one.

Sat

MoMA

11 West 53rd Street New York, NY 10:30 a.m. - 5:30 p.m.Website

Making Space: Women Artists and Postwar Abstraction

Thank the gods (and curators Starr Figura, Sarah Hermanson Meister, and Hillary Reder) for this show. One of our biggest pet peeves at AFC is the art world’s bizarre tendency to label abstraction a man’s game (and therefor, usually, irrelevant). Women have been making abstract work forever, and hopefully a high-profile exhibition at one of the world’s leading art museums will set the record straight. The artists here are some of the biggest names in 20th century art, and it goes without saying this will be one of the year’s must-see shows.

Lee Krasner, Helen Frankenthaler, Joan Mitchell, Lygia Clark, Lygia Pape, and Gego, Agnes Martin, Anne Truitt, Jo Baer, Magdalena Abakanowicz, Sheila Hicks, Lenore Tawney, ee Bontecou, Louise Bourgeois, Eva Hesse, Anne Ryan, Gertrudes Altschul, Ruth Asawa, Carol Rama, and Alma Woodsey Thomas

Field Projects

526 West 26 street New York, NY 1:30 p.m. - 4:00 p.m.Website

Make or Take: A Poster for March for Science workshop

The upcoming March for Science (April 22nd, Earth Day) is arguably one of the most important fronts in the battle against the Trump administration. Pretty much: if science goes unfunded and ignored, all other issues will be moot because we’ll be dead from global warming or an asteroid strike anyway.

So join artist/curator Karen Lederer to make signs for the march. All materials will be provided. This is part of her exhibition HANDS ON, which will be on view until April 29th.

Sun

Queens Museum

New York City Building Flushing Meadows Corona Park 3:00 p.m. - 6:00 p.m. Website

Book Launch & Readings: Resist Much / Obey Little

The day after the election, Michael Boughn and Kent Johnson decided to compile a collection of poetry. Months later, this is the result. Featuring work from 350 poets across 740 pages, this might be the post-inauguration therapy you need. The launch features readings and an opportunity for book signing. Half of the proceeds from book sales are going to Planned Parenthood.

Reading: Bruce Andrews, Rosebud Ben-Oni, Katy Bohinc, Charles Borkhuis, Lee Ann Brown, Xanath Caraza, Ruth Danon, Lynne DeSilva-Johnson, Andrew DuBois, Lisa Freedman, William Joseph Freind, Philip Fried, Quintus Havis, Bob Holman, Darrel Alejandro Holnes, Brenda Iijima, Judith Johnson, Vincent Katz, Burt Kimmelman, Robert Kocik, Ron Kolm, Andrew Levy, Susan Lewis, Eileen Myles, Murat Nemet-Nejat, Nita Noveno, Julie Patton, Ilka Scobie, Larissa Shmailo, KC Trommer, Matt Turner, Joshua Weiner, Don Wellman, Suzanne Wise, Jeffrey Cyphers Wright, Anton Yakovlev

from Art F City http://ift.tt/2p4QJsb via IFTTT

#IFTTT #Art F City

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