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bookofmirth · 3 years

Note

The english side of me REALLY jumped out with this one lol

Possessiveness, jealousy, and overprotectiveness are staples of the romance genre, especially when it comes to paranormal romances, so much so that it’s expected for people to overlook the problematic aspects of possessiveness, jealousy, and overprotectiveness because these concepts in the romance genre are meant to be viewed not only as hot and sexy, but indicators of love and showing that the person cares. Despite their tendency to fall in the yellow flag zone, these concepts are meant to further the romance itself. And when you begin to question these concepts as they appear in different romances, there’s almost always pushback with people saying the books are “just fiction”. But what happens when there’s evidence that shows why these three concepts aren’t always healthy or hot/sexy in a romantic pairing? What happens when the narrative is using these concepts to show how they can be detrimental to a character and those romantically associated with that character?

Possessiveness/Overprotectiveness

In romances, it’s always in the man’s nature to be possessive and overprotective. These two concepts are usually used to show that a character is protective of their partner and we see that happen with almost all of SJM’s endgame ships, but they’re almost always portrayed as good/healthy because of the equal partnership that is present in those relationships. Thinking about acotar, a relationship where possessiveness and overprotectiveness were depicted in a negative light was between Feyre and Tamlin. Their relationship was imbalance and Tamlin’s possessiveness/overprotectiveness of Feyre stood out in the barriers he placed on Feyre when they were together: not letting her leave the house/keeping her in the house; saying everything is for her “protection”; only letting her talk to Alis and Lucien/limiting her interactions with others; telling Lucien to back off from Feyre because Tamlin saw him as a threat and that she could fall for him instead; having Feyre be dependent on him by not teaching her how to fight/learn how to use her powers; controlling every aspect of Feyre’s life at the beginning of acomaf; among other things.

Males in acotar feel an intrinsic sense of entitlement to their mate and are described as being protective and possessive over their mates. When people say that A is exhibiting “mate behavior” towards E, obviously there is a positive connotation associated with that phrase because of how the males act around their mate. But the thing is A isn’t E’s mate. A’s possessiveness of E is treading on the waters of Tamlin-ville because: A speaks for E, which is oddly similar to what some of E’s stans do in fandom discussions (as if E herself reached out of the book to personally tell them things that no one else knows); he makes it known that E shouldn’t help with the Dread Trove, which is an example of A attempting to limit what E does; and he subtly expresses a sense of entitlement over E in the bonus chapter during his conversation with Rhys when he questions if the Cauldron was wrong in pairing E with Lucien. A’s “mate behavior” is completely different from Rhys and Cassian because Rhys and Cassian are canonically mated to Feyre and Nesta, which plays a role in how they act towards them. Also, neither of them attempt to limit what Feyre and Nesta do even if they worry about their safety. To say that A is exhibiting “mate behavior” towards E would have the same effect as saying Tamlin was exhibiting “mate behavior” towards Feyre. I think that the reason A’s actions towards E are described as mate-like is because thinking otherwise calls his actions into question. I assume some people aren’t ready for that conversation because he’s been portrayed as the sad bat boy in the fandom for so long that it’s probably hard for people to come to terms with this not being the case.

When people say A being overprotective of E is similar to Rhys and Cassian being overprotective of Feyre and Nesta, the comparison becomes incomparable because A is overprotective of E to the point where he goes against what E wants to do (E stating she wanted to help find the dread trove, a scene in which A was present and later A said E shouldn’t be exposed to its innate darkness), while Rhys and Cassian know Feyre and Nesta are capable of fending for themselves in dangerous situations. It’s just ironic that A’s overprotectiveness in this moment contradicts E’s “choice” of wanting to help, yet I don’t see that being mentioned in those “choice” arguments.

Jealousy

Jealousy in the romance genre is always meant to further the romance between the love interests and we see that happen with rowaelin and chaorene (and probably other SJM ships too). But when the jealousy and the romance are disconnected from each other, that’s meant to show something about the character who is jealous and what they’re jealous of. On the second page of the bonus chapter, it’s established that A is envious of Cassian and Rhys and that the reason he remained downstairs by the fire was so that he didn’t get swallowed up by his jealousy in his room. Then on the third page, it’s revealed that the reason he stayed by the door at Solstice was because “he couldn’t stand the sight of it, the scent of their mating bond, and needed to have the option of leaving if it became too much”. There is a blatant reimagining happening with A’s bonus chapter to make it seem as though his jealousy is romantically coded when the jealousy has nothing to do with his relationship with E and more to do with him. This reimagining has to be a case of people seeing what they want to see because I highly doubt people are out here failing literature class.

The Romance Genre & SJM

A and E’s interaction in the bonus chapter is frequently compared to Wings and Embers. The only similarity between these two chapters is the sexual undertones, which is part of the reason why I think people compare them in the first place because everything else (the structure of the chapters, their contents, and the amount of characters involved in them) is different. I think people are hiding behind the sexual undertones of the bonus chapter in hopes that it somehow overshadows not only the oddness of A’s interaction with E, but the ending of the bonus chapter as well. And even more than that, A giving away the necklace is compared to Cassian tossing Nesta’s present in the Sidra. Since A is able to give the necklace away that should tell you about the significance of the necklace’s connection to E herself (if A can easily give it away to the next person on the street) whereas Cassian regifting Nesta’s present would probably be meaningless to someone else because it was Nesta specific.

We know that acotar is more romance heavy compared to tog and cc so I can see why people lean more on the conventions of the romance genre as a basis for their arguments. And this is fueled by SJM saying this new trilogy will have one couple per book. However, the downfall of these arguments is that oftentimes the plot, narrative structure of this new trilogy in particular, and individual character progressions are secondary or afterthoughts to the romance they support. These arguments lack any real substance because acotar has proved time and time again that both the romance AND the plot work in tandem, going against the broad strokes of the romance genre formula where the romance is primarily in the spotlight.

Basically, why do you think A’s possessiveness, jealousy, and overprotectiveness of E is romanticized? Why do you think A and E’s dynamic is constantly compared to feysand and nessian? And why do you think people take issue with A being compared to Tamlin?

I think that the reason A’s actions towards E are described as mate-like is because thinking otherwise calls his actions into question.

THIS

I hate the whole discussion of "mate behavior" because the series doesn't even explain that very well. Rhys can't explain why people are mated, if it's for reproduction or being "equals" (in what sense, who knows), the courts all handle acceptance/rejection differently, the consequences of rejection are unclear and make it seem like the woman is beholden to accept on pain of... causing someone else pain.

I agree 100% that people (maybe unconsciously) try to ascribe "mate behavior" to Azriel in order to excuse what would ordinarily be inexcusable. He doesn't have some magical thing making him act this way. Neither did Tamlin, and we know how people view his behavior. And that's another thing with "mate behavior" and the bond. Why would Tamlin and Feyre not be mates, if all it took were these extreme possessive and protective behaviors? Why aren't Az and Mor mates?

And it's not even about Elain! Az acts like this with Mor, and we know there isn't a mating bond there. Azriel has zero reason to behave the way that he does, not in the same way that the mating bond gives Rhys and Cassian an "excuse", flimsy as it is, for the way that they act around Nesta and Feyre. Even that excuse is crap, because we have Rhys out here leaving Feyre's abusive ex alone, and then we have Lucien doing the same with Graysen. The definition of "mate behavior" that some of the fandom is working with... is sus.

The fact is that no matter how "overprotective" and possessive Rhys and Cassian were, they never prevented Nesta or Feyre from doing what they wanted. They might have gotten their hackles up, but then they backed off. Rhys sent Feyre into the Weaver's cottage. Nesta went to war. There is a balance between caring deeply and passionately for these women, and recognizing them as individuals whose autonomy should be respected.

The jealousy is 100% not about Elain. It's not about Elain being with Lucien. It's not about Mor, because we know that it's not really about Mor sleeping with Helion. Azriel has 99 problems, and 98.5 of them are about his childhood and his loneliness. The other 0.5 problem comes in the shape of a snowball.

The only similarity between these two chapters is the sexual undertones

You know I haven't done a full blown comparison between these chapters, but I'd agree. The entire Wings and Embers short was about Nesta and Cassian. There were no other characters and they learned a great deal about one another. What did Elain and Az learn about one another as people in the first third of his POV? Nothing. There was no tension between them other than sexual. Cassian thought Nesta's name over and over, thought about her as a person and her personality and how she made him feel. Azriel literally only thinks about fucking Elain. There is nothing wrong with fucking, obviously, but that's not love. (Maybe I should fully compare them idk.)

It's when we look at everything he doesn't say in conjunction with how he treats Elain and Mor in other scenarios... that's troubling. People can misread our 😬 at his behavior all they want, but the fact is that Az didn't have a single kind, original thought about who Elain is. His POV gave us zero extra insight into who Elain is as a person, which is... startling, if we are supposed to think that they know one another so incredibly well and have such intense feelings for each other. Why would we not get additional insight into her character? We get a lot of insight into Az's character for sure. But following his POV, if he loves and knows this woman so well, we should feel that. We should know why he loves her, what he knows about her, we should... just get some more damn insight into her character, if we are in the POV of someone who supposedly knows her so well!!!!

You know it's funny though, because the Az and Elain interaction in his POV mirrors when Nesta imagined a threesome with Az and Cassian. Close, and potentially pretty hot, but it never really happened because then it would mess up sjm's plans for the future.

Okay now to your ACTUAL questions haha and not just my reactions to what you said.

I agree that romanticizing Azriel's behaviors is the better option for people who ship it because otherwise the alternative is to accept them for what they are, which is not about Elain at all. Az has an even longer history of being all "mate behavior" on Mor, but no one thinks that's odd? I think that some people pick and choose their evidence, which is a big reason why I keep shoving Mor into these conversations. If the "mate behavior" argument was genuine and had a solid foundation, then the people making these claims would still ship moriel.

The whole thing with Az and Tamlin comparisons.... oh boy. I think there is a lot there.

I think that people don't want to see Az as anything less than perfect sad boi that Elain can fix with her love.

I think that people have a difficult time seeing emotional abuse IRL, to the point where even people who experience it directly struggle to come to terms with it, so why would we willingly embrace its presence in fiction? It also flirts with a lot of the ideas you mentioned being present in a lot of romance, though I'd argue a lot of those elements are becoming passé.

I think that Tamlin is Fandom Enemy Number One while Azriel is Self-insert Book Boyfriend Number One, and maybe people don't know how to reconcile those things. (This is quite literally true, I checked AO3 for reader fanfics and compared numbers between the bat boys, Az/reader fics win by a landslide.)

There also seems to be a refusal to see or accept nuance. I'm not even talking about moral complexity because I don't think that either Tamlin or Az intend to behave the way they do. They aren't villains. It just reminds me of people who somehow don't think Nesta was absolutely horrible through much of the series, even though a huge focus of her arc in acosf was coming to terms with how she had treated people. Anyway...

People see "gwynriel shipper" or "elucien 💕" in a bio and just dismiss arguments before trying to understand them

People try to justify their actions of their faves, which I understand!

People don't understand how subtle emotional abuse can be, and how there doesn't have to be clear intention.

I still plan on pulling out evidence from the book about times when their behaviors mirror one another. But it's like I've said for months - Tamlin is a cautionary tale. I don't think Azriel will go that far, but the foundation is there. The fact that acotar/acomaf was so, so explicit about how Tamlin's behavior was not okay, and yet people can see that same behavior in another character one book later and want to try to excuse it... sigh. Way to miss the point, fandom.

#the brielle tag #ask #not even gonna tag these characters #my stalkers will love this post though #💋#antielriel

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gr-ogu · 4 years

Photo

Hello! As requested, here is a tutorial on how I make my gifs. I would like to preface this by saying there are many ways to make gifs, and there’s no right or wrong answer imo. This is just how I personally go about doing so!

I will be using PS CC 2017, but as long as you have the video timeline option, it shouldn’t matter too much; on any version of PS, you should be able to adapt anything I mention here! You will also need some kind of screen recording software. I’ll talk a little more about that under the cut.

To start, you need the source material you will be making the gifs from! I get mine from snahp(.)it (avoiding links so tumblr hopefully doesn’t banish this from the tags lmao) and I always opt for either 1080p or 2160p. Not all laptops will support 2160p as it’s 4K, but either works great! You just want your gifs to be the best quality possible.

Next is where the screen recording comes in. I don’t use the screencapping method to make my gifs (where you use a program to cap a clip and then load those caps into a stack in PS). This isn’t for any particular reason… it’s just how my friends, (who very kindly taught me to gif), had always done it, so it’s now how I do it too. Personally, I find the quality to be just as good as the screencapping method, and have never noticed a difference between the two.

As I have a PC, I use the software built into it for screen-recording. If you go here: theverge(.)com/2020/4/21/21222533/record-screen-pc-windows-laptop-xbox-game-bar-how-to – you can see how to use the XBOX screenrecorder to record from files you have d*wnloaded. This also works on some streaming sites, but I think it depends on what browser you use. Personally, I recommend Firefox, as that seems to bypass a lot of the blocking and ads that occur when trying to do this sort of thing.

For MAC users, I have been told handbrake works well, as it converts MKV files to MP4, which can then be used to make gifs. You only need to convert part of the file to MP4 depending on how much you want to gif, and this also bypasses the screenrecording stage, as you can edit MP4 clips on Quicktime. I am told you can split them into smaller clips by going to edit > trim and it saves the new clip!

I have also used anyvideoconverter for small clips, but I can’t say what it does to the quality of your video, or how big of a file it lets you put in! With the XBOX screenrecorder, it doesn’t matter what type of video files you get, as the recording will save to MP4 anyway.

LOADING YOUR FRAMES

Now, go ahead and record whatever clips you want to gif. Make sure you have the video timeline open, by going to window > timeline. Then, go to file > import > video frames to layers.

Next, select and open your clip from where it has saved (with the XBOX recorder, it saves in video > captures). You should see a little window pop up, where you can move the sliders back and forth to clip your recording to whichever part(s) you specifically want to gif. I recommend trying not to load a lot of frames into photoshop at once, but I would be a hypocrite to say that, since I do it a lot lmao. Just be patient if you do!

Once you have chosen the length, click okay. Never, EVER, I repeat NEVER click the button that says “limit to every __ frames”. This really ruins the flow and quality of your gif—it’s better to have shorter, but smoother gifs, I promise. And with tumblr’s new 10 MB limit, it shouldn’t be a problem anyway!

Then, your frames should open up. What we want to do is make them into a smart object, so we can edit all the layers at the same time. To do this, click the small button in the left-hand corner. ALWAYS click this first. If you don’t, it will only convert the first frame to a smart object and the gif won’t work.

Give it a second to sort itself out, then, on the right-hand side, select all your frames at once using the shift key.

Then, go to filter > convert for smart filters. This might take a minute. Don’t click anything else in case PS gets angry lmao, just leave it for a second and it’ll do its thing. The more frames you have, the longer it takes! Now we have our gif, but it needs to be cropped, sharpened and coloured!

CROPPING

You want to start by selecting the rectangular marquee tool on the left-hand side, then drag it across by clicking and highlighting the area you would like to crop your gif to, like so:

What I tend to do is select everything inside the black lines you sometimes get around your gif (this depends on what file you d*wnload), and also the tiniest bit inside the sides. This is because I’ve found if you crop it right up to the edge, you get a tiny bit of transparency on the sides of your gifs, which I’d rather avoid.

Once you have your desired selection, go to image > crop. Now, the dimensions for tumblr are 540px width, so all your gifs have to be that width. However, the length is up to you. I really like big gifs, so sometimes I even make a full square, or even longer. It’s entirely up to you, and what kind of set you want to make.

For the purposes of this gif, I will stick to what I usually go for, 540px by 350 px. This will mean you’ll have to crop some width off, but that’s okay, since Marisa isn’t central anyway. The cropping is always trial and error for me, as sometimes people move out of the frame within in the gif. The best thing to do is just try it, and then move the slider in the timeline window at the bottom to see if the person stays inside the gif, and if not, adjust accordingly.

Next, go to image > image size:

In this box, if I put the width as 540, the gif is a smaller height than I want, as it keeps to the dimensions of the gif when you load it into PS. That’s okay, just put the height you want instead, and we’ll crop off the excess.

Then click OK. Using the rectangular marquee tool again, we need to remove the excess width. Part of the reason I like this version of PS is that it tells you the width of your selection as you do it, but you can always use the ruler as a guide, and check the size of your image by going to image > image size again.

Again, use image > crop, and your gif should now be the correct size!

You can also use the crop tool in the timeline window to crop the length of your gif:

However, I tend to wait until later on to do this (which will be explained further down!)

SHARPENING

Next you want to go to filter > sharpen > smart sharpen.

These are my settings. However, 0.4px is very sharp, too much so, but that’s easily fixed.

Go to filter > blur > Gaussian blur and then set it to 1.0.

Now on the right-hand side, we need to reduce the blur, so double click the little adjustment button, and change the opacity of the blur. I usually go for 20-30%!

Then click OK, and that’s your sharpening done!

COLOURING

I picked this scene on purpose as it’s dark, so good for showing how to colour a gif. I have a base psd which consists of some very basic adjustments, but it mostly exists so I don’t forget what adjustment layers I like to use. I adjust them every time I make a gif, essentially colouring each gif from scratch.

In this case, the psd actually makes it darker. So, what I will do is turn each layer off, and adjust as I go. A lot of people say using lots of adjustment layers ruins the quality of your gif… I have never found this to be true, as long as you are gentle with them. If you whack the brightness right up to the top, it’s going to ruin your gif no matter if you use 1 adjustment layer or 100. I would just say use your common sense, and adjust a little at a time!

I start with a simple black to white gradient map set to soft light, because I think it helps you see depth once you add some brightness to it. I usually do this on about 10%, or more if needed. It’s probably unnecessary, I just like how it looks!

Then, I move onto using curves and levels. This is where things can diverge depending on who you’re colouring. If this person is white, it doesn’t matter too much. If they’re not white, you don’t want to white wash them. My best advice is to play around with it. By adding vibrance and other (usually the red) selective colour settings later, you can ensure you don’t change the person’s skin tone from what it originally was. You can also use layer masks at varying opacities (various shades of grey), on your curves and levels, to remove some brightening so that you’re not changing anyone’s skin colour. Just brighten slowly and check in with yourself honestly about how your gif looks.

Some people don’t like using levels, or curves. It’s completely up to you. I tend to use both because levels are good for bringing depth, even if not brightening (though I like to use them for that as well).

One thing you can do is use the white point of the gif to make PS adjust the curves itself, however I like to drag the sliders myself and see what it looks like. Just make sure it’s not too bright, as we will be using further layers to brighten more, after.

Next is levels. The slider on the left controls the black point, the one in the middle controls the midtones, and the one on the right controls the white points. The black brings depth, the midtones adjust the overall brightness, and the white points produce stronger highlights. Again, you’ll get a feel for how this works as you practice. Just don’t use the white point excessively, especially if your characters are not white.

Then I add vibrance (+20!), because we’ve removed a lot of it when lightening the gif. Next is exposure, which I find brings out the highlight and shadow areas more effectively:

Then colour balance! This helps with scenes that might be a certain colour, i.e. too blue, too green, too red, etc. Moving the sliders in the opposite direction of the colour your gif is will counteract it. The best thing to do when accounting for different colours, is to make a new layer every time you change colour, so that you don’t get confused. I always add a new layer for colour balance and selective colour if I want to change more than one thing. So one for red, one for yellow, one for pink, etc.

A layer of brightness just to make the gif pop, and because the scene is extra dark, I added a very gentle extra curves layer:

SAVING YOUR GIF

Time to save the gif. You can go ahead and file > export > save for web (legacy) now, but then you’ll have to reopen the gif to reset the frame rate from 0.07, to 0.05. Instead of doing that, I use a modified action. The original was made by the very talented @elenafisher! So I do not take credit for that at all. You can find the original here: elenafisher(.)tumblr(.)com/post/190817437374/gif-sharpening-action-2-preview-download and in my resources tag. Please reblog it if you’re going to use this!

To use an action, first make sure you have actions turned on in window > actions. To load in your action, go to the little lines circled, and then load the action from your downloads:

Obviously if you don’t want to sharpen your gifs yourself, you can use the action as it is, and it will give you a beautiful glowing effect. If you’d just like to use it to flatten your gif into frames like I do, make sure to take out all the items I have highlighted:

Until it looks like this!

Make sure you have the layer under the file name highlighted, and then click the play button at the bottom! (If you get a screen saying select all frames cannot be found, don’t worry, just click continue!) You can delete the layer that does that if you want, I just keep it in case I realise I’ve forgotten to do something, because you can click cancel and edit your gif before you flatten it. Of course you can undo the steps to get back to the smart object version of your gif, it just takes longer!

And now your gif is in frames and set to 0.05 already, so you don’t have to change the speed! All you need to do now before saving is change the gif cycle to “forever” in the bottom left-hand corner:

Then to save the gif go to file > export > save for web (legacy). Sometimes, the gif is bigger than the tumblr 10MB limit. You’ll be able to see this in the bottom left-hand corner of the gif save settings. If this is the case, I like to preview the gif, to see whether it would be best to cut frames off of the beginning or the end, or both. When you’ve decided, you can select the frames at the bottom, and in the right-hand side panel, and delete them both using the little bins/trash icons.

I keep checking and deleting frames until I get the gif under 10 MB! Just don’t delete frames from the middle, as then you’ll have the same issue as if you selected “every other frame” when making the gif: it won’t flow!

Lastly, these are my save settings:

So that’s it! That’s how I make all my gifs. Blending I do when the gifs are in the grouped, smart filter stage, whereas text I add on during the framing section above! Really hope this is helpful, please feel free to ask any questions you may have! 💖

#gif tutorial #tutorial*#completeresources #yeahps #chaoticresources #allresources #mikesmom #usergeo #userava #usertix #usersmile #usertom #if you'd like me to cover anything more advanced just shout #i wanted to show how i add text too but tumblr wouldn't let me add any more pics #but people can let me know if that's something you'd want!

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incredifan34 · 4 years

Text

Incredibles Theory

Recently, I watched a video by Cartoon Conspiracy that theorized that Syndrome, was, in fact, a superhero - more specifically, the child of two supers. I highly reccommend you check it out.

More specifically, in the video, Cartoon Conspiracy theorized that Syndrome's parents must've been supers for the following reasons:

Mr. Incredible / Bob Parr seems to know Buddy Pine's mother well, if not both of his parents. As seen with the wedding scene where Helen and Bob get married, most of the attendees are, in fact, superheroes. This would suggest that Bob and Helen's majority of friends / acquaintances are also supers.

Buddy Pine, as a child, seems to be overly eager to become a superhero himself (and has access to advanced tech parts), idolizing Mr. Incredible, showing up at the scene of the crimes, inventing his own tech to give him "powers", and dubbing himself "IncrediBoy". For one, where exactly is Buddy getting all of the tech parts (as a child, no less) needed to make working rocket boots? And two, how exactly where, and when, to find Mr. Incredible multiple times, unless he also had a police scanner / some sort of device that notifies Supers when criminals are at large? (Or, perhaps more likely, he overheard his Super parents talk about where Mr. Incredible normally fights crime?) And why is Buddy the only "sidekick" we see or hear about? This could also potentially point to Buddy having one, or two, superhero parents, ones with access to government technology made for superheroes (i.e. Gazerbeam's eyepiece, gauntlets, etc.).

Buddy Pine seems to be obsessively fixated on "becoming a superhero", so much so that his entire childhood is spent revolving around becoming one, as well as his later adulthood. It seems strange that Buddy is the only "non-Super" featured in the film who wants to emulate a superhero in real life, whereas everyone else seems to be perfectly content with letting the established Supers (ones with powers) do the job of crime-fighting for them.

Forshadowing as related to Jack-Jack Parr, the child of two Supers, supposedly "not having any powers". In the film, one of the points that comes up is Helen Parr, a.k.a Elastigirl, worrying about (or at least noticing) that "Jack-Jack doesn't [seem to] have any powers". This is in spite of Jack-Jack being the child of two superheroes. So this tells us two things: one, that a superhero couple has had at least one child before; and two, that a "non-super" born to two supers has also happened before. Why else would Helen Parr / Elastigirl just seemingly accept so suddenly that Jack-Jack doesn't have any apparent abilities, even though he's still a toddler? ...unless, of course, there was a previous example that she knew of a "superhero couple's baby" turning out to be a "Muggle"...a child, perhaps, like Buddy Pine.

Syndrome's / Buddy Pine's later island base seems almost identical to the base of the Phantasmics, a team of superheroes mentioned in the extra of The Incredibles DVD. The Phantasmics were a super group part of the National Supers Agency, and focused on international threats. Their base, as such, is noted as a "Secret Mid-Ocean Location - Codename - New Atlantis".

Speaking of the Phantasmics, in the video noted by Cartoon Conspiracy, they were headed by team leader Everseer, whose superpowers included telepathy, clairvoyance, and "magni-vision"; Macroburst, a superhero with the ability to control air currents and create high-velocity winds; Plasmabolt, a female superhero whose powers involved shooting bolts of plasma, which was gathered from the insect-like antennae mounted on the head of her super suit; and Psychwave, whose powers included mental force wave generation, temporary mental paralysis, the ability to possess the bodies of others, psychic foresight, thought control, and telekinesis; her superhero uniform was notable for an atomic insignia. In the video montage of the Supers that Syndrome's Omnidroid kills in the film, the Phantasmics (Psycwave, Everseer, Macroburst) are some of the first superheroes to die by his hand.

Buddy Pine bears some physical resemblance to at least two potential Super parents. Cartoon Conspiracy theorized that Psycwave and Universal Man were the parents of Buddy Pine, because these two Supers appear first on his "kill list" (Project Kronos). However, personally, I think that Buddy Pine / Syndrome bears much more physical resemblance to the superhero Phylange, who had the ability to project sonic fields; and Apogee, a Super whose powers involved gravity control and levitation. Buddy Pine's facial / ear structure matches that of Phylange; his crooked teeth match Apogee's. Phylange and Apogee were both team members of the team "the Thrilling Three", along with...wait for it...none other than Gazerbeam. Likewise, Syndrome's Zero-point energy also involves what appears to be tech related to Apogee's gravity control / levitation ability.

Speaking of Gazerbeam, he seems to be, essentially, his presence seems to be the biggest piece of evidence in favor of this theory. According to The Incredibles DVD extras, Gazerbeam was originally a member of the Phantasmics, which would mean that he also worked with them off of their "secret island base" of "New Atlantis". (Sound familiar?) However, Gazerbeam's rivalry with team leader Everseer led to Gazerbeam's dismissal from the Phantasmics. After Dynaguy's death, Gazerbeam replaced him as leader of "the Thrilling Three", joining Phylange and Apogee in crime-fighting. In the film, Gazerbeam is also featured heavily somewhat, giving Mr. Incredible / Bob Parr the information on "Project Kronos" post-humously. However, Gazerbeam's previous involvement with the Phantasmics (and their "island base") seems too convenient to be merely a coincidence when it comes to his presence on Syndrome's island.

The "Thrilling Three"'s base seems based out of the same city from the intro. According to, again, the DVD extras, the Thrilling Three were based out of "the Trilling Three Towers...hours of operation effective by noon". (Again, why not start crime-fighting until noon, unlike the "around the clock" listed availability of other superheroes...unless one of the team had to take care of her child?) The Towers must've been based in the same city as Helen and Bob got married in, because Gazerbeam (a later Thrilling Three team member) also shows up at their wedding. Dynaguy, the current TT leader, also shows up to the wedding. However, the other two TT members, Apogee and Phylange, don't make an appearance. This could be due to the trouble their son (Buddy Pine) got into with Mr. Incredible only a short time before.

The only other "tech hero" seen in the film is Dynaguy, who, like Buddy Pine, had "rocket tech" to allow him to fly. Dynaguy, of course, used to be the leader of the "Thrilling Three", before his untimely death because his cape hit a snag on liftoff. Again, it seems too much to be a mere coincidence that Buddy Pine - who could be the child of two of Dynaguy's team members - apparently had the same, advanced "Super" tech Dynaguy had access to, albeit with Buddy reworking it into "rocket boots". Buddy even says to Mr. Incredible, "This is because I don't have powers, isn't it? Well, not every superhero has powers, y'know! You can be super without them! I invented these. I can fly! Can you fly?"

Buddy's / Syndrome's own dialogue as it relates to the Incredibles seems to indicate his own past. In the alternate opening on the deleted scenes, there's this really creepy moment after Syndrome hears baby Violet crying and then says to Bob, "You are breaking the law, Mr. Incredible. You know supers aren't supposed to breed," his eyes just slowly move in the direction of Violet's room. There's something very unsettling about that moment. Syndrome has Bob and Helen trapped with his freeze ray, and there's nothing they can do to stop Syndrome as he moves down the hall toward Violet. (Source) Likewise, Syndrome's decision to try and abduct Jack-Jack to "raise him as his own son" is disturbing in itself...almost like Syndrome has mental issues from his own abandonment / neglect as the child of a Super couple.

In addition to the last point, Syndrome's dialogue as he attempts to kidnap Jack-Jack is also very telling as to his own past:

Syndrome: "Shhhhhh.... the baby's sleeping. (chuckles evilly) You took away my future. I'm simply returning the favor. Oh, don't worry, I'll be a good mentor. Supportive, encouraging. Everything you weren't! And in time, who knows? He might make a good sidekick."

My theory as to what happened in Buddy's / Syndrome's backstory...

So, while Cartoon Conspiracy theorized that Buddy Pine is, in fact, a Super - having "super intelligence" - I am of the belief that Buddy, in reality, is not a Super. However, I agree on the point that he was born to two Super parents, just different ones from CC's theory: Phylange and Apogee.

Sometime before the flashback in the intro to The Incredibles, Phylange and Apogee had a son: Buddy Pine. However, being born to two superhero parents, especially during "the Glory Days", likely wasn't easy. When both of your parents' jobs involves dedicating themselves to a life of crime-fighting, where does that leave Buddy Pine?

As a result, growing up, Buddy's parents are frequently away on business. As such, he grows up looking up to, and idolizing, superheroes - and one in particular, Mr. Incredible. I think Buddy's obsession with Mr. Incredible started because, perhaps, he was neglected emotionally at home by his largely-absent parents. As such, Buddy decided to "latch onto" who he saw as a "perfect" father figure and role model - Mr. Incredible, who was an associate of his parents'.

As such, Buddy built up a "shrine" to Mr. Incredible in his house; "invented" his rocket boots; joined the Mr. Incredible Fan Club (or maybe even started it); and even tried to fight crime alongside Mr. Incredible as his sidekick ("ward"), "IncrediBoy". Having been emotionally neglected by his parents, he used this as a way to try and "become worthy" (in his eyes) of the attention and affection they never gave him. In his eyes, if he became a "Super", and "earned respect" as one, then his parents (as well as Mr. Incredible) might spend more time with / praise him.

Perhaps the case could've been that, because Buddy was born without any superpowers, he was more neglected by his parents, in his view, because "they expected / wanted a Super child". So, Buddy thought, if he could become a Super himself, then, perhaps, they might "love him more" then.

Indeed, TV Tropes says of a "Muggle born of mages":

He may be nice-if-pathetic or mean-spirited, but whatever the case, his bitterness and regret over not being a super is a major character trait.

If there's one thing that Buddy Pine / Syndrome seems to practically ooze, it's "bitterness and regret over not being a Super". He seems to always carry a chip on his shoulder because of it.

Buddy Pine / Syndrome particularly has three quotes related to the "absent parent narrative", particularly the "absent father" one:

"I'll give them heroics. I'll give them the most spectacular heroics that anyone has even SEEN!"

"See? Now you respect me, because I'm a threat. That's the way it works."

"That ship has sailed! All I wanted was to help you, I only wanted to help! And what did you say to me? (Flashback of Mr. Incredible: "Fly home, Buddy. I work alone.") It tore me apart, but I finally learned an important lesson: you can't count on anyone, especially your heroes!"

However, when Buddy Pine is rejected by Mr. Incredible, after the incident with Bomb Voyage, his anger and bitterness comes to a head. He decides that he "can't rely on anyone - not even his heroes", and, over time, becomes more and more hateful of his parents, and Supers in general. He sees them as people who deserve to be hurt - to be punished - and "just as they took away his future", he would "return the favor".

In time, Buddy Pine develops all sorts of tech, most likely taken from his parents' base. He likely goes to a normal university - probably a tech-related one - and is eventually hired by the government / National Supers Agency, possibly due to his parents' influence as (by-then-ex) Supers. He uses the government tech to create weapons of war and other technology, selling them to other countries for a huge sum on the black market.

All the while Buddy Pine works for the NSA, he gathers all of the intelligence he can on every Super, especially after the Supers go into hiding. Previously, the NSA required every superhero to register with them to fight crime legally, so naturally, they would have all of the Supers' information. Buddy Pine uses the government's task of "hiding" the Supers against them, and even his own parents.

However, despite the U.S.'s "Superhero Relocation Program", effectively ending the Supers, this isn't enough for Buddy. He begins plotting his revenge. Likewise, the Phantasmics are still operating internationally, not just in the U.S., off of their island base of "New Atlantis". Buddy, as part of the government / NSA, manages to get sent to "New Atlantis" as an NSA agent, claiming "he needs to do official government business".

So, Buddy scopes out the island, planning his method of attack. In the meantime, he finishes completion of the Omnidroid v.X1, and manages to lure the ex-superhero Universal Man to his death via it.

Not long after Universal Man's death, Buddy launches a surprise attack on the Phantasmics. (That, or he disguises it as an "NSA training session / meeting".) In the battle, Psycwave and Everseer are killed by the Omnidroid v.XI. Macroburst manages to take out the Omnidroid, only to be later killed by the Omnidroid v.X2. The last remaining team member, Plasmabolt, manages to escape the island, and is never seen / heard from again.

With the Phantasmics out of the way, Buddy takes over "New Atlantis", and makes it his base of operations as Syndrome. His next target - not surprisingly - is his own father, Phylange. Luring his father to the island, Buddy uses the Omnidroid v.X2 to kill him, obtaining the first part of his revenge.

After killing a few more Supers, Buddy moves on to his mother, Apogee, luring her to the island to kill her with the Omnidroid v.X4.

Meanwhile, former Phantasmics member Gazerbeam has been working as a lawyer. After being forced into hiding, Gazerbeam used his civilian identity to launch a campaign to get the ban on Supers repealed. Frozone commented that he "had trouble adjusting to civilian life," much like his best friend Mr. Incredible had. Also, Bob Parr (Mr. Incredible's civilian alter ego) had learned in a Metroville Tribune newspaper that Gazerbeam had gone missing. According to the newspaper article, he was last seen outside his apartment on Traction Avenue ten days prior to the date of the article. His past advocacy of Superhero rights—which had lead some citizens to believe that he had actually been a superhero—would have made him a likely target (especially to Operation Kronos, a plan set forth by super-villain Syndrome). (Source)

However, Gazerbeam had also been former team mates (and likely close friends) with Phylange and Apogee, Buddy's parents. After reading / hearing about Phylange's and Apogee's "disappearance", along with that of other supers, Gazerbeam does some extra research. He finds that Phylange, Apogee, and/or their son, Buddy, were last tracked to / seen on "New Atlantis", the Phantasmics' old base.

Thus, Gazerbeam, under the guise of being "recruited" for "Project Kronos", decides to do some undercover investigations. In time, he finds out the terrible truth - that Buddy Pine, his best friends' son, is now a meglomaniacal supervillain, and has been the one killing Supers - but that he's the next victim.

Likely being ambushed after finding out the truth, Gazerbeam has just enough time to swim to the underwater cave, and, using his abilities, carve the word "KRONOS" into the rock wall. By then, the Omnidroid catches and kills him, or he's already been mortally wounded.

And, from that point on, the events of The Incredibles happen as-is.

And, as a final kicker: the name "Kronos" itself is not only a reference to the 1957 movie [Kronos](https://en.wikipedia.org/wiki/Kronos_(film), but also to, in Greek Mythology, the leader and youngest of the first generation of Titans, the divine descendants of Uranus, the sky, and Gaia, the earth. He overthrew his father, Uranus, and ruled during the mythological Golden Age, until he was overthrown by his own son, Zeus, and imprisoned in Tartarus.

The period in which Kronos ruled was called the Golden Age, as the people of the time had no need for laws or rules; everyone did the right thing, and immorality was absent. Kronos learned that he was destined to be overcome by his own son, Zeus, just as he had overthrown his father, Uranus; thus, Kronos ate his own children, until his wife tricked him, and raised Zeus outside of his influence.

In the same vein, "Kronos" could be a reference by Buddy Pine himself to how he views his vengeance - with him as "Zeus", he used "Project Kronos" as a way to overthrow his father, Phylange (and his father figure, Mr. Incredible), "the most-well-known Supers of the Golden Age", even years after the Supers' retirement. And, just like how Zeus locked away all of the Titans (and Kronos) after their defeat to clear the way for him to rule as King of the Gods, Buddy / Syndrome kills so many Supers in order to clear the way for his "new world order".

After all...

Syndrome: [watching live news footage of the Omnidroid] "Huh? Huh? Oh, come on! You gotta admit, this is cool! Just like a movie: the robot will emerge dramatically, do some damage, throw some screaming people. And just when all hope is lost? Syndrome will save the day! I'll be a bigger hero than you ever were."

Mr. Incredible: "You mean you killed off real heroes so that you could pretend to be one?"

Syndrome: "Oh, I'm real. Real enough to defeat you! And I did it without your precious gifts, your oh-so-special powers. I'll give them heroics. I'll give them the most spectacular heroics anyone's ever seen! And when I'm old and I've had my fun, I'll sell my inventions so that everyone can be superheroes. Everyone can be super!"

Syndrome: "And when everyone's super ...[laughs]...no one will be."

#just a theory #buddy pine #apogee #Phylange #glory day supers #incredibles

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dyketubbo · 3 years

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when you get a chance, thoughts on seer of space tubbo?

(i am also open to maid of space tubbo, and many others, but i am currently seer leaning)

*wakes up* oh boy time to classpect! under the readmore because seers are interesting enough that i ended up going on a tangent

of course no argument about the aspect because hes 100% a space player, ive discussed heir before i believe, so seer analysis it is, because i havent thought about it before (seers slip my mind sometimes, i love them, my brain is just the equivalent of a ground with a bunch of banana peels and cant handle having more than 4 coherent thoughts at a time).

like said with knights, he doesnt exactly try to tell anyone what he wants to come off as, sure he wants to be intimidating enough that people leave him alone, but, well. he does fit the intimidating thing, its less a facade and more a warning, he doesnt want to hurt anyone, but he will should he deem it necessary (thankfully, tubbos kind enough that he deems it unecessary in most cases). hes a bit too likely to follow through, and its bred from feeling unsafe, rather than feeling insecure. c!tubbo knows he can do things, the cc is more likely to downplay what he does than the character is (not that c!tubbo doesnt, but he does still believe in his abilities, he just doesnt think hes important enough to emphasize his impact. difference between going "oh no it was all __" and going "oh no it wasnt just me" when theres something hes done most of the work on)

so, he almost fits knight, at least in abilities, after all knights are capable and they know theyre capable, and hes very good at the exploitation aspect, pushing limitations and using them for their benefits. i could see him as maybe a knight thats actually gotten past the insecurity and facades already, if we're to consider his spy history as him being pre-actualization. being a space player doesnt really change how solid knight arcs are, so the combination of knight and space doesnt make knight much more fitting for tubbo

similarly, he does fit a few aspects of being a seer (having similar struggles, talking a shitton sometimes, sitting back and observing the world around him when he finds it beneficial to do so, generally very smart especially within their group), but not so much others (seers are often overbearingly smug in a way tubbos a bit too humble for, learning through education rather than experience, having a habit of getting too focused on their goal, and theyre overall passive, being too active is actually how they get themselves into shit, while tubbo gets hurt when hes too passive). seers of space focus more on the present than the future or past, which almost fits tubbo.. if it werent for the fact that he doesnt focus on the future or past out of repression cknsks. not that he would much anyways, but the intentional focus on the present is out of stubborness and trauma rather an actual trait of staying in the present. notably, theres quite a few times where tubbo does think about the past and future, especially when he was younger, and he does try to work towards his ideal future, he just doesnt talk about it much.

funnily enough, because of where seer falls through, he ends up being closer to the mage struggle of, well, getting their asses kicked when theyre too passive because things work out best when theyre involving themselves. mages also have that posturing thing as well, though its connected to intelligence (desperately trying to come off as smarter because they believe theyre still too dumb and naïve, even though theyre actually doing fine), so again, not exactly tubbos kind of posturing. plus, hes pissy, but not pissy enough for a mage, as theyre more likely to get caught up in how fed up they are with everything, while tubbo gets caught up in how much he still cares no matter how much he seems like he doesnt. the space aspect adds that theres.. a shitton of shit happening to and around him, which does fit, at least, and mages of space usually suffer because of their passions, knowledge, and experience, as well as they're rather hands on. again, fits, but, well.

seers and mages are a bit too focused on knowledge for the kind of person tubbo is. hes smart for sure, has a lot of knowledge, and even when hes not a spy he does want to know things and looks for that knowledge, but while he fits the goals and positives of seers (and mages), he doesnt exactly fit their flaws or what happens when theyre unhealthy. not that he needs to show signs of being unhealthy, but even healthy players still show an ability to be the unhealthy versions of their classes. he doesnt get his ass kicked for being too active and tunnel visioned like seers do (and it can sometimes come from ego trips, which tubbos very unlikely to have, even if he fits the "my solution is the most correct here, so we have to follow it" part of it all) like seers, he doesnt have any moments of just refusing to learn and complaining about how everything sucks rather than doing anything about it (nor is he likely too) like mages. he does vaguely fit where the unhealthiness of a knight can come in, propping up a shield to a ridiculous extent and lashing out when their insecurites are picked at, but that feels a bit too reckless to be tubbo (though it does fit tommy).

overall, i can kind of see seer for a slightly different version of tubbo, but it feels too passive for tubbo, if that makes sense. he is passive at least, in terms of classes anyways (note- despite how some classpectors define it, passive doesnt really mean you serve others, its not an insult, it just means you weave your aspect through others, rather than yourself. its the difference between a prince destroying x/destroying through x and a bard allowing destruction of x/inviting destruction through x. still listen to passive classes, thats what seers fall into after all, and seers are very important). its just that tubbo usually gets hurt by being too passive rather than getting hurt by being too active (not that it couldnt happen, which is why i say it could still fit under other circumstances).

speaking of passive v active, if i had to pick a passive class i feel fits tubbo the most, probably heir. active wise, id say maid does actually fit rather well. i feel like ive talked about maid tubbo before but i might be remembering a different analysis so just in case ill generally say i feel he fits the arc of going from a "doormat" to taking their life for themselves. theyre stubborn, stressed out from listening to others, like banter, occassionally silly and can start arguing in circles due to the stubborness (think that one patrick id scene, but smarter). maids are also heavy repressers, they fear being seen as weak, and are unwilling to ask for help. they rely on their environment and hate it.

and, painfully enough, some classpectors state that when pushed into being unhealthy, maids explode. maids are already intimidating on their own, being powerful and smart enough to know what to do with that power, and when they get stressed out enough, they, well, explode. they hurt everyone in one big event (think aradias actions in make her pay). its not necessarily a reckless lashing out at everyone like knights, but a giant burnout that happens to effect everyone. tubbos not at a point where it seems likely for this to happen, but i wouldnt be too surprised if something like it did happen were things to get too be too much. he is the mf with nukes after all. healthy maids are independent, with maids of space specifically, well, making space for themselves and others (sound like a certain snow commune anyone), attempting to start new lives. an independent maid, allowed to be their own person without anyone stepping on them, is a healthy maid. unfortunate for tubbo that his life fucking sucks too hard for him to really get to this point KEKW

heirs fit a similar "followed others then became more independent" arc, mostly unaware that theyre being lead around but, if whats happening aligns with their own ideals, dont really care much that theyre being a follower when they are aware of such. heirs have an instinct to stick to comfort, rather than an instinct to be independent like maids. heirs still need to find their independence and autonomy, but need to do so because they can change things, theyre also very powerful when they play correctly. however, going against what they may feel is best and is more comfortable for them can be actively painful, early heirs often would rather be comfortable and happy even if things arent going well than take the difficult route, know that theyll suffer, and temporarily risk comfort and happiness in an attempt to reach an end they dont know will be there for sure. they can deal with suffering, but choosing to stay constantly aware of this suffering hurts and they struggle with dealing with the fact that they need to be aware to stop the suffering.

heirs change by picking up on subtle details naturally, subconsciously effecting those around them, making either themself or others interact with their aspect differently (or actively not think with their own aspect, in a positive way). heirs, when self aware, want to help. thats an important detail, and its why heirs are often protagonists, they dont have the ambition to do things that only benefit themselves when they realize theyre in a position of power. at their core, heirs usually want to make things better, but learning to move on and better themselves can hurt, and it takes a lot for heirs to to let it be apart of the process.

unhealthy heirs fade. they get so stressed out by getting hurt that they shrink back into themselves, they stick with what makes them comfortable and refuse to acknowledge that they and others are hurting, wrapped up in their more selfish instincts and becoming hard and stressful to deal with. "i want everything to be okay" becomes "i dont want to deal with the idea that nothings okay right now", soon getting to "im okay and you cant tell me otherwise, fuck you if you want to take this away from me, you cant stop me but i will stop you". of course, that last one can be useful if a heir were to use it to change things for the better, but the tunnel vision on "i want to be comfortable even if im making others uncomfortable" is, well. shitty. unhealthy heirs wont actively try to hurt anyone unless pushed, but they can they can still manage to through a lack of acknowledging that they have to help. and well, that sounds somewhat like tubbo, the hurting through a lack of helping, at the very least its present in things like him not visiting tommy during exile (partially because it was safer to just not challenge dream, partially out of guilt and belief that tommy hated him)

heirs of space specifically are about flitting from project to project, learning about what interests them, impatient when others dont share their excitement, and learning when to adapt and move on from things. generally, if i had to put a scale on it, id say tubbos most likely to be a heir, then a maid, then a seer. it all depends on what aspects of him you wanna focus on, really. seer tubbo is really interesting though! i think seers are more smug than he is though, not that he doesnt have his moments, but his tendency to believe hes right isnt all too prominent compared to other traits of his, and its less from a smug "i know whats right" and more just a firm "this isnt right, i have a better idea". he wants to do whats right, but if he feels like he doesnt know whats right, hes willing to rely on others, it just.. takes him a bit of pushing to admit such

#i took like 5 hours on this hope you appreciate it max /lh #i enjoy classpecting though and i enjoy tubbo even more so its alright #dsmp #tubbo #dsmp classpects #hs #angel answers #long post #(iirc about 14 or 16 paragraphs maybe?#*)

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fountainpenguin · 3 years

Text

It’s an Update

Hello, Riddle here! I know I’ve been pretty quiet on Tumblr lately. Here’s an update on my situation:

I will definitely post more fanfic updates soon. I’ve picked at drafts, but haven’t posted anything lately. Here are the reasons why:

I got a new IRL job. It’s a good fit for me, but I have less free time than I used to, of course. It’s a job that involves writing lots of articles on a variety of topics, and I enjoy how every day is a little different

Most of my free time for the last year has gone towards my mod work at the Creature-Crossing ARPG, and to my personal CC writing. I’ve been working on new activities over there (my recent favorite being our seasonal familiar shows... I won first place in the summer show!) and I have a lot of plot plans that are coming together now. If you ever want to see my original characters and read my CC writing, you can find my character directory HERE and my Table of Contents HERE.

Once November 1st hits, I won’t be preparing for the release of any more CC activities or events. All future activity or event releases will be overseen by the other mods, and I’ll simply be someone they can ask for extra help if needed. This is a big change for a mod who spent the last 12 months working on new releases, and will give me back some of the free time my IRL job will eat

The Creature-Crossing admin (my boss) greenlit my request to bring an assistant on the mod team who will specifically help me with a lot of my behind-the-scenes work, such as data entry and organization. I’ve never had another mod who specifically helps me with the back end duties before, so that will be awesome. I will need to spend some time training them, but once they are official, that will take some of my workload off and allow me more free time for this blog and personal writing time.

===

Fanfic updates you can expect to see soon:

- Reedfilter Rules

- Frayed Knots

- Origin of the Pixies

- Debut of Factor It In, my Kid Math-centric “WordGirl” fanfic (Subtitled “Tales of a third-grade superhero in training”)... Yes I am still in love with this idiot boy, expect lots of doodle pages soon

- The 130 Prompts project is on a slow-burn writing schedule... I’ll write for it when I want to, but I mostly want to focus on Origin and Knots this year.

Further info below the cut. There is more info about non-Fairly OddParents ‘fics in here too (under “non-FOP fanfics”), so if you’re looking forward to Mario World or “WordGirl” ‘fics from me, give this a click so you know what’s coming!

So, what does this update mean for your fanfics?

They’ll be active again soon! I’ve been picking at them behind the scenes, trying to build up a buffer. In an ideal world, I would love to release a new chapter for SOMETHING every Friday. I doubt this will be possible, but it’s something I would love to work towards in the future. Realistically, you can probably expect some kind of fanfic update once every two Fridays (two updates per month).

There might be some Fridays where posting an update is not possible. Instead, I’ll make a post about what progress I made instead. In the past, I often overworked myself to get a chapter out in time for my old deadline. I will not be doing that anymore, but will instead hold myself to a goal of “Make progress on something every week.”

In the best ideal world, I would love to post one FOP fanfic update per week and one non-FOP fanfic update per week. This is not likely to happen for a long, long time, but that would be the dream.

Here are the things I most likely worked on if there is no fanfic update:

- A fanfic chapter draft that needs more time

- A sideblog profile

- A Toyhouse profile for personal characters

- IRL work or mod work may have kept me busy this week

- Creature-Crossing writing... I will try to prioritize my fanfics more, but my CC writing is still important to me and I will be working on it in a lot of my free time too. At the moment, I have a hard deadline of December 14th that I need to meet if I want to release huge plot drama on the day that it happens in canon. I’ve been building up to this for a long time, so I’m really excited about that.

I currently have summer or autumn 2022 planned as the “finale” for the majority of my plot to explode. I will be hosting a member-run event in Creature-Crossing that will last for two months, so a lot of my time from January until the event’s release will be spent doing event prep. Once the event ends, my story content will mostly be a “return to slice of life.” Stories will be more casual one-offs as characters grow, live their lives, and start their own families. Hitting seasonal deadlines for plot will no longer be so important. I’ll be giving Creature-Crossing work less attention after that, and much more attention to my fanfics.

- I may not have a fanfic chapter out each week, but I WILL post a note every Friday to let you know what I have been doing with my time. You’ll see me around. Feel free to send Asks and talk!

===

What non-FOP fanfics would you like to work on?

For literal years, I’ve been claiming I want to post Mario World fanfics. This is still something I want to do. I tag Mario World posts as “mushrooms and more.” I’ve already done a lot of worldbuilding, I have thousands of words of content written for this fandom... I just haven’t posted any of it. I hope to do this soon.

- “WordGirl” fanfics are prioritized over Mario World fanfics. After I finish my first “WordGirl” multi-chapter, I will probably be ready to post my Mario World ‘fics. I may possibly post some Mario World one-shots in between other fanfic updates. Might take another year or more before I touch Mario stuff unless there’s high interest in seeing it sooner?

I also really want to write some WordGirl ‘fics and get more involved with the fandom community. I’ve been building headcanons and lore for this show ever since I was a kid, and I have multiple ‘fics for this fandom that I want to write.

- “AlgoRhythm” is a ‘fic I have already posted on FFN and AO3, about WordGirl introducing Kid Math to the villains in town

- 28 Cities is a ‘fic I started about Rhyme and Reason before they arrived in Fair City. I put it on hiatus since it didn’t seem like anyone was interested, but I’m willing to post more for it if there is interest in it now that years have passed and I’ve gotten more followers who like WordGirl. I have a lot of worldbuilding and plot I never shared for it

- Factor It In is a ‘fic I’ve been working for a while that parallels the official show from the moment Kid Math arrives in town. It focuses on Rex’s struggle to adjust to this world as a child coming into his superpowers for the first time (Y’know, the whole “superheroes don’t have powers when they’re on their home planets” thing), his struggle to adapt to the social world of a non-logical planet, and Becky’s struggle to help him become accustomed to Earth and learn to share it with her as well. If the episode “Kid Math” was a full-length novel about Rex’s arrival and character development, that’s what this story is. This is the highest priority of all my non-FOP ‘fics... I’ve had a cover image made for 6 months and even though I tried setting it aside, I’ve always been super inspired to write for it. If I felt like it would be a good idea to commit to weekly updates alongside my FOP updates, I would, haha.

- I have two one-shot WIPs called “Squishy Feelings” and “A Little Ambiguity”, one of them focusing on Becky and Rex talking about the events of “Rhyme and Reason” and what it means for Rex’s secret identity, and the latter being a future ‘fic showing WordGirl and Kid Math dealing with life 10 to 15 years down the road. I’ll probably post the latter, not sure yet on the former.

- If desired, I may make a WordGirl specific sideblog where I post lore, answer Asks, post character profiles [smaller than my FOP sideblog ones], and mention fanfic updates. If you would be interested in this, feel free to send me an Ask requesting I do this. If there’s not interest, I’ll just keep my WordGirl stuff on the main blog.

- I’d like to get more involved in the WordGirl community, so I’ll probably post more content and reblog more art and headcanons

I also have a handful of miscellaneous ideas I might follow through with. I’d like to write at least one “TUFF Puppy” fanfic so I can say I did. In a perfect world I would like to finish the two “Danny Phantom” and “Bunsen Is a Beast” fanfics I started because... I just kind of want to dip my toe in each of the Hartman shows once since I already went through all the effort of worldbuilding for them to make them canon in a single Hartman show universe. “ChalkZone” is another show I adore and might touch someday (You may recall I have a full outline planned for an FOP/ChalkZone crossover ‘fic called “Dust to Dust”).

Will I write all of these things? Maybe not. I have no idea if I want to spend the next 10+ years writing fanfics, or if I’ll simply be done with all misc. fanfics immediately once I decide to be done with my main ‘fics. I definitely intend to write for a few more years and finish my main ‘fics, but I might not go through with some less popular side ‘fics if life is getting busy for me.

===

What is the posting schedule for FOP ‘fics?

Reedfilter Rules, Frayed Knots, Origin of the Pixies, the 130 Prompts project, and “Come What May” are all high priority FOP writings. I will swap between them depending on my mood that week.

Here are some other ‘fics I want to work on.

- If you like, you can send me Asks requesting I work on a specific story above the rest. I will try to prioritize whichever stories interest you guys most.

Snips and Snails is a ‘fic I started and posted the first chapter for years ago. I’m not sure when I will get back to it, as I ran into some writer’s block. It’s still on tentative hiatus for now..... Possibly forever, though I hope it isn’t forever since it’s only supposed to be, like, five more chapters.

Pink and Gray is on official hiatus. I actually have a lot written for it, but I know it’s a little weird to put so much time and energy into Gary and Betty content when... well, let’s be honest: they’re my niche favorites and most of you probably don’t care. So, I am lifting my usual “no spoilers” policy from my Ask Box. If you would like to ask about my Gary and Betty backstory headcanons, feel free. I will tag my replies as “ridwriting spoilers” for anyone who wants to blacklist the tag, and spoilers will be hidden under a Read More line.

I’d like to return to this story someday because there are tons of things I like about it (ranging from Betty’s secret tattoos to Gary’s plot drama with his mom to the background drama between Talon and Anti-Cosmo, but I always feel immense pressure to make it extra cool to make up for the fact these are weird side characters, so... it’s officially at the bottom of the priority pile. Once Talon shows up in Frayed Knots and readers understand who he is and why he exists, I’ll consider coming back to it.

Identity Theft is a story about Foop and his time in the alternate dimension he was flung into following the episode “Playdate of Doom.” To put it short, Foop was abused by alternate versions of his parents in this dimension and he witnessed some pretty intense stuff, including the death of the alt version of himself who existed in that reality. The trauma he experienced resulted in his alternate personality, Hiccup. Foop himself has very few memories of what happened, as Hiccup has all of those memories. This story is canon in my works, and it is regularly referred to during the 130 Prompts as part of Foop’s backstory. It’s my highest priority side story to work on.

Along the Cherry Lane is a 20-chapter work focusing on the lives of the main human cast from age 11 to age 30, with one chapter showing a snippet of their lives each year. You see Timmy raising Tommy and Tammy in this ‘fic, and it ends with them receiving godparents. Since the 130 Prompts don’t give humans much attention, this ‘fic does. You’ll probably see it debut two years from now, closer to when the 130 Prompts is ready to talk more about humans.

If this becomes a popular ‘fic of mine, I’ll probably write a sequel or continue it past Chapter 30 and write about Tammy and Tommy living with fairies, but I won’t if there’s no interest in that.

Little Imperfections is a Pixie AU ‘fic of mine about what life would be like in a universe where the Fairies are even more like insects than I play them as during my main works (where I already play them as semi-similar to insects). In this world, the Head Pixie is a figurehead whose duty is to reproduce for the sake of the colony and do nothing else, and he’s bored out of his mind until he befriends Sanderson, who introduces him to music. It’s extremely self-indulgent and silly because I like Pixies.

Francis is a multi-chapter ‘fic about bully Francis’s life getting yet another fairy godparent in a long string of memory wipes and godparents. It takes place during the canon series, and when you see an “orange fairy” mentioned in some of my writings, it’s usually referring to this fairy. His name is Rover and I occasionally post art of him. I feel like I can’t truly call myself an FOP fanfic writer until I actually write about a godkid and their godparents, haha...

Hawthorn Haven is a side ‘fic that will be posted towards the end of the 130 Prompts, as it veers off from the prompts in its own self-contained multi-chapter story. It will be approximately the length of “Baby, You’re a Rich Man.”

Acacia Arcadia is a far-past ‘fic detailing the fall of the ancient fae, the imprisonment of the nature spirits, the rise and fall of the chimera nation, the fall of the Martian genies, and the early days of the cloudlands. This is close to the bottom of the priority pile... It’s something I spend time on for personal reference to ensure accuracy in my other ‘fics, but it’s probably not what you guys came here to read.

AA has a bunch of characters in it that you might vaguely recognize, such as Ezekiel Whimsifinado, Evadne, Ione, Two Feathers, Rho, and Sablewood (If you’re astute, you might recall cloudland legends and landmarks in modern day that refer back to these characters). There are also a lot of characters who were reincarnated as Anti-Fairies, in accordance to traditional Anti-Fairy beliefs; Foop for example exists as a main character in one of his past lives, and you’ll see a hint dropped about each of his lives in the first chapter of Identity Theft. My tentative plan is to use Foop’s past lives as my central characters, following the events of each part of the timeline until he gets killed and reincarnates at a later point of the timeline.

I also keep some one-shots in a file I call Mixed Nuts and I may possibly post them someday (they’re mostly just one-shots of main cast characters I do to get a feel for their personalities, I have some Wanda and Cupid in here). @zachbrightside and I are also working on a collab ‘fic called Like a House On Fire that shows more of Timmy and Chloe’s lives during Season 10 (especially around the time of “Which Is Wish?”) No news on a release date for that yet.

As I’ve said before, once all my other FOP works are complete, I will write Devil’s Backbone, which is my far-future ‘fic and the finale of my FOP writing. I do not plan to write any more FOP content after that story is finished, as I expect to have all other FOP projects done by then.

- Devil’s Backbone is a finale 'fic, so all worldbuilding from all stories is fair game to blend together, and it’s highly recommended you read everything else first. This story has been outlined since 2016, and it might not be published for another 10 years... Who knows! But it’s something I always work towards as a concrete endgame goal.

- If something serious comes up in my life and I officially decide I don’t want to write this story, I will post the outline for it. The link to this draft is included with all the other Google Docs links I have in a far-future queued post unveiling my WIPs in case I unexpectedly die and you still want to know how my stories would have gone, so you’ll get access to this story eventually even if I die young. Yes, share access is turned on for them all and I do take extra careful measures to be sure that post doesn’t get posted early skldfj

===

What is the plan for the main blog?

Every Friday, I will post either a fanfic chapter or a progress update. You can blacklist the tag “ridlife” if you do not want to see the progress updates on your dashboard. Fanfic updates will not have the “ridlife” tag, so you will not be blocking them.

During the rest of the week, I might post doodles, reblogs, or general comments. Basically... you’ll see the blog become active again. Feel free to send in Asks about my worldbuilding and thoughts on fanfic characters.

@fountainpenguin is my personal blog, so you will see non-fandom things on here sometimes

@riddledeep is my FOP-exclusive sideblog. It contains all my lore notes and goes into a ton of depth, more than my fanfics give in one breath

===

What does this mean for the Riddledeep sideblog?

I really want to go back and edit those character profiles that were posted early by mistake. The reason they were queued is because if I turned them into drafts, they would have been buried all the way at the beginning of my draft collection, and I have many, many drafts saved. There are no page numbers to navigate quickly through the draft collection, so I would have to click through each page one by one if I ever wanted to look at them. I hated doing this, which is why I kept my posts queued.

I was regularly updating the queue deadlines, trying to keep things in the order I wanted to post them in, but Tumblr made a change to the way drafts are dated and it kept throwing off my system. My inability to remember when my queued things would post combined with my busy schedule led to some profiles being posted early and incomplete. I want to fix these.

Over a year ago, my good friend Vulpix150 helped me finalize my designs for the Aos Sí and Daoine Sith. I’ve been sitting on that art in secret for a while, and at some point I plan to post it on the sideblog and talk more about that lore.

Updating fanfics is my higher priority (and it was the priority my followers voted for when I asked you to send votes to my Ask Box a while back). So, I will usually spend my free time working on fanfics unless I need a break from them and want to work on sideblog profiles instead. Thank you for your patience!

===

TL;DR

I’m posting fanfics again soon. I’m going to take a more relaxed approach to posting them. I’m going to post more of what I want to post and what I feel motivated to post, not always a main ‘fic update. If I’m not “feeling it” when working on a draft, then I’ll set it aside for a while unless I know my followers and readers have high interest in the next chapter of that story. I always write for me first, but if I know there are other people who care a lot about a story, then of course I want to write it for you too!

I’m going to embrace my decade-long love for WordGirl and post more ‘fics and art or this fandom. I’ve always been a little shy about doing this, but I’m ready to make it an official fandom on my main blog (unless there are lots of requests for WordGirl things to be contained in their own sideblog). I will be posting the first chapter for a ‘fic called Factor It In very soon. Love my easily frustrated alien kiddos having a long day.

I am working on Creature-Crossing stuff too, and will be especially busy in November and December. Updates will be slow for a few months, but I hope to find my groove and a good pace soon.

Each Friday, I will post either a fanfic update or a mention of what I am working on. I will be checking in on Tumblr regularly. Feel free to talk! I much prefer you send messages to my Ask Box, not my private messenger, please <3

===

Is there a specific story of mine you like and want more updates for?

Asks and reviews help me know which ‘fics people are enjoying. I plan to keep writing ‘fics no matter what, but I definitely give more time to the ‘fics that get more attention (and I have been spending so much time writing for Creature-Crossing because that’s where the attention was coming from)

It’s easy to stay motivated and get the next part of a story out soon if I know that people like it. It’s always harder if you feel like people are silently judging you and ignoring your posts. So, let me know what you’re interested in. And if you only leave Likes or Favorites instead of asks and reviews, that’s okay too! Thank you for interacting anyway and enjoying my work.

Thanks for reading!

#WordGirl #Factor It In #Kid Math #FAIRIES!#ridlife #riddleverse mention #ridwriting #Mushrooms and more #Satirical vocab alien child show #Frayed Knots #130 Prompts #Origin of the Pixies #Pink and Gray #Acacia Arcadia #Devil's Backbone #Hawthorn Haven #Along the Cherry Lane

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stray-tori · 4 years

Text

TPN S02E04 - Initial Thoughts (anime-only)

viewing + post-ep talk with my friends: Google Drive (sorry, youtube denied me again)

(i) Translations are in the English (USA) CC (including the english bits as well for those who struggle with the audio/language, etc.)

pls validate my efforts and watch it.

there’s some anime-only talk about the adaptation towards the end, I wasn’t trying to be arrogant, just mention it to my friends based on some things I’d heard and without spoiling them about what is different that I do know of specifically. But if you want to avoid that, feel free to!

I definitely said it a bit too in favor of the anime, and obviously my friends’ just got my simplified thoughts on it? Like when they said it makes sense for the anime to move on quicker, but that’s not really what’s different.

So yeah, please forgive the dubious things in that segment, I really just didn’t think about my words a lot.

. Random thoughts

The fish bug scenes were delightful TvT Also the animation during them trying to grab them???

The OST during Isabella’s scenes???? take me

I think we also heard the OST sneak peak from a while ago during the cave confrontation with the army force human

Don is a useless nightwatch, goddamn it Don

Don is an epic chairman.

Loved the shot of Ray shooting at the big demon (why didn’t Emma get a cool shot? :THONK:), very dynamic, very epic.

Also them running together to push the man off the cliff was... something haha.

I’m losing my mind that we’re actually just ending on the way ep1 started. Same animation loops too, eh. to be expected, and obviously adjusted for different clothing and items but. still as someone who wants to praise for not re-using animation, rip.

EMMA HAVING SLEEPING CHILDREN AROUND HER AWWWW

Eyy Ray took a bath with the others too, yay

. The bunker

So, the twist was that there was really.... no twist at all. Minerva was a good guy, he tried his best, he got discovered and chased.

And yet, I don’t think the bunker was previously discovered by the farms, which would at least warrant a “scare” like that, effectively making it a trap. They may have been aware of a shelter’s existence, but I don’t think they’ve been there before.

You could probably assume that the Troup that attacked our characters may have also removed the previous escapees from the scene --- but if that was the case, why leave all of the letters and other things in place. Not getting there immediately is understandable, they seem to arrived by foot (what? do you plan to keep an eye on the children the whole like 5 day march back or however long it took?? dang). So that’s not it.

So: what caused the HELPs? the person writing in the book seems to have been abandoned or more likely, are the only survivor of their group (maybe the only person in the group at all). Now it’d be an option for them to have found this safe haven and decided to just spend their days there, slowly losing their minds and doing the things on the wall. But then the message in the book, on the other hand, seems traumatized and sad, but not as lost as the carvings on the wall.

So either, they calmed down after going crazy and then once they did, they decided to leave.

Or it’s from two different people (or multiple), the one after the “HELP” one probably leaving the uplifting message in the book nearby of the scribbles.

I’m not sure which I’d find more likely, but all in all, I’m not sure why they didn’t just have the demons already know of the place and just have the letter (they probably wouldn’t have searched everything in the place) not be as obviously placed and then boom, they could still have made all discoveries they needed and when they found the help wall, it would have been from children trapped in the room while the men searched the bunker, wanting help.

* Clearly that’s not what they were going for, since there’s also day-counting things, but even that you could have explained by saying, they missed a child and the other escapees convinced them that they died, somehow and so they were left behind, traumatized by their friends being taken back and giving up for a while. It still runs into the same “but how can it be the same person?” doubt that my friend brought up, but I think that it’d justify the shock value of the wall more. Still not really making the whole “HELP” thing add up though, since that just sounds like there’s an immediate threat, when there isn’t. The only other thing I can think of is that the entire wall wasn’t one instance, so the counting could be solitude, the HELPs acute danger and the names probably also solitude. The drawing on the right also makes me think it was probably a child as well, fairly young. Poor kid.

Unless there’s something more to it I feel like it makes a little more sense, but still not a lot (WHY’D YOU LEAVE YOUR SNACKS, BRO) but seeing as we’ve left, I don’t think we’ll get to know.

I’m assuming the way the farm knew now is either a) they were aware but didn’t see any reason to go there unless there were children there, b) they saw the coordinate carvings (thanks Ray) or c) the pursuers contacted the farms (which would make sense, and again, thanks Ray).

.. the farm has a military force???

I also find it kind of funny that the farms have a military force??? Because so far, we’ve never seen them use guns to do anything. Which makes me think they might not be farm-intern but from an outside force, maybe the humans who are more “on-level” with them?

Like, what do they do all day. They’re probably not part of the buff demon guards and.... idk man haha-

. Isabella

Ahh I was happy to see her! I was even happier to be like “hah, prison. Knew it.” and then later reacting to the offer, even though that wasn’t exactly what I called, but damn. the pride. my fucking expression too lol, i couldn’t hide it at all pff.

Her jump in motivation is a little weird, but I do see it as, someone who has basically accepted their fate, and when that gets challenged, the will to live takes over.

I’m also not quite sure how she’s supposed to capture them if she can’t leave?

And then of course there’s whatever they promised her aside from “freedom” (which, if that just means being let outside, good luck ma’am there’s demons everywhere) - or is the transportation to the human world included? :D

Based on her clothing in the OP, I might have guessed it’d be “become a grandma” but that doesn’t really go well with the promise of freedom so.... I don’t know where that entire thing is going pff-

We don’t know a lot about what drives Isabella but one of the few things we do know is a) will to live and b) Leslie (????), hence the lullaby in “stressful” situations.

She already got the will to live with the baseline deal, so the only thing I can think of that would make her react more than freedom would be that Leslie’s alive and she can see him if she helps.

I’m not sure if she’s interested in anything else, like how the world works or what she can do for anyone, like.... hm. Of course it could totally be something that we just don’t know yet but yeah I guess that’s my guess.

They probably won’t give up Ray and seeing as she’s more concerned about his brain than anything, I don’t think even if they did allow her to take him with her, it probably wouldn’t mean a lot to her. Plus, why lose another high quality cattle.

I guess it could be, she did seem she wanted to be a proper mother figure, but idk something tells me it’s probably not something like that.

It would also be more “???” than “OHHH” of an reveal. Then again, Leslie is also an obvious choice so.

Maybe it’s something entirely new, we’ll see :D

. The possibily wrong date

So when Anna writes a journal thingy, we see this

And, well, their escape happened in January 2046, so... for that to be true, somewhere along the line, an entire year would have had to pass.

I’m assume this is a production error because

they didn’t get to harvest once

they wouldn’t wait a year to talk about the plan to go back

Ray wouldn’t need an ear patch for so long, he only has a cut

the montage only showed 22nd and 23rd, if an entire year had passed, we’d have been shown more varied dates, etc.

then it makes even less sense for why the army shows up one year later out of nowhere :D

...

Smh, CloverWorks, what can you even do right.

Yee, thanks for reading!

#tpn anime #tpn s2 #tpn anime-only #tpn isabella #tpn anime spoilers #tpn #tori has opinions #tori talks

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oversimplify-it · 4 years

Text

Story Process Tag by @herpixels

I was tagged by @dynastiasimss - Thank you so much for tagging me!! 😊💖💗 This will most definitely get a bit wordy because I’m terrible at explaining things concisely! 😂 Also, I’ll mostly be talking about my process for 2.B.A Grandmaster but I’ll touch on my process for Erin in San Myshuno too!

I’m also going to get tags out of the way up here so that no one has to scroll all the way through this ... absolute novel that is under the cut LMAO so I tag: @cyansimblr @x-simss @matchacake and any other simblrs who wanna do this!! and feel free to skip if you want!

1. Your writing process My writing process is very, very chaotic, and changes with the wind... Erin in San Myshuno doesn’t really have a process, I just play the game and then put in some dialogue based on the events. None of it is guided by my hand at all though! 2.B.A Grandmaster on the other hand is written in part based on what happens in game and in part by my own creative vision. Most of the time, I let stuff happen, and then fill in the blanks in between events. I go in game, play Sims as I normally would (skill build, take care of needs, go out to venues, etc.) and then watch what weird and interesting things happen. For example, Augusta’s meeting with Xavier in the beginning was completely the game’s doing! He was the only one to show up for the Welcome Wagon event, so I rolled with that. Scenes like Kaitlin’s meeting with Maverick and those sort of things are planned by me, as they’re necessary to create a more full narrative! It’s like collaborative storytelling, but my “partner” is a game that is weird and random and crazy. 😂 After stuff happens in game and I get screenshots, I then actually write for it. I chose to write novel style for the series because - as some of my long-term followers may remember - I had another story that was just screenshots with dialogue on them? And it was very hard, LOL, it didn’t suit my workflow very well and I ended up dropping it after a month or so. I wanted 2.B.A Grandmaster to be something I could post consistently, and so I opted for a style that I was more familiar and experienced with!

2. Scene building For the most part, I just work with what sims gives me, but as I mentioned above, some scenes I actually go to the trouble of setting up. For those, I still use the sims animations mostly (I’ve used poses about 3 times in 2.B.A Grandmaster so far) but I do usher my sims around the "set” as I see fit. I build a lot of my own lots and locations for 2.B.A GM because I tend to get a vision in my mind of what I want and refuse to settle for less. 😂 One such case is the scene where Maverick meets up with Octavia--

I made the alleyway we see here - it’s two entirely empty buildings sandwiched side by side on an otherwise empty lot in Oasis Springs. The only part I bothered to decorate was the alley itself because I knew I wasn’t going to use the rest of the area, but maybe we’ll revisit it sometime and I’ll finish the two buildings! I actually loved making this set and like how it turned out, LOL~

Then I just have whatever sims are involved in a scene interact with each other for ages until I feel like I have enough screenshots to make a scene. I usually have a vague idea of what’s going to be said in any given scene - especially the ones I actually planned out beforehand - but I get some excess screenshots to be safe. I try lots of different interactions and pause like every few frames to get interesting expressions and stuff, LOL. Lots of “Complain about Cold Weather” and “Give fake bad news” ...

3. CC/Pose making I don’t actually make my own CC for 2.B.A GM specifically (I’ve made a couple eyeshadows but I don’t use them super frequently) but there is a scene coming up in the future that I plan to make poses for. I have a very clear image in my mind that includes a lot of subtle expressions and very specific things that I doubt I could find poses for, so I’m gonna have to brave the terrifying landscape of blender in order to make it a reality. 😧

4. Getting in the zone I don’t have any sort of “ok, show time” ritual like some people do but I wish I did, because my motivation waxes and wanes so unpredictably. Some days I just don’t feel like doing anything, and other days I edit and write for 5 posts in a row! I am always listening to something though, usually music, every once in a blue moon a video with lots of talking. 5. Screenshot folder

UGH...

6. Captions I don’t do captions on 2.B.A GM posts, but for my city living gameplay I do! I keep them simple, because I don’t want to make it too much work for myself. Erin in San Myshuno’s style of editing is 100% based around ease, because I wanted something to post often that didn’t put too much of a strain on me. Verdana in white, typically 35-40 px, with a gradient border. Each sim we encounter has a different gradient color, usually based on their outfit or just the ~vibe~ I get from them. Erin’s gradient is Hot pink to ... gee, what would you call it. Sonic the Hedgehog Blue LMAO-- I chose that gradient because that’s the color of the overlay, which I’ll talk more about in the next section!

7. Editing My two ‘series’ - and I use that term loosely LMAO - have different editing processes, so I’ll try to summarize them both. Basically, for 2.B.A Grandmaster, I touch up the saturation and brightness depending on the scene. If it’s evening in the shots, I usually won’t touch brightness, and if it’s night, I might even lower it a bit for more accurate lighting! Once that’s done, I blur everything but relevant elements of a scene, usually the character we’re following or who is speaking. I have to select the character from the background manually which takes a bit, but other than that it’s very minimal.

My shots aren’t super glamorous, but I prefer simple screenshots and actually being able to keep up with a story schedule as opposed to what happened with my last story. 😬 As for Erin in San Myshuno, barring captions which I only do when I feel it’s necessary, it’s literally just an overlay on otherwise untouched screenshots. 😭 I would do more, but again, it’s supposed to be an easy downtime sort of series for me so~

This goes over top all screenshots on the “Add” setting at 20% opacity. It brightens things up and softens them, as well as making the colors slightly more harmonious! If anyone wants me to go more in depth on editing, or maybe captions, please let me know! I’m happy to talk about it if it’ll help anyone, and I know that a lot of tutorials cover how to do stuff in Photoshop, whereas I use FireAlpaca (which is 100% free btw! It’s more of an art program, but not bad for editing) 8. Throwback!

Oh boy, so this is one of my first posts on simblr. For starters, I didn’t know about camera mode at the time, so that’s the first thing I would change obviously LOL. 😬 The framing I did at the time was ... cute, but it makes the pictures feel kind of cramped and small in my opinion, so I did away with that for all of my later stories. Also, Amy and Gemma aren’t very well centered in this picture! Other than that, this isn’t actually terrible I don’t think, so aside from maybe blurring the background as I do on 2.B.A GM now, I wouldn’t change too much! Thankfully, I had observed other people’s stories before making my own on here for a little bit, so I wasn’t starting with absolutely no idea what to do, but I still think I’ve improved since I made these. 😊

This was a ton of fun!! If anyone has questions or wants more info on anything I covered in here, absolutely feel free to ask, and thank you so much if you actually read through all of this - I know I rambled for quite a while!! 🙏

#tag #extras: 2.B.A Grandmaster

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ohscorbus · 4 years

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Real talk - do you think the boys would have ptsd after CC events? Especially regarding the less obvious issues stemming from Delphis relationship with Albus which upon closer look was actually pretty disguisting and predatory.. (I don't think this part is acknowledged enough)

Oh absolutely. It doesn’t matter how brave or fierce you are, going through something like that is going to leave scars. I just hope they will continue to be brave and accept the help they’ll need to deal with those long term because they don’t have to be permanent.

Scorpius is sugarcoated sunshine who I have no doubt is an absolute mess inside. His childhood might have been a happy one, but he’s had his father’s history and his mother’s illness and his own bullying to deal with. Then his mother dies and he pretty much loses his dad at the same time too. I’m sure he tries to lose himself in homework and Albus because it’s worked before, but you can’t bury that pain forever. I’m not sure why he even tries to. Is it because it’s private, too personal for others' eyes? Or is this him protecting his loved one's feelings, or a bad trait he’s picked up from them? Maybe he just doesn’t know how to deal with any of it, or he simply just does not want to. Why? Fear. Shame. Embarrassment. Either way, you’re taking all of that and then adding all this on top. Delphi, the other timeline, that other Draco, losing Albus, Craig, his decision to die to stop Delphi, being trapped in the past, the Scorpion King, being tortured, losing his mum over and over again in every timeline… Scorpius is already fractured but this has the potential to crack him wide open. It might not happen immediately, but at some point, he’s going to buckle from the weight of it all and not be able to put himself back together like before. Luckily for him though, he’s got people to catch him.

Draco’s first priority has always been his son but I think this escapade was the wake up call he’s needed to focus that energy. It’s scared the hell out of him. But I think it’ll finally get him to stop worrying about whether or not he has the right tools to help his son and just push him to get on with whatever he needs to do. Whether that’s having a difficult conversation or accepting he needs to bring in professionals and doing so, without hesitation. I truly believe as Scorpius heals, so will Draco. He’ll stop seeing this as his failure and recognise that these were steps in the right direction for them both. There’s so much they need to unpack and the more open they are, the quicker they’ll learn how to support themselves and each other. Because hiding isn’t protecting. It just means when you’re eventually exposed you’re underprepared. I like to think they aren’t going to make that mistake again. Being a ‘new Malfoy’ isn’t just about attitudes towards muggles, it’s also about changing generations worth of programming. It was never going to be easy but look how far they’ve already come from impossible. They’re a team, an unbreakable father and son bond, and they can do this. Astoria was their biggest supporter but her faith in them didn’t die with her body. It lives on in their hearts and I just wish they’d see that more because that piece of their puzzle isn’t entirely lost. They still have everything they need to succeed.

Albus is a completely different story because where Scorpius hides his hurt, Albus wears his on his sleeve. But just because he’s acknowledging it doesn’t mean he’s processing it. Especially in the way in which you’re talking about. Albus is fourteen years old and to him, Delphi was a friend and at most, a crush. But really I think he saw her mainly as his easy way out of the darkness. She knows that too. That’s why she directly targets Albus and not Scorpius. Scorpius may have been physically sheltered from the world but he’s seen the ugly side of it. Both boys are innocent, but it’s Albus’s naivety that will stop him from seeing her truth. He won’t understand there’s no quick fix because he’s yet to learn you’ve got to put your own work into reaching that kind of mental freedom. So it doesn’t surprise me that we get that scene with Ginny where he’s upset and ashamed he fell for Delphi. I think that’s the level at which at that age and in that moment, is the only way he’s going to see it. He’s just too young and emotionally immature to see the bigger implications. I think it’ll be Harry and Ginny who are hit the hardest with it in the way you’re talking about. (McGonagall too.) I’m not a parent, so I can only imagine how sickening it must be to find out someone older had been able to so easily watch and gain access and then manipulate your child in such a way. I’m sure there will be another conversation between them about it. And while an older Albus may finally understand their view, I don’t think that will ever be the main source of his pain. I think that’ll always be his guilt and that has the power to consume him if he lets it. But the difference now is that he’ll see Scorpius finally dealing with his own issues healthily, and his parents (and teachers) will be paying him the specific attention he needs to grow. So I have every faith that this will be his turning point too.

It’s fascinating, really. Scorpius’s pain comes from the outside and he contains it all within. Hidden away. Just like he was as child. Whereas Albus’s pain starts from the inside and it bursts out of him in words and actions for all to see. Like it’s the only option when you’re in the middle of a chaotic extended family circle like his. They’re complete opposites. Yet they’re both the results of their childhood and that’s what makes them the same. That, and this event binds them too. No one else will ever come close to understanding the horror of what they went through. I have no doubt that their connection is only amplified and strengthened by this experience and their shared trauma. Nothing and no one is ever going to separate these two boys again, and that’s exactly the kind of thing that’s going to push them towards and through whatever kind of therapy they choose to engage with. Because they’ll want to do it for themselves, but they’ll need to do it side by side.

#this post is like an iceberg because 95% of the 1k words is under the read more (for reasons)#albus potter #scorpius malfoy #scorbus #albus severus potter #text post #mypost #long post #Anonymous

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windermeresimblr · 4 years

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Story Process Challenge

I was tagged by @danjaley and @treason-and-plot (in alphabetical order, not tagging order). Thank you both so much!

Summary: My process makes sense to myself alone and it’s very much a work in progress! Also, I’m very boring and don’t do gifs or videos, so you’ll just have to look at my screenshots. Sorry!

This is behind the jump for length.

1. Your writing process - show us a part of your script or explain how you write your scenes. Do you write in screenplay format or novel format? Etc, etc.

I write in novel format if it’s a wholly-posed story, mostly because that’s easier for me than a script. I feel like it really helps build the ~aesthetic~ of a scene that way. For my attempts at partially-posed/gameplay stories, I’ve gone for screenplay format, but it’s very new to me and I feel much more comfortable with the novel format. I usually write in Google Docs, since that can go with me everywhere and I can write on my lunch hour/waiting for my mom to get out of the pharmacy/etc, but sometimes I will write in Notepad.

(Yes, this IS a flashback to Alasdair and Ma. Yolanda meeting; they were perfect teenage hellions causing chaos at a society party, don’t worry.)

2. Scene building - show us you in the middle of scene building through pictures, gifs, or a video. Explain what is the best thing about scene building and what is the worst!

I’m still learning how to make a very good scene build; this is where being a historical player kind of hurts. It’s hard to get a good sense of what a 1810s Spanish drawing room or a 1600s merchant’s house in Amsterdam really looked like without abusing my library privileges! (Images from Wikipedia and historical sites only go so far.) The best thing about scene-building is when the vision of the room in my head matches the room that’s in-game, which is pretty difficult. The worst thing about scene building is that I’m very perfectionistic and a control freak, which does not help, and frequently I do get lost in the details and can’t see the forest for the trees.

(This isn’t a scene, it’s that Iron Age Roundhouse, but it’s a good example of how I do things--all the lights on, everything bright white paint or the $0 floor until I am happy with the shape and placement, and then I decorate.)

3. CC/Pose Making - do you make your own cc/poses for your scene? If so, what is your process like to create? Do you just go off the top of your head? Do you use reference photos?

I’d love to be able to make my own CC and poses specifically for scenes! I’m still very new at CC-making--see my hats collection--and again, I’m very much a control freak. I use a lot of reference photos, especially historical costuming sites and books, because it gives me a lot of pride to have the clothing and accessories look just right.

The creation process is usually: gosh, I need a crispinette/gable hood/palla/whatever for this character, let me see if there’s a mesh from TS2 or TS4 that I can wrangle into submission if I can’t repurpose an existing mesh, and then a prolonged period of fighting with Milkshape and TSRW and other programs until it looks serviceable and works. I’m not very technically skilled yet.

I don’t make my own poses--I’d love to, I have a hand-spinning poseset idea living rent-free in my mind at all times, complete with a drop spindle accessory, but I’m not very confident with Blender or hand accessories, etc. When I pose my Sims, I do use reference photos if I haven’t already planned out how they’re moving around in the scene. (Well, reference paintings, usually, although sometimes I’m lucky enough to find reenactment photos!)

4. Getting in the zone - What do you do to get in the zone to work on a scene? Examples include: show us your playlist you use when working on a scene, what’s your go-to scene snack/drink, etc.

I don’t know if I get into a zone as much as I just carve out time to work on things as I can. I don’t have playlists for my characters. (Not a Deaf thing; I just haven’t really...had the urge to do that. I’m worried I’m a neglectful Simmer now, ha ha.) I don’t have a go-to writing snack or drink. I just...try to relax a bit, usually, and sometimes I will look at my past chapters to see what we were doing last time.

5. Screenshot folder - give us a look into your screenshot folder to show us just how much goes into ONE scene for your story. (Scrapped pictures encouraged!!!)

Do you REALLY want to see this? Really? I’m an AWFUL packrat. I try to organize it and I can’t. (Sorry. I’m very messy.)

6. Captions - are you a caption on the picture kind of storyteller or captions in text box type of storyteller? Why? Do you do both?

Captions and text go in the text box.

I’d love to be able to put dialogue in speech bubbles, because it seems cool, but I talk too much! (This is the same reason why I kind of go back and forth with Netflix-style captions. I don’t know when to shut up.) I also worry that the captions wouldn’t be visible in scenes with low lighting or overly-bright lighting.

7. Editing!!!!! - explain and show us your process editing a scene through a video, gif, or picture. A Before and after will suffice if you aren’t in the middle of editing a scene as you answer this.

Philomena, before...

Philomena, after. (This is one of those images where I just threw up my hands at the hair editing. I wish TS3 had hat chops like TS4 did.)

I’m really not confident with editing--I want to have my pictures look aesthetically pleasing, consistent with the other images in the chapter, and “nice” in general. It doesn’t help that while I’m 95% Maxis-match, my aesthetic inspiration for scenes changes with the wind. I use pooklet’s lighting actions, and then from there I tend to use the Holy Colors, Batman actions. But I’m trying to find my own way of doing things--reliant on others’ actions, yes, but more consistently done and somehow conveying that it’s “of my workshop.”

8. Throwback- show us an ANCIENT story scene you did in the past and explain how you would do the scene differently today!

First: I think I’d choose a different pose for Vicar Max here. (It doesn’t quite fit; why would he be staring at Alasdair like that? It’s more of a mid-conversation pose.) I liked how it looked like Alasdair was genuflecting as he sat in the pew, but again, the pose needs to be changed. I might just go for neutral sitting-and-talking-looking-straight-ahead poses.

This was one of those pictures taken when I was trying to understand Reshade, so I’d obviously skip that. I’d also add Pooklet’s lighting actions, of course.

It’s definitely not lit well in the back--I’m not sure how I’d change that. I didn’t want to lose the “quiet chapel” feel, but there has to be a balance, not letting the characters look like they’re spotlit.

The angle also looks weird, but I’m horrible at angles; I have a lot to learn still. I’d either close-up on the faces or I’d zoom out more. (I think I was having issues with Alasdair on the OMSP, for some reason.)

I tag whoever would like to do this!

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malefiquinn · 4 years

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My Cyberpunk 2077 review

I finished the game last night and I have Feelings™ about it, so here goes my review. While the heavy spoilers (ending related) will be hidden under Keep Reading, I might mention some minor ones here and there, so read at your own risk.

Let’s get the Big Thing out of the way first: yes, the game is buggy af. The good news is most of them are visual bugs, so while annoying, they don’t really matter gameplay wise. But I did have to reload an earlier save file two times to get rid of gamebreaking bugs, both messing with main story quests. It was frustrating. And nevermind the times my car got destroyed because the game suddenly realized there were two cars occupying the same space. However I did manage to finish the game and make the choices I wanted, so it wasn’t that bad either.

My biggest complain is the blantant transphobia shown in the character creator. I know Claire exists and she’s awesome and I love her, but the cc options are just not inclusive enough. What’s the point of having them if you can’t use them anyway? Linking V’s pronouns to voice types makes absolutely no sense. And not being able to remove breasts from the female body type (or put them in the male body type) rubs me the wrong way as well, though I understand that it would involve a lot more animation work. Lastly, having body type-dependant hair styles is just plain inexcusable when the devs took the time to design genitals that are just not shown past the character creator (unless V walks around naked, I suppose). So, why bother having all these ✨choices✨ when the player can’t get a good, accurate customization anyway?

And it gets worse if we talk about romances. Real people have specific tastes and that’s completely understandable, but real life has a lot more than 4 choices in total. More importantly, bisexual people are a thing? There should have been at least one female and one male bisexual romance options in game. So to make it al worse, the constraint in gay romance options is... awful. Why have 3 types of gender-related customization if you can’t use them if you want to romance someone? I’m a cishet female who plays as a cishet female first if given the option, but I’m still bothered for the queer community (which I’m still part of btw, since I’m in the ace spectrum). It feels like being trans is more of a fetish in Night City than a real trait.

Speaking of romances, I played River’s and I found it... bit of a lackluster. I don’t find him physically attractive (shaved head and no beard are not my thing) but his voice was pretty nice and I liked his personality despite being a cop. But the main downside was the way the game treats his romance. I knew I wasn’t going to get a BioWare-style romance, but V’s relationship with River was like a sidenote and once he’s romanced, there’s just no way to interact with him again. That perhaps is the same for the other romances but there’s no replayability, in a sense that there’s no way to talk to/kiss him again or replay the sex scene, for instance. It bothered me that the game forces V to say that “she’s too busy” and apologize to her boyfriend all the time, because *I* would’ve made time to visit if there was ingame acknowledgement of it. The worst bit is that I feel like River’s romance is the least polished of them all, because Panam and Judy play important roles in main quests and Kerry is pivotal to Johnny’s sidequests, while River is... just there (also more further on, regarding the ending). So the fact that he’s like the forgotten child in the romance section while being the only cishet female option is heartbreaking.

The silverlining is that, at least, the mistreated community was het females instead of gay females. Although, this is just another example of game devs thinking about male players first.

Now the good part: what I liked

The cars. I’m not a car enthusiast, I don’t enjoy driving in real life and I’m a terrible driver in games, but I fucking loved the cars in CP2077. The Caliburn was like my game baby, I had so much fun driving around and hearing the different engines for each car, and the differences in driving... it was awesome. I got and bought *all* the available cars for the sake of it, just because I liked them so much.

The story. I love games that get me invested and this one was definitely one of those. Falling for Jackie when I knew he was not gonna be around for long was an expected, but still perfectly excecuted punch to the gut. And Johnny’s guidance and company was something I was hyped about, but still played out even better than I though it would. So to my next point, Keanu Reeves. I was thrilled to play a game with Keanu in it and it blew my mind. Those reviews that pinpoint Keanu’s acting as the weak link in the game are fucking wrong, how else you expect to see (and hear) an angry, resentful man permanently stuck in time? Even worse, when he knows the people he hated the most managed to kill him? I wasn’t happy when I learned Johnny was not a romance option but after meeting him, I’m glad that’s the case. He’s the perfect antihero-turned-best-friend for V, if you can stand him.

Stealth and hacking. Most of the time I choose the option to play stealthy and this time it wasn’t just that, it was the option to use futuristic technology at the same time. I LOVED it. Quickhacking enemies instead of shooting them is so much fun. Enemy detection is a bit wonky at times but still, I enjoyed it much better than if it had been a plain shooter. And those guns with homing shots are so cool that I wanted to play them over sniper rifles, my usual go tos.

The characters. I got invested in V’s relationships, even if the romantic aspect wasn’t as great as it could’ve been. Friendship with Kerry and Panam, clousure for Judy and Rogue, mourning Jackie, being part of River’s family, so many the fixers in existance... and Johnny, my bff Johnny. Even Alt, with her somewhat little role, was great. I was promised a compelling story and deep characters, and I did get both.

The soundtrack. Overall it’s pretty great, but my favorite songs are those related to Samurai. And it’s not even because of my love for Johnny, I really do enjoy them for their musical content. Unironically my all time favorite is Johnny’s as well, Never Fade Away. I won’t exit a car or open the menu when that song is playing.

The easter eggs. From GlaDOS and Silence of the Lambs in the Delamain quests to the Matix-esque pills of the main storyline, to Hideo Kojima and the BB in a lab, “Harvest like a Reaper” and the many “You’re breathtaking!” references (Kerry’s take was my favorite), the game presents A LOT of pop culture nods and I’m here for it. Having real life content creators around for several levels of cameos was a nice touch as well.

So without mentioning the heavy spoilers (aka ending), in my opinion, Cyberpunk 2077 deserves a 9/10. Bugs are fixable and the story and characters carry the game on it’s own because they’re just too good. The main story is kinda short and I believe Johnny’s sidequests should be part of the main story, but I get why they are not mandatory if you want to roleplay a full on dislike towards the rockerboy. But still, there are some things related to gender and romance that are complete misfires. I hope that some of those will be fixed via patches (the character creator bits), but the lack of more romance options or at least bisexual NPCs obviously won’t be fixed and that’s what keeps CP2077 away from a perfect score in my book.

Now, regarding the endings:

The one thing that truly bothered me was that the Rogue one had no real goodbyes for V. She goes into a suicide mission in space and everyone’s post-credit messages complain she just disappeared without a trace? I get she’s dying and all, but, for fuck’s sake leave a message explaining it if you cared so much about them. The game *makes* you care about the characters but doesn’t give you an option to honor that love at the end.

Also, again, romances. I played both Rogue and Panam’s endings so I know there’s no way to have a happy ending with River, which is bittersweet and probably for the best that it happens with him since his romance seems to be the least engaging, but again that makes me feel cheated. Not that they parted ways in the Nomad ending (that was sad, but sad endings are not bad), but that there is no happy-ish ending romance wise for a cishet female. People who romanced Panam obviously stay together with her and those who romanced Judy do too from what I’ve read (and no idea about Kerry’s romance), but not getting that option if you choose to be female and go for a het romance takes away from the game. Sadly. Also my last interaction with River in Rogue’s ending was fucking terrible, I liked how poetic that ending was for Rogue and Johnny until I got to the rest of my V’s life.

(But I still headcanon that River eventually joined V with the Aldecaldos in my canon ending, aka the Nomads’, despite what he said. Since his post-credit message implies he might visit her and stuff.)

As for the rest of the ending... CP2077 clearly states that life isn’t happy and that there’re no happy endings for people who live in NC, so I like that no ending is completely happy since you are bound to die anyway, but. But. It’s somewhat disheartening that the overall arc can be resumed to “all that you did served for nothing, you’re still dying so your efforts were absolutely useless.” I really don’t see how to improve it without defaulting to a happy, sunshine-esque ending that fixes everything, so I don’t know. It still wasn’t exactly what I wanted to hear at the end, so... I liked it but didn’t, at the same time. Ha.

And lastly, I hoped for endgame playability and there is none, you have to revert to an earlier save to keep playing. I get why it wasn’t done, to give a definitive end to V’s story in NC, but anyway. What I really liked about this choice was that no matter the ending, V becomes no one again. They will be forgotten by most people after a while either because they leave with the nomads or because they ‘disappear’, aka die in a blaze of glory in that casino in space. Or well, sell their soul to Arasaka or commit suicide on the rooftop.

So overall, I loved this game and critics are somewhat too harsh. But I agree there are some terrible design choices and a long way of bugfixing to get to the specific masterpiece that we were hoping for.

#cyberpunk 2077 #personal #ivy 'v' kerrigan #since she's in the pic #my v

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jamesgraybooksellerworld · 5 years

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Only a day or two ago I was notified that I was in contact with some people tested for and found positive for Covid-19, this came as nothing un expected, I was in contact with hundreds of people many from Europe recently. Then, as you know we are experiencing, most Universities, Libraries and Book Shows have been indefinitely closed, and because of this; many of us find or try lively-hood’s challenged. In a situation where it seems that there is little to do that will improve the current situation any faster than time will take its course, I have turned to reading and writing. I have been researching, as best as I can from home, fifteen books which are new to my stock. There are many more stuck in Europe and this gives me hope. It is the first day of spring and I awoke to a beautiful snow squall… In like a Lion..

And here are the fruits…

1). 355J Bible Saint Jerome, Gabriello Bruno (active 1480-1514.)

Biblia cum summariis concordantiis : diuisionibus: quattuor repertoriis p[ro]positis: numeriq[ue] foliorum distinctione: terse et fidelit[er] imp[re]ssa. { With table of Gabriel Brunus }

[Lyons]: Jean Pivard, 29 Jan. 1500 & 1. $ 15,000.

Impresserunt aute[m] solertes viri Franciscus Fradin et Ioha[n]nes Piuard socij impressores. …,]

Folio inches, &8 ç8 , a8 b6, c-z8 A-Z8 Aa8 Bb8; aa-cc8 dd10. Bound in original full calf over wooden boards with 10 brass bosses.

This edition corresponds with the edition printed by Fradin and Pivard in 1497. There are the same tables, summaries, &c.; and the arrangement of the books and the readings are alike. At the end of the subscription we read: “Impressit autem solers ori Johänes Pivard impressor. Deo sint sempiterne gratie.”

Pivard,who was working alone from 7 March 1498 to 1501, Started printing with François Fradin in 1497 (Goff B602) ISTC lists15 titles solely printed by Privard.

Goff B604; HC 3128; GfT 1883, 1884; Pell 2341; CIBN B-426; Arnoult 288; Girard 108; Parguez 213; Polain(B) 4210; IBE 1040; SI 764; Martín Abad B-134; Sallander 2098; Bod-inc B-312; Sheppard 6736; Pr 8670; GW 4281. (Gutenberg-Jahrbuch 1965 p140-3)

Copinger, Incunabula Biblica, 120; Darlow–Moule 6090; Sheppard 6736.

U.S. copies: Boston Public Library, General Theological Seminary, Jewish Theological Seminary of America, Library of Congress, Rare Book Division, Southern Methodist Univ., Bridwell Library (418 ff)

https://data.cerl.org/istc/ib00604000

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2) 353J Alberto da Castello (ca. 1460-1522)

Rosario della gloriosa Vergine Maria : con lle sttattiionii & iindullgenttiie delllle chiiese di Roma perr tutto L’’anno.

In Venetia : Presso la compagnia de gli Vniti,1585. $7,800

Octavo. 6 x 3 3/4. A-Z, Aa-Ii8. A later edition of the first ‘Rosary Book” in Italian.

This book has a wonderful contemporary binding, recently expertly rebacked. It is of red Morocco with gilt center images and borders gilt, with angels. Certainly these books were

very popular, that said, very few copies have survived. This edition is represented on OCLC by only two copies worldwide. 1 US copy Saint Benedict/Saint John’s University. (SJU Alcuin Arca Artium Rare BookBX2163 .C37 1585). [The authorship of the work and the woodcuts are attributable to the Dominican Friar Alberto da Castello, identified as author or editor at the authorizations of the Venecian Inquisition, given 5 April 1521. (Francesco Pisano)]

Over 150 woodcuts (including repeats) comprising almost full-page cuts (1 on t.p.) within borders. ��All had previously appeared in earlier editions. Ornamental and pictorial border pieces on almost every leaf. ( The wood cut on leaf 173v is upside down in the border!) Each wood cuts represent the “Mysteries of the Rosary”

“From the beginning, publications on the Rosary came accompanied by lavish xilographic illustrations. The most striking of these can be found in the edition of the Rosario della gloriosa Vergine Maria by Alberto da Castello from 1521 [Fig. 14.1], which contains a wealth of illustrations. This clearly shows that the Rosary was not just an oral recitation, but was also a contemplative prayer engaging the imagination, a combination later mirrored by the exercises of Ignatius of Loyola.

Alberto da Castello, born in the middle of the fifteenth century in Venice, joined the Dominican order around 1470 and wrote several devotional, liturgical, historical and canonical texts. In the Epistola prohemiale of his Rosario della gloriosa Vergine Maria he says that he wrote the meditations and organised the images ‘acciò che gli idioti che non sanno legere habbino el modo de contemplare gli divini beneficii et de questa contemplatione ne habbino qualche frutto spirituale’.( fol. 6r. ‘So that even the illiterate have a means to contemplate gifts of the divine and to receive spiritual fruits from such contemplation’ (translations are mine).He states that he writes especially for the ‘ignoranti, illetterati, idioti’, and that a good Christian must hold the mysteries of the Rosary deep in his heart. (Literary and Visual Forms of a Domestic Devotion: The Rosary in Renaissance Italy. Erminia Ardissino)

The mysteries of the rosary were introduced by Dominic of Prussia sometime between 1410 and 1439. This gave each decade of the rosary a unique quality. Each mystery leads us to ponder very specific events in the lives of Jesus and Mary and the lessons they hold for our own lives today.

The Rosary has a ritual aspect that individual prayers lack, and it is highly structured. It entails the recitation of 150 Ave Marias, clustered in groups of ten, preceded by a Pater noster and the proposition of a ‘mystery’ upon which to meditate. This number of 150

Ave Marias seems to be designed to correspond to the 150 psalms in the Davidic psalter, which is why the Rosary is also known as the ‘Virgin’s psalter’. It does not consist only of repetitive prayers, however, but also entails meditations. Indeed, the Rosary created by Dominic of Prussia was a kind of meditation on the life of Christ and Mary. In his Liber experientiarum he ‘explicitly claimed to be the first to have composed a series of fifty points on the life of Christ that were to be meditated on while reciting the Ave Marias’.

Sander 6572-6573. See: Essling 2124

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100 full page plates and a volvelle!

3) 382J Jan David. 1545?-1613.

Veridicus christianus: auctore P. Joanne David … Editio altera, auctior.

Antverpiæ ex officina Plantiniana, M. DCVI. $6,500

Quarto 8 1/2 X 6 inches ‡4, ‡‡4, A-Z4, a-z4, Aa-Ee4.+ 100 Numbered Plates. Withspecial engraved t.p. with allegorical depiction of Christ carrying the cross, surrounded by ten artists at easels painting scenes from his life (as well as a few questionable profane subjects).

The text is divided into 100 chapters, each with an allegorical engraving incorporating letters keyed to the explanatory text and with marginal references. Each of the 100 numbered plates has a single line of Latin at the head giving the subject, with two-line explanatory verses below the allegorical engraving in Latin (roman letter), Dutch (civilité) and French (italic) First plate (following [2 daggers]4) is added title leaf for the ill., which were also published separately; see Bibliotheca Belgica. The added title reads: Icones ad Veridicvm Christianvm P. Ioannis David e Societate Iesv At the end is Device with compasses and the motto “constantia et labore” on Ee4r . This book is notoriously found defective in one way or another, this copy is perfect and complete.

This copy is bound in full contemporary blind stamped calf over wooden boards with two working clasps.

The Veridicus christianus: is followed by the “Orbita probitatis ad Christi imitationem veridico Christano subserviens”: p. 351-374; which preceds a volvelle plate for use in locating specific passages.

This text contains a series of images with accessible (sometimes to a fault) moral or religious messages. These illustration swarns against opening the senses to temptation lest death and moral decay take up residence in one’s soul.

The Veridicus Christianus emphasizes the Society of Jesus’ investment in thinking in, though, and about visual images that exemplify the supreme mystery of God. Published as a tool of devotion and meditations, it features one hundred chapters that encompass a wide range of topics for reflection. Each chapter incorporates an extensive commentary that interprets the emblematic image David too follows the order in which we apprehend things with our senses, beginning with a visual representation at the head of each chapter. Then comes the explication. The symboli explicatio was considered necessary because cultivated readers would be more susceptible to a reasoned argument than a picture.

Here are images of the vovell. The centers of the engraving and the volvelle (through which a string passes) are reinforced with small paper roundels printed with the monograms of Christ. The numbers are keyed to an “Indiculus orbitae” that follows (Bb1r-Bb2r). There a number, having been selected, is provided with a phrase from various Latin authors (listed on Bb2v), and a reference to one of the hundred sections that comprise the main text. It is suggested in Bibliotheca Belgica that this game may have been intended as a pious alternative to such superstitious books as Thuys der fortvnen.

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4) 312J. Domenico Cavalca. (1270?-1342)

Pungi lingua

[Baptista de Tortis]: Venexia, Adi .viiii. de Octubrio. 1494 $12,000

Quarto (200 x 145 mm); [80] pages. a-k8. Large woodcut depicting the crucifixion on the frontispiece, First Venetian edition with the beautiful woodblock published here for the first time. This copy has a beautiful initial “A” in gold, blue, red and green, a colorful coat of arms. This copy is bound in modern carta rustic with a gold title on an orange label

This is a treatise on the dangers of the misuse of the language it was, as you might expect quite popular . Written by the Dominican monk who was a contemporary of Dante and among the first to write in the vernacular, and one of the most successful translators of holy texts.

Aside from Biblical illustrations, the Pungilingua has many exempla drawn from many other sources including some not includes in the Alphabetum narratinum. Most of the stories are told in one to three lines, and many contain commerce with the Devil, one time disguised as a horse. In the prologue Cavalca mentions that he gathered his exempla from many sources “alcune poche cose” . One of the major sources is the Summa Vitiorum by Peraldus. but he also quite a few profane authors , Seneca, Socrates, Cicero, Valerius Maximus. That said, quite often Cavalca attributes the wrong author. Cavalca writes as though he was speaking to the reader in person useing phrases like “Io per me credo” and “Oimé “ Introducing unique stories and words, He refers to someone as double-tongued as a “tecomeco” (bilingue) . He refers to a sleight of hand trick ,called “gherminella” a word which was used later by Boccaccio. This is an important book in Italian literary history, and the Italian vocabulary leaving many contemporary proverbs and descriptions of medieval life. Goff C342; H(Add)C 4776a; R 116; Pell 3448; CIBN C-195; IGI 2637; Essling 750; Sander 1853; Pr 4649; BMC V 328; GW 6413

One copy in Goff. Huntington Library.

Queried Location: New York NY, Manhattan College: sold Christie’s (NY) 1 June 1991 lot 41 (current whereabouts unknown)

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5) 350J. Richard FitzRalph (Ricardus Radulphus Armacanus pseudonym) (circa 1300-1360)

Summa Domini Armacani in Questionibus Armenorum noviter impressa et Correcta a magistro nostro Johanne Sudoris. Cum aliquibus Sermonibus eiusdem de Christi dominio.

Paris: Jehan Petit et ponset le Preux, (Venales habentur in vico divi Jacobi sub Lilio aureo) 1512. [Privilège octroyé à Jean Petit et Poncet Le Preux daté du 12 mars 1511 (1512 n. st.) et prenant effet le 15 juillet 1512.]. $24,000

Small Folio 275 x 201 mm. A6 a-z6 &6 A-E6 F4. [6], 177 [i. e., 178] leaves. This copy is bound in a Remboîtage of later limp vellum; contents toned and brittle, lightly damp wrinkled with marginal damp staining at beginning and end, contemporary inscriptions on title and scattered underscoring and marginalia, wormhole through blank outer margin of approximately the first 30 leaves, paper crack in o1 not affecting text, last leaf reinforced in outer margin on verso. A Mexican Augustinian branded ownership mark on bottom edge. This is the only printed edition of the Summa in Questionibus Armenorum which is an examination of alleged Armenian doctrinal errors, the chief dogmatic work by an Irish theologian and prelate involved in negotiations between the papal court at Avignon and Armenian representatives over the reconciliation of the Roman and Armenian churches. FitzRalph, whose Defensorium curatorum was first published circa 1483, was one of the earliest Irish authors to appear in print. Renouard-Moreau II, 314; Shaaber M119; not in RBH or ABPC. Moreau, B. Inventaire 1512- 314; Index des livres interdits, t. IX, p. 86 (n° 50/499; Page de titre en rouge et noir dans un encadrement de plaques gravées sur métal, marque de Jean Petit (Renouard, 890) Adams, F-550

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6) 358J Jacobus de Gruytrode 1400-1475

Speculum animae peccatricis

[Memmingen : Albrecht Kunne, about 1490] $6,500

Quarto , [28] ff, 33 lines, the first initial (5 lines) is painted in white and blue on a golden background, upper and left margin richly decorated in red, purple, blue and gold and with two red beasts. 19th c. binding in half leather, title gilt on spine, all edges gilt. Sometimes falsely attributed to Dionysius Carthusiensis, the Speculum is now attributed either to Jacobus de Gruytrode (cf. Bloomfield) or to Jacobus de Clusa (cf. L. Meier, Die Werke des Erfurter Karthäusers Jakob von Jüterbog, Münster, 1955).

Speculum animae peccatricis is a work of spiritual edification which consists of seven sections: on human misery, sin (especially lechery), penance, rejection of the world, the vanity of human wishes, death and hell and heaven.

Firste of the filthenes and miserie of man. Below are the chapter in English

Secounde of the synnes ingeneralle and of their effectis.

Thyrde howe they ought hastely with all diligence to do penaunce.

Fourth howe they ought to fle the world.

Fyfthe of the false Riches and vayne ho∣noures of the worlde.

Sixt howe they ought to drede deth.

Seuenth of the Ioyes of paradyse and of the paynes of hell.

There is no modern critical edition of the text. Among the devotional books by the Flemish mystical writers of the fourteenth and fifteenth centuries, none was more popular on the Continent and in England during the early Renaissance than the Speculum aureum animae peccatricis or The mirroure of golde for the synfull soule, which Lady Margaret Beaufort translated into English. Since the sixteenth century, bibliographers have listed the Speculum as the work of the Carthusian monk Jacobus de Gruytroede, prior of the Liége Charterhouse from 1440 to 1475, yet the English version is always attributed to his friend Denis de Leuwis or Dionysius the Carthusian, as he is better known. The question of authorship may be satisfactorily settled as the result of recent research by an English Carthusian scholar in the library of the Certosa in Farneta. He noted that the editors of Dionysius’s Opera omnia (Tournai, 1913) explain how the error in authorship began. In volume xlii they point out that, owing to the Carthusian tradition of anonymity during a monk’s lifetime, the Speculum was printed anonymously until 1495, in which year the Nuremberg printer Paul Wagner first issued it as a work by Dionysius. He found the manuscript of the Speculum in the library at Ruremond, where Dionysius was prior until his death in 1471, and supposed it was written by him, as were the other works he intended to print. The two priors were close friends, and dedicated several of their works to each other. Nugent E.M. (1969) Jacobus de Gruytroede. In: Nugent E.M. (eds) The Thought & Culture of the English Renaissance. Springer, Dordrecht

Goff S644; HC 14899*; Pell 4313; CIBN S-333; IGI 5001; IDL 2532; Schlechter-Ries 1003; Voull(B) 1617,5; Schmitt I 1614,2; Hubay(Augsburg) 1141; Hubay(Eichstätt) 538; Sack(Freiburg) 1951; Walsh 988; Bod-inc S-258; Sheppard 2032; Pr 2804; BMC II 608; BSB-Ink I-23; GW M10734

U.S. copies;Harvard ,Emory, Columbia ,Huntington Library

Southern Methodist Univ, Univ. of Illinois at Urbana-Champaign Library

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Nam digiti scripto laetantur, lumina visu Mens volvet sensu mystica verba Dei

“The fingers rejoice in writing, the eyes in seeing, and the mind at examining the meaning of God’s mystical words.”

The first printed facsimile of a manuscript.

7) 351J. Hrabanus Maurus. 784-856?

Magnencij Rabani Mauri De Laudib[us] sancte Crucis opus. erudicione versu prosaq[ue] mirificum.

Phorçheim. [Pforzheim] : In ædibus Thom[ae] Anshelmi., 1503. $10,700

Folio Aa6, Bb4, a-k6, A-B6, C4 (last leaf blank).

THIS COPY LACKING [four leaves] A5 & 6, Bb1 and a1. [two woodcuts of Alcuin interceding on behalf of Rabanus before Pope Gregory iv, and of Rabanus presenting his poems to the Pope; and two figured dedicatory poems the first to Louis the Pious the next christ crucified] It is bound in a full vellum modern binding. First Edition (for a second edition see below) Types 3:109R, 4:180G; 40 lines of transcribed verse + headline, 40 lines of commentary + headline, red and black printing throughout, calligraphic woodcut initial (Proctor, fig. 24) M on title page, woodcut initials printed in red, and a figured prefatory poem, 28 carmina figurata, the first entirely xylographic, the remaining poems combining printed and xylographic letters with the versus intexti printed in red (except fig. xvi), enclosed by either woodcut figures (of the emperor, Christ, the Evangelists, Cherubim, etc.) printed in black or by Christian symbols and characters, most defined by metal rules in red.

This is a remarkable typographical achievement, probably the earliest attempt to reproduce a medieval manuscript. The greater portion of the work comprises a preface in verse and twenty-eight poems. “Hrabanus Maurus, the abbot of Fulda, wrote in the midst of the ‘new monasticism,’ a period associated with a revival of literacy and learning. In religious and secular spheres. This ‘script culture,’ as Rosamond McKitterick has it, used the written word not only as a mode of communication but as ‘a resource, a guide, a key, and an inspiration,’ especially in the devotional practice of Christianity.

Each of the twenty-eight picture poems that form In honorem sanctae crucis explores a different theme relating to the Cross through a complex interplay of word and image. The poems each have an equal number of letters per line, written continuously like a grid. By following the letters in the usual direction for a Latin text—from left to right, top to bottom—each grid reads as one long poem. But within each grid, certain letters are also marked out with colour and drawings to form pictures. The letters that make up these pictures read as separate short poems embedded within the larger poem. As such, each page of In honorem sanctae crucis presents not just a puzzle of words and pictures, full of hidden and interrelated messages for the reader to decode bout a meditation exercise.

“Hrabanus created the various shapes and figures by highlighting individual letters in underlying poens in colour (in the printed editions red), and theses individual letters together make up meaningful text , ranging from simple declarations to very elaborate ones. For example, Carmina 2 contains a simple cross inside a square (Hrabanus calls it a “tetragonum”)whose sides form a border for the poem as a whole. The textfrom the underlying poen that makes up the figure consists of six hexameters, each one an address to the cross beginning with the words ‘O crux…’ When we follow Hrabanus’s instruction in the accompanying prose text for reading these hexameters, we find the following: even though the verse that forms the top of the square is also the opening of the underlying poem, he insists that we begin reading with the stem of the cross, from top to bottom.” (Schipper)

Sunt quoque uersus duo in ipsa ccruceconscripti, quorum prior est: O CRVX QVAE SVMMI ES NOTO DEDICATA TROPAEO

a summo in ima descendens. Alter uero: O CRVX QVAE CHRISTI ES CARO BENEDICTA TRIVMPHO a dextra in sinistram crucis tendens ‡

‡“there are also two verses inscribed in the cross, the first of which is : “ O cross , thou who art at the height of fame, a dedicated moment” ‘running from the top down. And a second’ “O Cross thou who through the body of Christ art the blessed triumph” ‘running from the right to the left.’

Further more Hrabanus flips left and right the texts point of view alternates , Hrabanus tells us the cross is looking out at the reader, not the other way around. “ Only after we have read the hexameters in the cross are we free to read the verses in the four sides of the tetragon, and even then Hrabanus constrains the order in which they are to be read: first the top, then the bottom, then the right side then finally the left side.”

More complex figures present further challenges in reading. The figure in Carmen 25, for example, consists of eight letters of the word ‘ALLEVIA’ arranged around a small cross. It does not take much effort to notice that we need to start with the A, read down to the E, continue on the left, and end on the right of the figure; and that each time we trace out those letters we make the sign of the cross. It becomes more difficult when we also try and read the text that is enclosed in the figures.

The letters of ALLEVIA are made of the following letters from the underlying poem. A crux[a L eter L na[de E i]es[lave[v L ivis V in]arc I e]po A lorvm

CRUX AETERNA DEI ES LAVS VIVIS IN ARCE POLORUM

‡ Eternal cross, thou art the praise of God, thou livest in the arc of the skies.

Peter Godman, Poetry of the Carolingian Renaissance (Norman: University of Oklahoma Press, 1985), 249. A. G. Rigg and G. R. Wieland, ‘A Canterbury Classbook of the Mid-eleventh Century Anglo-Saxon England 4 (1974), 113-30.

William Schipper, ‘Hrabanus Maurus in Anglo-Saxon England: In Honorem Sanctae Crucis’, in Early Medieval Studies in Memory of Patrick Wormald, ed. Stephen Baxter, Catherine Karkov, Janet L. Nelson, David Pelteret (Farnham, Surrey; Burlington, Vt.: Ashgate 2009), 283-98.

Proctor, R. Index to the early printed books in the British Museum,; 11747; Adams, H.M. Catalogue of books printed on the continent of Europe, 1501-1600, in Cambridge libraries,; R3; Catalogue of a collection of early German books in the library of C. Fairfax Murray,; 350; Panzer, G.W.F. Annales typographici,; VIII 227, 2; Pollard, A.W. Catalogue of books mostly from the presses of the first printers … collected by Rush C. Hawkins,; 189 Panzer, VIII, 227, no. 2. Proctor 11747. Fairfax Murray 350./ Last leaf blank./ Edited by Jakob Wimpheling.–cf. title page verso./ Illustrations: 2 woodcuts of the author presenting his book to the pope, and many woodcut figures (Christ, cherubs, crosses, symbols, etc.) printed on 28 pages of text. Some of the text within and near the outline figures is xylographic, the rest printed. The letters within the outlines are printed in red and may be read separately in a different sense. Printed in red and black, initials (except on t.p.) in red./ With label of Sinclair Hamilton. Peter Godman, Poetry of the Carolingian Renaissance (Norman: University of Oklahoma Press, 1985), 249. A. G. Rigg and G. R. Wieland, ‘A Canterbury Classbook of the Mid-eleventh Century Anglo-Saxon England 4 (1974), 113-30. William Schipper, ‘Hrabanus Maurus in Anglo-Saxon England: In Honorem Sanctae Crucis’, in Early Medieval Studies in Memory of Patrick Wormald, ed. Stephen Baxter, Catherine Karkov, Janet L. Nelson, David Pelteret (Farnham, Surrey; Burlington, Vt.: Ashgate,

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The second edition One-Hundred and three years later.

8). 354J Hrabanus Maurus. 784-856?

Magnencij Rabani Mauri De Laudib[us] sancte Crucis opus. erudicione versu prosaq[ue] mirificum. Cum antiqviate avctoris <annis abhinc prope octingentis abbatis primum fuldensis, archiepiscopi postea moguntini. tum noitate scriptionis memorabile. Qvo figvris sive imaginibvs XXVIII. multi fedei christianae mysteria, multi mystici numeri; angelorum, virtutum, VII. donorum Spiritus Sancti, VIII. Beatitudinum, IV. elementorum, IV. temorum anni, VI euangelistarum & agni, mensium, ventorum, V librorum Moysis, nominis Adam, alleluia, & amen, aliarumq[ue] rerum vis & dignitas in formam crvis reedacta, subtiliter et ingeniose explicantur.

Augustæ Vindelicorvm e typographeo Praetoriano. , 1605. $9,000

Folio Aa6, Bb4, a-k6, a6, B4, c4. (complete). Printers mark on title page, woodcut initials printed in red, two woodcuts of Alcuin interceding on behalf of Rabanus before Pope Gregory iv, and of Rabanus presenting his poems to the Pope; a figured dedicatory poem to Louis the Pious and a figured prefatory poem, 28 carmina figurata, the first entirely xylographic, the remaining poems combining printed and xylographic letters with the versus intexti printed in red (except fig. xvi), enclosed by either woodcut figures (of the emperor, Christ, the Evangelists, Cherubim, etc.) printed in black or by Christian symbols and characters, most defined by metal rules in red. Bound in contemporary deer skin.

This aside from the prologue this edition is a re-set reproduction of the first printed edition (see above)

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9) 383J Johannes de Anania

Commentaria super prima et secunda parte libri quinti Decretalium. Add: Repertorium

Bologna : Henricus de Colonia, 7 Dec. 1479, 5 Jan. 1480. $17,000

Large folio 422 x 285mm Pars III (bound first) a8,b6,c10,d6,e8,f4,g8.(lacking a1Blank) Pars I (bound second) a10,b8,i8,k6,l8,m8,n6,o6,p8,q8,r10s 10. Pars II (bound third) A8,-F8,G6,H8,-L8,M6,N8,O8P6,Q8,R8,S6,T8,U10,X8-Z8, &8, ¶8,€8,¡8. In three parts, dated: 7 Dec. 1479 (Commentaria, partes I-II); 5 Jan. 1480 (Repertorium)

No copy of parts II & III in the US. The margin of a2 of the Repertorium cut off with no text loss (see image) This is a very very wide margined copy, with strong and crisp paper. The first leaf is stroked in red and blue. Throughout the rest of the books capital spaces are left blank. This copy is bound in 19th century vellum.

ANANI’A, JOHANNES DE : his family name, Anagni. implies that he was of the family of the Catani, and that his father’s name was Leonardo. He taught canon law in Bologna, and had the reputation of a conscientious man. He studied under Floriano di San Pietro. Alexander Tartagni and Andreas Barbati were his scholars; the former became his step-son, and the latter inherited his library. According to Orlandi, Anania was sent ambassador from the city of Bologna to Pope Martin V. in 1425, and he was also employed to conduct negotiations with other princes. Johannes de Anania at the time of his death, in 1455 or 1458, was archdeacon at Bologna. Spangenberg enumerates four of his works, three of which were published at Lyon between 1521 and 1555 : — 1. A Commentary on the fifth book of the Decretals, published in folio at Lyon in 1521, and reprinted there in 1553. 2. Consilia, discovered and edited by Ludovico Bolognini, in folio, at Lyon in 1555, reprinted at Venice in 1570. 3. “De Revocatione Feudi alienati,” in octavo, at Lyon, in 1546, reprinted at Basle in 1564. 4. A Collection of the Decisions of the Roman Rota, at Venice, in folio, in 1496. Mazzuchelli mentions a treatise on the law as to salaries, “Allegatio de Salario et Stipendio ac de Obligatione et Promissione Domini,” which is preserved in MS. at Bologna in the library of the Collegio di Spagna. In addition to these Lipenius ascribes to Johannes de Anania a legal tract on church patronage, “De Jure Patronatus Ecclesiastico,” published at Amsterdam in 1640; and a collection of cases (” Quaestiones”) at Cologne in 1570. To the folio edition of Baldus, “In Usus Feudorum Commentaria,”

published at Lyon in 1550, there is appended a thesis on the law regarding the alienation of fiefs, maintained by Johannes de Anania at a public disputation in Bologna. The date is not given, but he is styled “Doctor et Canonicus,” and his opponent is said to have been Secundinus de Natis; and the publisher intimates that the MS. had been preserved in the library of Johannes Nevizanus at Asti. No. 446. of the Arundel MSS. in the library of the British Museum contains a treatise “De Usuris” by Johannes de Anania. The volume is of a large folio form, and the ” De Usuris,” written in a small character with numerous contractions, occupies the folios 93. to 164. inclusive, each folio containing four columns. These treatises are the only compositions of the author we have seen, and they leave a favourable impression of his skill in selecting authorities to support and elucidate his positions, and of his talent for lucid arrangement. (Mazzuchelli, Scrittori d’ Italia; Spangenberg, in Ersch und Gruber’s Allgemeine Encyclopadie; Alidosi, Appendice alli Dottori Bolognesi de Legge Canonica e Civile; Orlandi, Notizie degli Scrittori Bolognesi; Baldus Perusinus, in Usus Feudorum Commentaria doctissima, quibus accesserunt Andr. Siculi Adnotationes una cum Joan. de Anania eleganti Disputatione in tres secta Quastiones, Lugduni, 1550, fol.; Arundel MSS. in the British Museum, No. 446.) W. W

Not in Goff: ISTC ij00250150; H 938*; Torchet 521; IGI 5245; IBE 3188; Kotvan 702; Sajó-Soltész 1881; Martín Abad J-44; Voull(B) 2735,20; Walsh 3188; BSB-Ink I-365; GW M12841

Holdings: United States Harvard University, Law School Library (I) only.

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10) 381J Athanasius Kircher 1602-1680

Physiologia Kircheriana Experimentalis, Qua Summa Argumentorum Multitudine & Varietate Naturalium rerum scientia per experimenta Physica, Mathematica, Medica, Chymica, Musica, Magnetica, Mechanica comprobatur atque stabilitur. Quam Ex Vastis Operibus Adm. Revdi. P. Athanasii Kircheri extraxit, & in hunc ordinem per classes redegit Romæ, Anno M. DC. LXXV. Joannes Stephanus Kestlerus Alsata, Authoris discipulus, & in re litterariâ assecla, & coadjutor.

Amsterdam: Ex Officinâ Janssonio-Waesbergiana. Anno 1680 $9,500

Folio. 15 x 9 3/4 inches. *4, A-Z4, Aa-Ii4. First edition.mmThis copy is quite clean and crisp throughout, never having been washed or pressed. There is some occasional spotting and browning. but none is too extensive. The binding is twentyth century full vellum with title on spine. an impressive and large copy!

“Thus in the must varied branches of science Kircher played the role of pioneer. Even medicine received his attention, as is shown for example by his treatise, ‘Scrutinium phyisco-medicum contagiosæ luis, quæ pestis dicitur’ (Rome, 1663). His scientific activities brought him into scientific correspondence with scholars laboring in the most different fields, as the numerous volumes of his extant letters show. It is to his inventive mind that we owe one of the earliest of our counting machines: the speaking-tube and æolian harp were perfected by him. He was also the inventor of the magic lantern which has since been brought to such perfection and is and is today almost indispensable. [All of these devices are illustrated in the present work, compiled in the year of the author’s death by Kircher and his student Johann Stephan Kestler, including three large and striking engravings of magic lanterns.]” May I ask the reader to take the following quote with a measure of indulgence for its closed minded author [circa 1913] with the hope that modern folk of the last decade of the second millennium have a bit more tolerance for the many sciences that we have yet to master. “That the most varied judgments should be formed and expressed on a man of such encyclopædic knowledge was only to be expected. He tried to find a grain of truth even in the false sciences of alchemy, astrology, and horoscopy, which were still in his time much in vogue, nor is it surprising that in the province of astronomy he did not at this early date defend the Copernican System.” (the above two quoted taken from the Catholic Encyclopedia, vol. viii, page 662) Kircher was an accomplished and versatile scholar who applied his intellectual abilities to a myriad of scientific problems. This work is a fascinating compendium of scientific experiments and principles which documents the accomplishments of early modern thinkers of the west.

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11) 380J Francis Molloy. fl 1660

Lucerna fidelium, seu, Fasciculus decerptus ab authoribus magis versatis, qui tractarunt de doctrina Christiana : divisus in tres partes.

Romæ : Typis Sacræ Congreg. de Propaganda Fide, M DC LXXVI [1676] $4,500 Octavo 6 X 4 inches : A-2B8 2C2. complet, signature ) is mis-signed . This copy is bound in early 20th century sheep.

MOLLOY or O’MAOLMHUAIDH, FRANCIS (Jl. 1660), theologian and grammarian, was a native of the county of Meath, Ireland. The family of which he was a member had extensive landed possessions in the district known as O’Molloys’ Country, and some of them engaged actively in the Irish movements from 1641 to 1652.

Francis Molloy entered the order of St. Francis, became a priest, was appointed professor of theology at St. Isidore’s College, Rome, and acted as agent for the Irish catholics at the papal court in the reign of Charles II. His first published work was entitled ‘Tractatus de Incarnatione ad mentern Scoti,’ 1645. This was followed in 1658 by ‘ Jubilatia genethliaca

in honorem Prosperi Balthasaris Philippi, Hispani principis, carmine,’ and by a Latin treatise on theology in 1666.

A catechism of the doctrines of the catholic church in the Irish language was published by Molloy in 1676 with the title: ‘Lucerna tidelium, seu fasciculus decerptus ab authoribus magis versatis qui tractarunt de doctrina Christiana.’ It was printed at Rome at the press of the Congregation ‘de propaganda fide,’ ( This book is the first book they printed in Irish Type) from which, in 1677, issued another book by Molloy, entitled ‘Grammatica Latino-Hibernica,’ 12mo, the first printed grammar of the Irish language. Edward Lhuyd [q. v.], in his’ Archaeologia Britannica,’published at Oxford in 1707, mentioned that he had seen a manuscript grammar of the Irish language copied at Louvain in 1669 which partially corresponded with that of Molloy. He added that Molloy’s grammar, although the most complete exta’nt in his time, was deficient as to syntax and the variation of the nouns and verbs. The date of Molloy’s death has not been ascertained. In 1626 Propaganda Fide had installed a printing press for the foreign missions and not much later another one was brought to Louvain where books and catechisms were printed for both the local college and the Irish mission.* The problem with the Propaganda printing press was that only books in Latin and Italian were allowed to be printed so it took until 1674 when Francis Molloy asked for permission to print a catechism there in Irish with the explanation “che altra malamente capisce e vacilla assai per mancanza d’intruttore e d’intruttion sana.”**.

[“Irish priests at Rome had a new Irish type cut about 1675 … [this was] their first book.”- -H. Reichner, Catalogue 34, Jan. 1968]

Wing O291C, English short title catalogue,; R41480; Clancy, T.H. English Catholic books, 1641-1700 (rev. ed.),; entry 743; Catalogue of seventeenth century Italian books in the British Library,; page 628 *& ** ;Egan, Bartholomew (ed.): Notes on Propaganda Fide Printing Press and Correspondence concerning Francis Molloy O.F.M., in: Collectanea Hibernica, No. 2 (1959), pp. 115-124.

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With a reference to the invention of printing on the verso of Folio 64.

12) 359J Werner Rolewinck 1425-1502

Fasciculus temporu[m] omnes antiquo[rum] chronicas strictim complectens felici numine incipit. Prologus.

Venice : Erhard Ratdolt, 8 Sept. 1485 $16,000

Folio (275 x 195 mm). [A]8 [a-g]8 [h]10 75 leaves without signatures or page numbers (9 leaves, 1-66 foliated ), 3 columns in table, 59 lines and foliation, gothic letter, 2 large ornamental initials, 59 woodcuts, one full-page, woodcut diagram. Fifth and last Venetian edition, and fourth Ratdolt edition being the most complete edition of Rolewinck s chronological history of the world. The chronology follows a double time-line, measuring time from both the Creation and the birth of Christ to the death of the Ottoman Sultan Mehmed II commonly known as Mehmed the Conqueror in the year 1481, demanding a

remarkably complex typographical layout. The Fasciculus Temporum (Little bundles of time) was the first book printed on history of the world, it is also one of the earliest and greatest of illustrated incunabula. The illustrations show Noah s Ark, the tower of Babel and contain many town views including Jerusalem, Syracuse, Rome and the Doge s Palace in Venice.

Rolewinck (1425-1502) was a Carthusian monk and prolific author. This book was both the most popular of his numerous writings and the most popular concise world chronicle of its time, being printed 32 times in the 15th century, including translations into French, German and Dutch . Rolewinck’s Fasciculus Temporum was an enormously popular world chronicle, appearing in over 30 incunabular editions in Latin, German, French, and Dutch. A very handsome and typographically-sophisticated volume, with varying columns, circular devices with inset type, and woodcuts throughout.

This work aspires to trace the history of the world from the beginning of time until the year of pulication. The thirty-three woodcuts are crisp and rather charming, and, like those in many fifteenth- and sixteenth-century chronicles, are occasionally reused to illustrate different events and locations. The work is fascinating for the comprehensiveness of its content as well as the beauty of its execution. Of particular interest is a reference to the invention of printing (in 1454) on the verso of Folio 64.

Goff R271; GW M38738; ; BMC V 290; H 6935*; Redgr 52; Essling 280; Sander 6530; Schr 5116C; Pell Ms 10192 (9969); CIBN R-177; Arnoult 1276; Neveu 528; Nice 269; Torchet 821; Polain(B) 4691; IDL 3943; IBE 4955; IGI 8420; CCIR R-40; Kotvan 1024; Sajó-Soltész 2972; Gspan-Badalić 590; IBPort 1576; Mendes 1124, 1125, 1126; Madsen 3526; Martín Abad R-48; Voull(B) 3801; Hubay(Augsburg) 1811; Hubay(Eichstätt) 898; Walsh 1830; Rhodes(Oxford Colleges) 1525; Bod-inc R-121; Sheppard 3688; Pr 4404; BSB-Ink R-247

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13) 367J Petrus de Rosenheim. (1380-1432). Nom probable : Petrus Wiechs

[Roseum memoriale divinorum eloquiorum]

[Köln] : [Southern Germany : n.pr., about 1480-90?] or [Cologne? : n.pr., about 1483] or [Ludwig von Renchen?], 1483. $12,000

Quarto (190 x 155 mm). Collation: a-f8 [1-68]. [48] leaves. First Edition. Text in one column, 32 lines. Type: 80G. Initials painted in red, and blue ink throughout. Simple vellum binding from a 15th century vellum leaf. Gothic script. . A very good copy, old repair to the first blank leaf, a few spots, pale stain at the lower blank corner of the first quires. It is not known where and by which press this edition was printed. ISTC gives Southern Germany and a date of c.1480-1490, GW tentatively suggests Oberrhein, 1483, and Proctor attributes it to Ludwig Von Renchen in Cologne. The hexameters of each section of the summary form an acrostic of the letters of the alphabet. (alphabetarium) as to insure memorization in the proper sequence, the first word of each verse falls neatly into alphabetical order. [1,194 short mnemonic verses] It uses characteristic couplets (distiches) to express the main content of all chapters of the Old and New Testament. This introduction makes it possible to easily find every quote in the Bible.

A significant record of the essential role of memory in late-medieval piety, One of the earliest printed books on the ars memorativa or mnemotechnic was composed by the German Benedictine monk Petrus of Rosenhaym (Upper Bavaria), written between 1423 and 1426 for Cardinal Giulio Branda di Castiglione. Petrus of Rosenhaym composed numerous treatises, sermons, and verses: the Roseum memoriale is surely his most famous work, enjoying wide popularity during the fifteenth century and first half of the sixteenth century. The mnemotechnic method here employed is extremely complex: the hexameters of each section of the summary form an acrostic of the letters of the alphabet. in. A highly popular and broadly used manual, its copies could be found in almost every European church after the invention of the printing press it was printed in several different locations. This early medieval incunable has not been clearly dated| researchers attribute it to the Upper Rhine region sometime between 1480 and 1483. After studying at the University of Vienna, Petrus de Rosenhaym, along with his friend Nikolaus Seyringer, moved to Subiaco, where he entered the Benedectine order. In 1413, he was appointed prior to the cloister of Rocca di Mondragone near Capua. In 1416, he took part in the Council of Konstanz, and later he was prior in Melk (Lower Austria). After 1423, he was appointed ‘cursor biblicus’ and ‘magister studentium’. Goff R336; BMC I 312; ; GW M32724; ISTC; ir00336000; Polain(B) 3128; IBE 4559; IGI 7668; IBP 4380; Sajó-Soltész 2676; Madsen 3549; Borm 2134; Hubay(Würzburg) 1704; AmBCat 199; Walsh 492; Oates 867; Pr 1517;; BSB P-362; Van der Haegen II,2:16,4?; Young 278;.

Copies in the United States of America: Brown, Harvard, Library of Congress, Huntington, The Newberry Library, Yale

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14) 384J Raymundus de Sabunde -1436

Theologia naturalis, sive, Liber creaturarum : specialiter de homine et de natura eius inquantum homo, et de his que sunt ei necessaria ad cognoscendum seipsum [et] deum et omne debitu[m] ad quod homo tenetur et obligat[ur] tam deo quam p[ro]ximo.

Straßburg: Martin Flach, 21 January 1496. $17,000

Imp[re]ssus Argentine per Martinum Flach inibi co[n]ciuem anno incarnat[i]o[n]is d[omi]nice Millesimoq[ua]dringentesimononagesimosexto men[sis] v[er]o Ianuarij die vicesimop[ri]mo

Folio (280 x 200mm.) π6 a8 b-y6 z8 [et]6 [con]8 (the last leaf supplied from another copy, printed on recto only), The second leaf (π2) has a beautiful a green painted initial A [Amor] on a gold ground with pink and blue edges, extending into the margins with green-stemmed pink and gold flowers on opposite side. The first leaf of the text proper (a1) Has a large blue painted initial A on a gold ground with pink and green edges, large pink and purple flowers, strawberries thistles and a Tromp l’oeil of a Dead fly,( quite charming) fill uppermargin; 3-line initials in alternating red and blue, rubricated throughout. This is the first dated edition.

It is bound in Contemporary deerskin over wooden boards, covers panelled and tooled in blind with repeated small rosette tool, remains of paper labels on spine (lacking metal furniture and clasps, some wear and small areas of loss). This copy has some contemporary manuscript notes, including a two-line note on f. b2recto, and on f.a2verso is a marginal drawing of the scala naturae with the four gradus marked. Provenance: Contemporary inscription of Johannes Pengl (Penngl) from Weißenburg in Bavaria, who was active in Eichstätt & Vienna, with a note of cost of binding on final paste down. Later notes and shelf-mark on front paste-down and loose sheet.

Colophon: Finit liber creatura[rum] seu nature siue nature siue de ho[m]i[n]e p[ro]pt[er] que[m] alie creature facte su[n]t ex cui[us] cognit[i]one illu[m]inat[ur] ho[mo] i[n] [co]gnit[i]o[n]e dei [et] creaturarum.

This text marks the dawn of a knowledge based on Scripture and REASON.

The Catholic Encyclopedia sees this as “It represents a phase of decadent Scholasticism, and is a defense of a point of view which is subversive of the fundamental principle of the Scholastic method. The Schoolmen of the thirteenth century, while holding that there can be no contradiction between theology and philosophy, maintain that the two sciences are distinct. Raymond breaks down the distinction by teaching a kind of theosophy, the doctrine, namely that, as man is a connecting link between the natural and the supernatural, it is possible by a study of human nature to arrive at a knowledge even of the most profound mysteries of Faith. The tendency of his thought is similar to that of the rationalistic theosophy of Raymond Lully….Moreover, in Spain scholastics, in combating Islam, borrowed the weapons of their erudite antagonists. Close internal resemblance indicates that Raimund de Sabunde was preceded in method and object by Raymund Lully.” CE

What is new and epoch-making is not the material but the method; not of circumscribing religion within the limits of reason, but, by logical collation, of elevating the same upon the basis of natural truth to a science accessible and convincing to all. He recognizes two sources of (1)knowledge, the book of nature and (2) the Bible. The first is universal and direct, the other serves partly to instruct man the better to understand nature, and partly to reveal new truths, not accessible to the natural understanding, but once revealed by God made apprehensible by natural reason. The book of nature, the contents of which are manifested through sense experience and self-consciousness, can no more be falsified than the Bible and may serve as an exhaustive source of knowledge; but through the fall of man it was rendered obscure, so that it became incapable of guiding to the real wisdom of salvation. However, the Bible as well as illumination from above, not in conflict with nature, enables one to reach the correct explanation and application of natural things and self. Hence, his book of nature as a human supplement to the divine Word is to be the basic knowledge of man, because it subtends the doctrines of Scripture with the immovable foundations of self-knowledge, and therefore plants the revealed truths upon the rational ground of universal human perception, internal and external.

The first part presents analytically the facts of nature in ascending scale to man, the

climax; the second, the harmonization of these with Christian doctrine and their fulfillment in the same. Nature in its. four stages of mere being, mere life, sensible consciousness, and self-consciousness, is crowned by man, who is not only the microcosm but the image of God. Nature points toward a supernatural creator possessing in himself in perfection all properties of the things created out of nothing (the cornerstone of natural theology ever after). Foremost is the ontological argument of Ansehn, followed by the physico-theological, psychological, and moral. He demonstrates the Trinity by analogy from rational grounds, and finally ascribes to man in view of his conscious elevation over things a spontaneous gratitude to God. Love is transformed into the object of its affection; and love to God brings man, and with him the universe estranged by sin, into harmony and unity with him. In this he betrays his mystical antecedents. Proceeding in the second part from this general postulation to its results for positive Christianity, he finds justified by reason all the historic facts of revealed religion, such as the person and works of Christ, as well as the infallibility of the Church and the Scriptures; and the necessity by rational proof of all the sacraments and practices of the Church and of the pope. It should be added that Raimund’s analysis of nature and self-knowledge is not thoroughgoing and his application is far from consistent. He does not transplant himself to the standpoint of the unbeliever, but rather executes an apology on the part of a consciousness already Christian, thus assuming conclusions in advance that should grow only out of his premises. Yet his is a long step from the barren speculation of scholasticism, and marks the dawn of a knowledge based on Scripture and reason.

In its day, and for a long time later, it was a celebrated text. The title translates ‘Natural Theology or the book of [living] creatures, in particular about man and his nature inso far as he is man, and about those things necessary for him to know both himself and God, and about every duty by which man is held and obligated both in respect of God and his neighbour.’ The scope is therefore pretty wide. The main point of Sebond’s work is that that faith can be taught, attained, understood by natural reason and not simply on the basis of blind faith and literal adherence to Scripture, although this last is given full weight as is the teaching of ‘sacrosancta romana ecclesia who is the mother of all faithful christians, mistress of grace and faith and rule of truth…’ (preface on a2ra). The work is divided into 330 ‘tituli’ or chapters beginning with the origins of natural theology and ending with the last judgement, the subjects treated at greatest length being ‘God’ and ‘Man’.

Theologia Naturalis, which circulated widely in manuscript and is known particularly in a manuscript in Toulouse (747) corrected after the author’s own copy, was first published in what is called the ‘third family’ in Deventer in 1484-85 (possibly through the offices of the Brothers of the Common Life; the Bodleian copy is from their house at Doesburg, Holland), and then Lyon ca. 1488 from the printer Balsarin. This Flach printing circulated widely (a copy was at Winchcomb abbey in Gloucestershire within a few years (now in Glasgow) and early in the 16the century Archbishop Warham (Abp. 1503-32 ) gave a copy to All Souls College, Oxford) and is the first dated edition. There were a number of later editions (including another Flach edition of 1501) right up into the 17th century. Indeed the well-known 17th-century philosopher Kenelm Digby ( 1603-1664) had a copy of this edition (now at Durham University Library at Bamburgh Castle). Part of the Theologia (Dialogos de la naturaleza delhombre) was translated into Spanish and printed in Madrid in 1610 and 1616, and a resumé by the Carthusian Petrus Dorlandus (Viola anime per modum dyalogi) was published in Cologne in 1499 (ISTC id00360000 ) and in Toulouse in 1500 I(ISTC id003610000).. The Theologia because of the importance it accorded human reason did not escape the notice of the holy Office and was placed on the Index in the middle of the 16th century. Montaigne indeed discovered this during his visit to Rome.

Goff R33.; BMC I, 154.; HC 14069*; GW M36911; Bod-inc R-018. ISTC ir00033000. Palau 283900

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15) 369J Publius Terentius Afer. 185-

Terentius Comico Carmine

Impressum in nobili Helvecior[um] urbe Arge[n]tina : Per Ioanne[m] Grüninger mira etium arte ac diligentia. 1503 $7,500

Folio A6 B8 C-Z6 AA6 Bb4 Cc6. There are numerous handwritten annotations in ink (marginal and interlinear, ff. IX-XIX). The binding of half-calf with corners of the XIXth, back with 4 sewing support with pieces of title of red and green leather, boards covered with stony marbled paper. { A typical Kloss binding} (there is a tear sig. B1, with loss; first signature cut shorter at the lower margin; restorations of paper with the last sheets in the upper margin; Yet this copy remains a beautiful illustrated edition of the comedies of Terence with comments by Aelius Donatus and Calphurnius. From the presses of the famous and prolific Strasbourg printer-publisher Johann Reinhard, known as Grüninger, it is remarkably illustrated with 7 large full-page woods (including the famous representation of a theater on the title),

woodcuts depicting the dramatis personae in a land- or cityscape, one at the beginning of each play, and 142 woods in the text 19 of the cuts appear here for the first time; the others are from the 1496 ed. «Grüninger’s illustrations, intended to clarify the complexities of Terence’s plots for the reader, act as visual mnemonic devices for the book’s anticipated student audience. This is demonstrated especially in the full-page woodcut that begins each play, where all of the characters are displayed with connecting lines to indicate their interrelationships. covered with stony marbled paper. { A typical Kloss binding} (there is a tear sig. B1, with loss; first signature cut shorter at the lower margin; restorations of paper with the last sheets in the upper margin; Yet this copy remains a beautiful illustrated edition of the comedies of Terence with comments by Aelius Donatus and Calphurnius. From the presses of the famous and prolific Strasbourg printer-publisher Johann Reinhard, known as Grüninger, it is remarkably illustrated with 7 large full-page woods (including the famous representation of a theater on the title), woodcuts depicting the dramatis personae in a land- or cityscape, one at the beginning of each play, and 142 woods in the text 19 of the cuts appear here for the first time; the others are from the 1496 ed.

«Grüninger’s illustrations, intended to clarify the complexities of Terence’s plots for the reader, act as visual mnemonic devices for the book’s anticipated student audience. This is demonstrated especially in the full-page woodcut that begins each play, where all of the characters are displayed with connecting lines to indicate their interrelationships. A verbal explanation and plot summary accompanies each of these illustrations. The most remarkable feature of Grüninger’s Terence is his use of small interchangeable woodcuts that were combined to create the individual scene illustrations for each play. Individual blocks were cut for most of the characters of the six plays, who are identified by name in overhead banners. The blocks were cleverly combined repeatedly in groups of two to five, sometimes together with cuts of trees and buildings, to create the illustrations. Grüninger was attempting to use the woodcuts as repeatable and combinable objects, much in the same manner as movable type» (Christine Ruggere, in Vision of a Collector: The Lessing J. Rosenwald Collection in the Library of Congress)

Terence writes in a simple conversational Latin, pleasant and direct. Due to his clear and entertaining language, Terence’s works were heavily used by monasteries and convents during the Middle Ages and The Renaissance. Scribes often learned Latin through the meticulous copying of Terence’s texts. Priests and nuns often learned to speak Latin through reenactment of Terence’s plays, thereby learning both Latin and Gregorian chants. Although Terence’s plays often dealt with pagan material, the quality of his language promoted the copying and preserving of his text by the church. The preservation of Terence through the church enabled his work to influence much of later Western drama. [Holloway, Julia Bolton (1993). Sweet New Style: Brunetto Latino, Dante Alighieri, Geoffrey Chaucer, Essays, 1981-2005.] This copy has the book plate and a binding typical for Kloss. It is NOT Melanchthon’s copy, or his notes!

Georg Franz Burkhard Kloss (31 July 1787 Frankfurt am Main – 10 February 1854 Frankfurt). Kloss was the son of a physician and studied medicine at Heidelberg and Göttingen, where he became one of the cofounders of the Corps Hannovera Göttingen. He practiced medicine in Frankfurt. He became a book collector, and gathered a fine collection of old manuscripts,. On February 21, 1838, New York book auction house Cooley & Bangs began a three day sale during which they offered more than 313 incunabula distributed among 1,302 lots. Many incunables came from the collection of George Kloss and had appeared in the London sale of his books three years before. It is entirely possible that the 1838 sale was the first time in America that so many incunables were offered all at once in a single auction..

The bulk of the Kloss books were sold by Sotheby in 1835. Most of the books containing notes were attributed as owned and annotated by Melanchthon .

Catalogue of the library of Dr. Kloss of Franckfort a. M. including many original and unpublished manuscripts, and printed books with ms. annotations, by Philip Melancthon …Which will be sold by auction, by Mr. Sotheby and son … May 7th, and nineteen following days (Sundays excepted) .

https://babel.hathitrust.org/cgi/pt?id=hvd.32044055066971&view=1up&seq=9

Adams D 304. Proctor 9889. Ritter 2284.

Fascicule XXI. Media Plaga 3-4/2020 Only a day or two ago I was notified that I was in contact with some people tested for and found positive for Covid-19, this came as nothing un expected, I was in contact with hundreds of people many from Europe recently.

#early printed books #fascicule XXI #George Kloss #illustrated incunabulum #Incunabula #Irish authors #irish/gaelic printing #Kircher #Not in Goff #rare book catalogue

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