#me when the horror series has an interesting palette that i can use in drawings 💞💞💞💞

[foster-the-moths]

fuck you *mystifies your oracles*

[ddarker-dreams]

Affliction II. Yan Giorno x Reader [COMM]

warnings: general yan stuff, mentions of previous abusive relationships, isolation and self deprecation. word count: 3k. link to the previous part.

There aren’t many places left where you feel comfortable enough to be yourself. 

Not an identity that was painstakingly crafted for the sake of self preservation, but your genuine self. Here in the midst of Giorno’s grandiose flower gardens, you’re given the scant opportunity. Whether it be paranoia, or if it holds some ground in reality, there’s a possibility that guards are watching over you from afar. Lost in the thickets of nature, even if you’re being fenced in against your will, is preferable to the suffocating walls of the mansion. There isn’t a lot you’re willing to praise Giorno about, but his taste in flora is breathtaking. Palettes of complementing colors mesh together in a wide array of nature, stepping into it like entering a new world.

This particular section is your favorite. Azaleas are in full bloom around you, the sweet scent wafting to your nose. Stone garden benches, slightly aged by weather and covered in moss, make for a nice spot to collect yourself. This time of day, a sizable tree provides shade from the oppressive Neapolitan sun. Taking in a deep breath, you consider what to do for the reminder of the day. There isn’t much in the ways of entertainment, not in the sense you’d grown used to. No using the internet, or interacting with anyone that isn’t Giorno, aside from rare exceptions when you need food. Some of your hobbies are provided for, but the inspiration to partake in them when in captivity is dwindling at best, nonexistent at worst. 

You’ve had plenty of time to mope around the long, seemingly abandoned halls that make up your prison. After nights of incessant tears and sighing, you’ve made up your mind to make the most of the dreadful situation. Biding your time for a possibility of escape is all that can be done. Walking around the gardens almost felt like a form of reconnaissance at first, scoping the foreign territory in hopes of locating a weakness. Frustrating hour after hour would pass, no convenient cracks in the wall or fencing making itself known. Of course he wouldn’t make it that easy, not after all the apparent effort that went into kidnapping you.

The sun is beginning to set in the sky, the lengthier days of summer beginning a downwards trend as September soon approaches. You frown at the sight of clouds bathed in rays of golden light, knowing what unique horrors night time brings with it. During the day you get to be on your lonesome, making as much space between you and Giorno as possible. While there are some fortunate nights where he’s too engrossed with work matters to seek you out, Lady Luck hasn’t been on your side lately. He’s been woefully insistent on spending dinner with you, wanting to form a bond that you hold no interest in. You’d sooner seek out the company of a snail than Giorno Giovanna. 

When the crickets begin their anthems, the moon hanging high overhead, your freedom is restricted even more. The heavy weight of this realization pushes against your chest, a fresh wave of chills running through you. Anxiety is a finicky creature, making itself known at the worst times. Having a choke hold on you at its own leisure, preventing you from making any meaningful progress. It’s been somewhere around a few months now, you believe, since the encounter that changed your life for the worst. 

Shaking your low hanging head at the thought, you occupy yourself with the parchment sitting on your lap. It’s coarse against your skin, a much needed anchor to keep yourself from drifting away from this world. That’s right, you’ve come here for a reason. You’ve had this blank piece of paper, that has beckoned you to fill it for some time now. The problem being, the lack of proper equipment to use on it. Some pieces of charcoal that you found earlier after lunch sprang hope anew, the tool familiar in the best of ways. Holding with it fond memories, a desirable distraction from your bleak outlook on life. 

The guards that take care in shadowing you didn’t protest when you took it, so you assume it must be allowed. Bringing the dark instrument down to the parchment, you begin a rough sketch of an azalea plant in front of you. As you make the various shapes that define the flower, time almost seems to speed up around you. Before you register it, the sun has almost finished its descent into the sky, your hands fully covered in residue from handling the charcoal. Too absorbed in perfecting your work, you fail to notice approaching footsteps from behind. 

“--[First].” 

A surprised gasp leaves your lips at the unexpected greeting, your head whipping around to identify the source of the intrusive noise. Panic bubbles within at the sight of Giorno, who is taking a keen interest in what you are working on. From how at ease he looks, it’s difficult to gauge his thoughts. His visage never offers insight to his mind, always schooled and taciturn. He must be awaiting a response from you, but your mind is a state of panic. This activity isn’t something that’ll get you in trouble, is it? Subconsciously, you move the canvas to the side, your fingers wrapping around the edges uncomfortably. 

You need to say something, but the words die in your mouth before coming to life. Pushing through your storm of dread, you offer a response. “I… I’m sorry, if I wasn’t supposed to.”

Turquoise eyes regard you in kind, taking a seat next to you on the bench. He’s generous enough to leave a respectable gap, but is still too close for comfort. From how his lips are turned into a soft smile, you want nothing more than to believe you won’t be chastised for this innocent indulgence. Spending time in Giorno’s presence is akin to navigating through a minefield, never certain what step may end up being your last. All of the promises he offers feel unfounded, the sickly sweet assurances of never harming a hair on your head. Why should you believe him? He’s given you no reason to take his word as concrete, and you can’t see that ever changing.

You remember the scent of blood. The nauseating sound of bones crunching, how flesh sounds when thrown against a wall. How when approaching death, the eyes grew bloodshot, lips trembling as they took on a haunting shade of blue. It’s the stuff of nightmares, watching a life snuffed out right before you. Matteo, someone who had been your companion, was gone before you could even process it. The strain on your relationship with him is unforgettable, but having to see his body tossed aside by a ghostly force? Witnessing how limp his limbs were, the same arms that once sought refuge in long ago? 

You’ll never forget the devil Giorno is, no matter how much he paints himself as a saint. 

“I had no idea you were interested in art,” he chooses to ignore your previous comment, wanting to redirect onto more positive things. “You have a real talent for it. Had I known, I would’ve prepared a wider array of art supplies for you.” 

The compliment has the opposite effect as intended on your person. Instead of filling you with validation at the wholehearted praise, the words ooze down your skin like droplets of corrosive venom. A sudden disconnect between your creation is torn, and you can no longer stomach to look at it. How an object of beauty can turn into a reminder of your captor in a few measly seconds is a peculiar thing. When he leaves for work the next morning, you consider the possibility of destroying it all together. A last ditch effort to rid yourself of this revolting feeling that creeps down your spine. 

“Please, don’t trouble yourself.” 

There are multiple ways of interpreting your words, ranging from a dismissal of Giorno’s presence to humility. He spins it in his favor, as he’s showcased his brilliance in doing so. Your lack of straightforward animosity towards him serves to backfire every time. 

“It’d be no trouble. Truth be told, I’m lacking an in-depth knowledge of the arts. What kind of equipment would suit you best?” Giorno inquires with a tilt of his head, his eyes leaving the impression that he can see the full dimensions of your soul. Ignoring him isn’t going to be of benefit, so you provide the bare minimum to satisfy his quest. 

“It’s… more of a personal preference, what an artist chooses to use.” 

He’s not letting you off the hook just yet. “What do you prefer to use?” 

“The basics. Pencils, watercolors, the like. Nothing too fancy.”

Giorno looks fascinated at anything you offer him. Even if you only speak when spoken to, it’s a good place to start. Your muscles tense as he leans closer, to get a better look at the drawing of flowers. His eyes scan every stroke, seeing how it all culminates into a grander picture. You move your legs over, internally pleading that he’ll leave you alone soon. Speaking for him with any amount of time, no matter how small, is exhausting. 

“Azaleas, correct?” 

At this guess, you nod in confirmation. 

“Please, should you ever need a reference for flowers, let me know. I’d be more than happy to provide it for you.” 

The chance to refuse this offer is fleeting, curiosity taking over at how he reaches for a rock on the ground. Taking it into his hand, he puts it in full view. You blink at the uncanny series of events, wondering why Giorno is putting a simple rock on display. Any semblance of understanding is stolen from you, as the colors twist into a different assortment. The spherical shape shifts into a stem, the bud on top growing light pink petals. He watches with amusement at how you look at it closer, mouth agape.

“W-what?” It’s a weak whisper, betraying the full extent of your awe. How did he pull this off? It isn’t like a cheesy magic trick, where the rock would slide somewhere, only to be replaced by a flower. No, you witnessed the full life cycle of the flower. He chuckles lowly at your childlike wonder, preparing a palpable explanation. 

“It’s an ability of mine,” he elaborates, placing the newly former azalea on your lap. “I can make any living thing.” 

Is this a dream? To test the theory, you rub your eyes, uncaring of the smudges likely left against your skin. When your eyelids flutter open once more, you’re still in reality. Wanting to inspect the flower closer, you lift it up, close to your eyes. Studying every aspect of it, from how soft the petals are to the firmness of the stem. While not a professional botanist by any means, there’s no denying that this is a real flower. 

“Any living thing…” 

The words dance on your tongue, parroting his words back to him to make sense of it all. “Does that include animals?” 

“Naturally. Is there anything you’d like to see, [First]?” He tempts you with promises of spectacle, fully aware of how bewitching Gold Experience’s ability is. Numerous ideas flood through your mind, possibilities infinite. Thoughts ranging from your own favorite animals, to cute creatures that might improve your mood. While creating bouquets of any flower might be an intriguing prospect, you’re more drawn to seeing animals. The only animals you’ve had contact with in the longest time are occasional frogs that congregate near the running foundations at night. Everything else is reduced to sounds, from owls to cicadas. 

It’s when you see Giorno’s knowing smile that something deep inside you stirs. 

He’s basking in the lightheartedness you’re exuding. This… this ultimately doesn’t change a thing. Giorno is a terrible man, who has taken so much from you. The hedges surrounding you both suddenly feel suffocating, a merciless reminder of who it is you’re dealing with. Beauty pales in comparison to real freedom. Every day has been the same as the last, an infinite loop of going through the motions, destined to never make progress. All of this has been thrusted onto you by Giorno Giovanna, a man in relentless pursuit of your heart. 

None of this is right. Being near him is enough to too much to take.

You hold your tongue, eyebrows furrowing at Giorno bringing out all this conversation from you. It’s humiliating how all your efforts to deny him the desires of his flesh never work as intended, this one of the many times he’s bested you. Now that you’ve spotted his game, you clamp shut like a clam, intent on hiding the pearl of yourself from him. You’re intentional in looking away, the luxury of him maintaining eye contact with you a memory of the past. Sensing the barriers you’re putting up against him, Giorno stands, dusting off his expensive pants. He offers you a nod of acknowledgement, pivoting on his heel and calling out to you over his shoulder.

“I’ll leave you to it then.” 

Too absorbed in your self deprecating thoughts and misery, you offer up no response. Footsteps crunching against the vegetation on the ground fade away, your heart pounding violently against your chest. Something wet caresses your face, teardrops falling and smudging your art. Your sniffling grows in volume, becoming a full set of sobs. Hands shaking by your side, you hang your head low, biting your lower lip to the point of drawing blood. 

Feeling like a man possessed, you wildly rip away at the canvas that taunts you so. The sound of paper ripping pales in comparison to the natural ambiance of the summer night, and you pay it no mind. All you want is an outlet for this surge of emotion. Any guilt over littering the ground with remnants of your work dissipates when you remember how servants will scurry like insects to clean up after you. For extra measure, you pick up the former rock, glowering at it. Breaking the stem with your hands, you throw it as far as you can manage, not able to stand the sight of all it stands for. None of this even begins to remedy the abhorrence that clogs your heart for Giorno, but it’s a start.

Exhaustion seeps into every pore of your being, and you retire to your room. 

- - -

He notices a lot of things about you when you’re asleep.

There’s clear serenity on your countenance, far away from the world of unfortunate reality. Giorno catches every rise and fall of your chest, how delicate your breaths are, the way your long eyelashes flutter against the soft cheeks of your face. When you’re lifted from the depths of deep sleep with a dream, frustration overtakes you, eyelids twitching. He’s inquisitive on the nature of your dreams, that must take the form of nightmares. What is it that haunts you? There’s a twinge in his heart at the possibility of it being him. 

The first time you reached out to him in your sleep, he thought it a trick of the lights. A fine delicacy he doesn’t deserve to gratify himself with, as a reminder of his own sins. You’re too good to him when you’re like this, arms subconsciously reaching out for something to grasp on. A few times, you found a pillow, content with it in your arms. In moments like this one, your hands touch the bare flesh of Giorno’s chest, drawing yourself against him. He stays perfectly still, recognizing the humiliation you’d face should you wake. No, this is just fine with him, enough to satisfy a dormant hunger. 

He can’t help himself, ghosting his fingertips up and down your bare arms. Goosebumps dot your skin from the motions. It’s a selfish wish, that you’d always be like this around him. Giorno would be a fool to think of himself as anything but self-serving after all he’s taken from you. Your future, freedom, your life. What is possibly an attempt to justify some of the extreme measures arises, Giorno incapable of hiding the scowl of your former situation. Such a kindhearted person, diluted by scum of society, churns his stomach in repulsion. The original plan didn’t include offing your former partner, but righteous fury overtook him. It isn’t often Giorno’s composure can crack, but seeing you belittled was all it took.

All the damage inflicted on you left gaping wounds, too great for Giorno to heal. 

He witnessed how radiant you’re capable of being, how your face glowed the first time you met. It’s a fond memory now, a way to placate him. Anything less than honoring the memory of you treating his wounds is a disservice to your person, Giorno incapable of offering nothing but high praises for you. This highlight of humanity, a pinnacle of what people are like at their best, is what motivates his goals further. To see Italy become a better version of itself, eradicating the nefarious plots that fester in the shadows. 

You rub your head against his chest, murmuring incoherent words in your sleep. His heart leaps at the endearing sight, wishing he could stay like this with you for eternity. In the midst of his musings, his own Stand materializes into existence, unblinking eyes considering every curve and dip of your body. Gold Experience Requiem wishes you were capable of acknowledging it, having to be content with observing you from afar. It’s a double edged sword. There’s an opportunity to wrap phantom-like appendages around your waist, you only believe it to be a gust of wind. Touch starved as Giorno is, he’s willing to accept any scraps of your touch he has access to.

Tiny pieces are better than nothing. 

Tomorrow will bring troubles of its own, yet he can’t find it in himself to complain. Your scrutiny is wholly deserved, and all that he can offer in meager attempts to reconcile is effort. To be better for your sake, and his own.

[stranger-who-writes-fiction]

Ya know what these self-indulgent Supergirl: Woman of Tomorrow posts need? Self-indulgent banner art, that’s what.

Spoilers for issue #4!

Let’s start this off right with CREATOR CREDITS. Issue 4 of Supergirl: Woman of Tomorrow is titled “Restraint, Endurance, and Passion.” Written by Tom King, Art by Bilquis Evely, Colors by Matheus Lopes, Letters by Clayton Cowles, and Edited by Brittany Holzherr. (w/ Assist. Editor: Bixie Mathieu & Senior Editor Mike Cotton)

THE STORY: 

Right, so this? This issue? Best one yet.

Also the bleakest of the bunch thus far; even though we don’t always see the brutality of the space pirates that Kara and Ruthye are following, there’s...the suggestion of it. The aftermath. And how Kara responds to it.

Okay, getting a little ahead of myself. BASIC PLOT SUMMARY: Ruthye and Kara continue their pursuit of Krem, who has taken up with Barbond’s Brigands.

The Brigands basically just. Murder and terrorize people, for profit.

Each planet they visit brings new horrors, as well as people who need Supergirl’s help.

And help she does.

KARA-CTERIZATION:

I yell a lot about the art on this book, and have, in fact, openly admitted that I’m primarily here for Evely and Lopes.

Well, that wily son-of-a-gun King went and wrote some of the best ‘Super’ stuff I’ve ever read and dang it, dang it, now I gotta yell about the words too. XD

Specifically, I wanna yell (in a good way!) about some words that occur towards the very end of the book.

Kara and Ruthye have Seen Some Things; things like genocide and mass grave sites and horrible violence, and upon reaching a planet where peaceful monks were slaughtered, Kara’s had enough, and needs to leave because if she screams, she’ll destroy what little is left of the monks’ monastery.

Here’s the text in full, because my gosh. It’s so good:

“What I write next I write based on my observations in those long-ago days at the side of the greatest warrior in the history of this august reality we all call home. It is important to note that my assertions do not rely on anything Supergirl said. It was not a subject we ever discussed or even approached, but nonetheless I believe it to be as true as the turning of worlds. You see, what is not well understood about the daughter of Krypton is that her power was not one of action but one of restraint, endurance, and passion. She did not choose to fire a beam from her eyes, or have breath of ice, or run faster than a speeding bullet. Or any of her other well-documented miracles. No, she held back her heat vision to look you in the face. She warmed her breath to converse with you. She slowed herself to walk by your side. Ever moment of every day, she suppressed the forces churning inside of her. All of the energy of a dead world that strained against her many barriers, eternally demanded to be released. I believe this effort hurt her. I believe she lived her life in pain. But I reiterate again, for I think it important enough to repeat--These beliefs are based on my time at her side, watching her as she moved through strife and sorrow. If you were to have asked her, I have little doubt she would have claimed that such as assertion was absurd. She would say she felt fine and well and then she’d as you if you needed any help.”

A long chunk of words, I know (this comic is DENSE!) but like. This is it. This is one of the defining attributes of the Supers--all that raw power at their disposal and they choose to help people, to be kind, to suppress that power for the benefit and safety of others.

HNNNNNNNG.

Hope, Help, and Compassion for All.

Whole lotta folks claimed at the outset of this book that King did not understand Kara, that he was a bad fit. And that may be so, I suppose--there’s a whole other discussion about like. The violence and swearing and ‘does that belong in a Supergirl book?’ But the characterization? Getting that Kara and Clark are just good people? 

King gets it. He got it in Superman: Up in the Sky and he gets it here, in Woman of Tomorrow.

Other things King gets! Kara is stubborn! Kara is passionate! Kara is going to fix things, even if the effort of doing so hurts her, physically, emotionally, and mentally!

(Fuuuuuuun fact for the crowd saying that Woman of Tomorrow is vastly superior to the CW show: TV Kara is ALSO all of those things! King isn’t pulling this stuff out of thin air. It’s almost like...gosh. I don’t know! Both the show and Tom King are pulling from the character’s comic history, or something!!!! HOW NOVEL.) 

Like, seriously. There’s a lot of overlap. Stop pitting Karas against each other!

Anyways!

I promised art, so here is art!

Oh, right, forgot to mention, Kara literally THROWS HERSELF INTO THE SUN to express her grief and anger, so as to not cause that unnecessary destruction. She gives new meaning to the phrase: Set yourself on fire to keep someone else warm. 

More art yelling: GOTTDAMN, the way Evely draws Kara just colliding with the surface of the sun and then the way Kara’s hair like...becomes the flames...

I am FEELING FEELINGS. HOW DARE.

Also, props to King and Cowles; King for deciding to have that initial scream, Cowles for the way the letters burst forth from the point of impact on the sun, and then back to King who decided that it would just be...devastating silent screaming from Kara, for the remainder of the scene. 

Back to the characterization, I just wanted to highlight something I mentioned...earlier on, I think? In these posts? But haven’t brought up recently, and that is how this book has not once brought up Zor-El, and I think Superman only got a quick mention in issue 2.

Honestly, I think that’s gotta be some kind of record.

It’s so refreshing. Not because I think there should never be mentions of Clark, or anything--I love that boy--but because so much of modern Supergirl comic drama is mined from the same like, angsting over her place compared to Clark, or her crazy sometimes-a-supervillain dad. 

There is no Clark and Kara drama here, no manufactured friction, because it’s just. A cool Supergirl story! 

Gonna keep going, but let’s do it with some more...

AAAAAAAAAAAAAAAAAAAARRRRRRRRRTTTTTTTTT!!!!

Once again, Mat Lopes is all over the dang place with his palettes, it’s marvelous.

Each new planet gives Evely the opportunity to go hog wild on the worldbuilding and design, and similarly! Each new locale is an opportunity for Lopes to set the tone with colors. Like, here, towards the beginning of the book, we’ve got a planet bathed in this warm, pale yellow/orange light. 

(Quick note: “Sure, yeah, I get it. We all have our duties. And it’s mine as a neighbor to do what I can to help you with yours. Please.” A+ Kara content. We love to see it. And then locating the remains of the alien’s daughter, so that they can go visit the grave site and have some emotional closure???? It’s just. So. Touching.)

Anyways, back to colors.

Like!!!! LOOK AT THAT JUMP. From the soft, almost pastoral feel of the delicate oranges and yellows to HARD GREEN, PINK, AND PURPLE. (Difficult colors to pull off in print, I might add.) 

(This is also an interesting scene, character-wise, because I think it helps re-contextualize some earlier stuff with Kara. Like, I’m mostly thinking that incident on the bus, where she was swearing at the passengers as the space dragon was about to destroy them. Here, we see Kara kind of...goad this alien woman into releasing her pent up emotions by yelling at her/getting her to fight, and you can clearly see at the end of it that Kara did not mean the things she said, because check this out:

She goes and gives her a hug once the woman is able to finally cry.

It’s not ‘Kara is being mean, Kara is swearing at her’, it’s, ‘Kara has an unorthodox solution to a problem, and she’s gonna FIX that problem, NO MATTER WHAT.’

Circling back to the bus thing--again, that could be an instance of ‘unorthodox approach to a weird situation that Kara is going to handle because lives are at stake.’)

But also, DIG THAT KIRBY KRACKLE, BAY-BEEEEE!

And a little Strange Adventures easter egg! The Pykkts! 

(I think those guys are unique to the Black Label series, rather than deep Adam Strange lore, but don’t quote me on that.)

Moving on to YET ANOTHER PALETTE, one I’ve dubbed, ‘Treasure Planet Purple/Grey’

Love Ruthye’s snoozing against the door, waiting for Kara.

Also, just as striking as the colors of the environment, are the colors used on Kara. 

If you compare this page with the previous one, Kara’s eyes are a paler shade of blue, and the red-rimmed look on her eyes here is not as intense as the red-rimmed look we saw back in issue one, when she was confronting Krem. 

All of which to say! There’s a pale, haunted quality to both the linework and the colors. Like. We know Kara has Seen Some Things. But she’s shoving all that stuff down to protect Ruthye, to save Krypto, and to stop these monsters, and you get all of that WITH COLORS AND LINES ON A PAGE.

I love it, I love it so much.

OTHER BOOKS WISH THEY HAD THIS LEVEL OF CHARACTER ACTING, I TELL YA! THEY WISH THEY HAD THIS BEAUTIFUL ALCHEMY OF INKER, COLORIST, AND WRITER WORKING IN SUCH TIGHT TANDEM!

Ahem. XD

Alright, last bit of art, lest I just. Post the whole issue in here. (Which I’m honestly always tempted to do but Strong Feelings about Piracy hold me back.)

JUST HECKIN’ LOOK AT THAT BLUE, MAN. JUST LOOK AT IT. S’BEAUTIFUL.

And more stunning character acting from Evely. Like. Bottom middle panel. The expression, the tilt of her head and the shadows on her eyes...

*insert silent flailing here*

Oh, also, KRYPTO LIIIIIIIIIIIIIIIIIIIIIIVESSSS (for now). 

I’m never right about these things, so I’m glad the one time I’ve correctly read a thing is when it involves Krypto not, ya know. Being dead. XD

Also absolutely love that Kara’s instinct is to send Ruthye home to protect her--once more leaning into that whole, ‘I’m going to protect you, even at great cost to myself’, though of course we know that she can’t send her home, not here, not now, just halfway through our journey. 

ERRRRRRGH, so mad we’re not getting twelve issues of this! CURSE YOU, POOR SUPERGIRL TRADE SALES! CURSE YOOOOOOU!

That said, King’s pacing? Has been phenomenal. I feel like Strange Adventures and even Mr. Miracle kinda...I’m not gonna say dragged, that’s not quite right. But it is more build up, I guess. Takes a while to get to the payoff.

Here, I think King is pushing things steadily along as he doesn’t have the benefit of an additional four issues, so he has to get to the point, so to speak. Keeps everything moving.

SOME FINAL, MISC. STUFF:

I’ve sort of glossed over the darker stuff from this issue, and I just wanna note that like. This is a book that features a bad guy getting stoned (in the death sentence way, not the drug way) on panel. Like. I can’t recommend this to children.

I can’t even really recommend it to some other Supergirl fans, because I know that the King elements will be too off-putting. 

It never feels like the book is going too far, though. At least in like an...exploitative way? If that makes sense?

The violence is handled with discretion, I guess is what I’m trying to convey. This could very easily tip over into like, gross shock factor territory, if not handled well, but I think the creative team pulls it off.

...Still wouldn’t hand this book to kids, though. XD

As mentioned, we’re halfway through this series! Can’t wait to see where it goes--every time I think I have this book figured out, it surprises me. So, like. Bring on the Dinosaur planet! With no sunlight! I wanna see how Lopes handles THAT. XD

(But Oh, OooooOOooh, we gotta wait until NOVEMBER.)

(Hhhnnnnng!)

(Then again, maybe that’s good; we’ve got the TV show in the meantime, and then once it ends we can pick right up with new Supergirl content just a few weeks later.)

(...Aw. Made myself a little sad, thinking about the TV show coming to an end.)

:C

So as not to end on that sad note, here once again is tiny, smushed Kara:

Give ‘em the ol razzle dazzle.

[rodpupo2]

Research: Project Finish

Tim Sale

Tim Sale is a famous comic book artist, who had worked in several titles along with the writer Jeff Loeb, including Batman, Spider-Man, Superman, Daredevil, and many others.

Tim Sale was born in may of 1956, in New York, where he studied visual arts, spent a good time of his life in Seattle, and today he lives in California.

For some years he drew his art privately, only to please himself. When he found himself working at a fast food in his late twenties, however, he decided to try to sell some of his work. This led to an association with Thives’ World Graphics, a fantasy anthology series, where he illustrated stories.

What most marks his work is the dramatic aspect that he manages to obtain in the characterization of his characters and in the scenarios he creates, making the stories unique and immortalizing the characters.

The union of Sale’s art with Loeb’s engaging narrative has become the perfect marriage for mysterious plots.

One of the most striking characters worked by Sale was Batman, which he drew “The Long Halloween”, “Dark Victory” and “Halloween”. He was able to fully transfigure the dark aura of Gotham and his Dark Knight. He also worked with Superman in the saga “ Superman for All Seasons”.

Both of The Long Halloween and For All Seasons are what is known as “Year one” comics. These works take their heroes back in time to their earliest days of crime fighters.

His main tool is watercolor, which he uses with mastery. Sale's palette of colors is something really impressive, always drawing and painting his characters very delicately, and calmly. His style is very cartoonish, although this does not diminish his art in any way, on the contrary, his style is very unique and characteristic.

Pedro Franz

Is a Brazilian comic book artist, who was born in Santa Catarina and has a degree in design.

He has been publishing several comic books and participating in exhibitions in Brazil and abroad. As an illustrator, he has published works several magazines and books, and regularly collaborates with the Piauí magazine. As a graphic designer, he is a contributor to the Par (Ent) Esis platform. He has comics translated and published in English and Spanish, and has good international recognition, thanks to his publications.

But what is most impressive in Pedro's art, perhaps is his intensive use of colors. Mixing various shades of different colors, mixing different compositions. In addition to sometimes using characters from pop culture, with his elaborate style.

Despite liking traditional comics, he has always published and worked for national publishers, often with authorial works.

Perhaps his best known work, which was even published in the United States is the comic “Suburbia”.

Suburbia tells the story of Conceição, a girls daughter of enslaved rural workers, who flees to Rio de Janeiro in the early 1990s. In the city, Conceição begins to work as a cleaner and to get involved in the world of funk, slums and poverty.

His drawings are extremely surreal, not exactly following a traditional way of making comics, with several images spread across the page, with different shapes and sizes, with extremely strong colors, mainly valuing blue, purple, yellow and red, as his main colors.

Richard Corben

Richard Corben was one of the contributors of elevating the comics to the category of Art, and of its unparalleled style of great influence among many current artists.

Richard Vance Corben was born in Missouri, United States on October 1940, in a family of farmers in the middle west ( where he started reading comics), and lived in Kansas City. There he studied Fine Arts, got married, had a girl and started working in local cinematography animation company. At the same time, he started to create and publish some underground fanzines. From the begging it was clear that he was interested in science fiction, eroticism, and total rejection of institutions ( the Army, the Church, etc), mixed with a lot of humor.

At a young age, Corben was an aficionado of bodybuilding, just like everyone who was interested in a persons aesthetics. The first character that he created, was Rowlf, a dog who took on a human form. In the beginning of the 1970s he amplified his work ( and his fame) in some underground magazines. And in 1971 he started working for the Heavy Metal publisher where he created one of his most famous characters, Den a large muscular man, who was always naked, and always after some adventure.

Corben has a very particular style, with unsettling mixture of caricatured, often satirical grotesque and intense,convincing realism. Never before had such wildly cartoonish worlds proved so convincing.

Also he can handle an exponentially higher standard because of his ability to use colour to show the effect of light on whatever he’s depicting. The way that he mixes light and colors in certain panels to differentiate those elements from each other, is something to admire.

Corben worked in a few mainstream comics, he always preferred to work with authorial works or working in specific themes like fantasy and science fiction comics and not so much on superheroes.

But probably the most famous mainstream comic that ever worked was the character Hellboy, along with writer Mike Mignola.

Hellboy is a series of comics that has a lot of mysticism, Norse mythology, horror and monsters. Something Corben certainly agreed to do, without thinking twice.

Richard Corben is one of my favorite artists, with a style that is perhaps not as realistic as an Alex Ross for example, but the humor and beauty that he puts in his characters is very unique.

Corben died on December 2, 2020, leaving a great legacy, for the world of comics and arts, with a very unique style and extremely stunning worlds.

Charlie Allard 

Charlie Adlard is a British comic book artist, who have worked on the comic industry for over 25 years. He spent the majority of his time since 2003 working in The Walking Dead along side with writer Robert Kirkman , until the last issue on 2019 He started reading comics when he was very young, and he said that he was very lucky to have influences of American comics and the more high art, such as Asterix and Tin Tin. He was fascinated by European comic books artists like Moebius, Alberto Uderzo and Herge. He started his career as many British artists and writers, working on 2000 AD, with characters such as Judge Dredd, Armitage and eventually Savage. In the United States he started working with the X Files, Astronauts in trouble, and of course The Walking Dead. Adlard started in The Walking Dead from issue 7, and brought a slightly different style, from the previous artist. Adlard's art is very cartoonish, but the universe of The Walking Dead still doesn't get silly because of it. Quite the opposite, the dirt and rot that Adlerd puts on his characters and the world, only sustains what a horrible world it is to live in. Many readers complain about Adlard's style, being very simple, that his characters are very similar, and sometimes it is difficult to identify them. But I believe that although his style does not vary much, when it comes time to show a horde of zombies, a devastated city, people feeling despair, and extremely disturbing scenes, Adlard manages to excel. Adlard's main tool is ink. All The Walking Dead magazines are in black and white, and he manages to give a lot of depth to the scenarios and characters using only a few ink stains. Today Adlard is doing some comics, mainly for DC, but says that he does not intend to work with Kirkman and zombies again, because he wants to explore other themes, and to innovate his drawing skills.

Zaha Hadid

Zaha Hadid was one of the most important and well known figures in contemporary architecture and design. With a singular trajectory, marked by a versatile, bold and out of the box style, she was the first woman to receive Pritzker Prize for architecture and was also the only female representative honored by the Royal Institute of British Architects with a golden medal. Zaha Hadid was born in Iraq, more precisely in the city of Halloween, in Bagdá, in the year 1950. Her family was of high class, her father being an important politician and her mother an artist. Still young, she traveled and studied in other places of the world, like London and Switzerland, but it was in her native land the she got her first formation, when she graduated in mathematics. At the age of 22, in 1972, she enrolled in one of the most famous independent schools of architecture in London, and there she gave the starting point to her career by studying and creating an important connection with the Dutch architect Rem Koolhaas, a figure that encouraged her and opened the doors for opportunities. Later in the 1980s, Zaha Hadid decided to open her own office. This, Zaha Hadid Architects was born, which made her name and talent recognized worldwide. Known for her works with futuristic lines, clean and pure forms, as well as the fragmentation of architectural design. Her projects and discussions raise issues that put architecture and its future to the test. This is because the architect seeks in her works to interrelate design, architecture and urbanism. I knew Hadid and some of her works, but it was the recommendation of my teacher Lauren, that I should look for this architect. As my project takes place in the future, she recommended that I look at some works by Zaha Hadid to get inspiration when creating the scenario for the comic. I find it very interesting how her works have this futuristic aesthetic , because it reminds me of science fiction films like Blade Runner with those skyscrapers and buildings with different shapes and sizes that are extremely imaginative that could only exist in films. With unique works and projects, famous for their exuberance, futuristic elements, curves, non linear shapes, distortions and fragmentations, Hadid inspired and generated fascination both for her constructions around the world.

Syd Mead

Syd Mead was a designer, best known for working on films such as Aliens, Blade Runner, Tron and Star trek. Mead was born in Minnesota, United States, on July of 1933, but five years later he moved to a second house in the western of United States prior to graduating from High School in Colorado in 1951. Some years later, he did the Art Center School in Los Angeles, where he graduated with great distinction in 1959. He was immediately recruited by  the Ford Motor Company. At Ford he worked in the advanced styling department, creating futuristic concept car designs. But his imagination went beyond cars and he began to imagine clothes, helmets, buildings and scenery from hyper advanced civilization. After Ford, he also worked in other big companies like Chrysler, Sony and Phillips. After that he started migrating to the concept art world of movies. Mead is really important for generation of writers of science fiction, because many of them were influenced by Mead’s colorful paintings. Mead never wrote a novel or short story. He imagined the future in his mind and turned that imagination into illustrations. In 1979 he designed the extraterrestrial spaceship for the first film “Star Trek” in the cinema. Ridley Scott called Mead to design the buildings and flying cars of the futuristic Los Angeles “Blade Runner” in 1982. In 1986 he was hired to design the space station and vehicles of the movie Aliens directed by James Cameron. Almost at the same time, the designer created the electronic world of “Tron” for Disney studios. The same ones who hired him in 2014 to design the futuristic city of “Tomorrowland”. Mead died in 2019 after three years of lymphoma, he was 86 years old. He was a great influence for many designers and science fiction writers and illustrators, due for his creative worlds and automobiles , Elon Musk quotes Mead as one of his major influences, on visions of the automotive future and design in general.

Transmetropolitan by Warren Ellis and Darick Robertson 

Transmetropolitan is a comic written by the British writer Warren Ellis and the American illustrator Darick Robertson, published by the Vertigo label, and falls within the cyberpunk genre, and the problems that rampant technology will cause us.

Throughout the 60 issues of Transmetropolitan, Ellis and Robertson build a chaotic and brilliantly alive future, presenting a sci-fi society with a peculiar mix of elements of cyberpunk, political dystopias, bioengineering and transhumanism, sexuality, economics and much more.

In a dystopia, in a not so distant future, the journalist Spider Jerusalem is isolated for fiver years in a hut in the forest, but he has to return to the city to earn some money.

Throughout the comic, amid a nihilistic aura that humanity has no salvation, the author- Warren Ellis - criticizes the consumerism and futility. The illustrations, of Darick Robertson, is full of excesses as the environment should be, a brand of the style of the 1990s.

The search for the truth is the central theme of this work, and in the midst of all this we found ourselves in a investigative odyssey that involves the lowest scum of that society ( thieves, murderers and rapists) until reaches the highest of the scum ( the presidency).

This background allows the work to touch on the most profound social themes, and without fear of saying what needs to be criticized, this is where Transmetropolitan shines, and provoke deep reflections on issues such as racism, the influence of media, the power of religions, the education, and many other themes.

In short, Transmetropolitan dissects and criticizes everything, it points out the flaws, the lies and the hypocrisy of each one. It’s a study about the problems of democratic society in the 21th century.

Jon Mcnaught 

Jon Mcnaught was born in 1985, London, England. He work with drawing comics, and work as an illustrator, printmaker and lecturer. After spending several years on the Falkland Islands during his childhood, which will inspire his second book, Pebble island. The book pass years after the war, where he tries to recreate his childhood, with aspects of his curiosity, when he was exploring abandon bunkers, where it was just part of landscape, or somewhere where he could play. His work has essentially been landscape print-making (often situated in the city), but with quite simple intention of capturing the sense of space, light, time etc. His work is mostly about that, places that he was interested in depicting, and trying to reproduce the visual. He want the characters to feel like elements of a landscape or an environment ( he preferes to focus more on the background, than the characters itself). But usually he uses figures and postures to suggest expressions rather than close ups showing facial features. What I like about Mcnaught's work is that they are simple designs, but the colors are very vivid. The way he constructs the scenarios is very invective, because it doesn’t need to be extremely detailed, he just needs a few lines to show what he is talking about.

[transformers-fan-continuities]

Spotlight: Rise of the Radiotrons

Here it is folks, the first fan canon spotlight, showcasing Rise of the Radiotrons created by sleeveev! You can find this over at @riseoftheradiotrons and also on AO3! This is a long post, fair warning.

Q) Give us a run down of your cont! What's it about, what's it called, what's it like?

the cont, despite being called Rise of the Radiotrons, revolves around five main groups of characters, and the mystery that accidentally intertwines all of them. a lot of false identities, undiscovered pasts, mystery that you need to read all the way through to really uncover. it also takes place during the attrition phase of the Autobot-Decepticon war, and Megatron and Optimus are... dead. but... weren't they made immortal by the Eternal Surge? where are they?

Q) What characters take the lead here? Any personal favorites?

characters that take the lead? hoo, boy, there's a lot. and be warned, this is OC-heavy. Wavecrash, Blackarachnia, Sparkplug, Pascal, and Ness make up the Earth detective team, the first to investigate the Radiotrons: Nanotube, Quicksilver, Greenscreen, and [REDACTED] (that is not their name, you will learn it later!).

Starscream, Moonkiller, and Pharma investigate a series of rust-related murders, later with the help of Eclipse and Terraform. the two they investigate? two hulking beings that carry a rust of sheer destruction of anything metal, Turbulence and someone known only as The Crimson Doctor. the third part is mostly with just a few characters. Dial-Up and Absolute Zero are in a cat-and-mouse chase, Dial-Up attempting to capture Absolute Zero and return him to the prison he escaped from. other 'bots come into this story, including Pylon, Airachnid, Suture, and Cyclonus, but they are not the main focus.

Turbulence.  this motherfucker. this moldy bitch.

my personal favorites? i love Sparkplug, i love my little gaming PC gal. The Crimson Doctor has also grown on me quite a bit. i'm gonna make fat robots and you can't stop me.

Sparkplug above, Crimson Doctor (Crim) below

Q) I love how he isn’t crimson at all.

oh you'll learn why he's crimson

Q) Ominous! Is there a bigger point to this, like a theme or some catharsis? Or is it just fluffy fun?

a bigger point to this? well, i have quite my fair share of trauma for being in a military family - being on the home front of a war i never even learned about until i was like 12. i wanted to show the horrors of attrition above all, because attrition is the part of war that everyone seems to forget, but is possibly the most dangerous part of it. everyone's killing each other over resources, dying of preventable diseases, resources are spread thin among soldiers and thinner among civilians. it also lets new, perhaps worse groups arise from the dust.

war was never about who was right. it was about who could live longer. and RotR, with its rampant killings that people can't even begin to investigate until their leaders are toppled from their thrones and complete anarchy reigns among military sites, is a testament to that.

war was the cause for part of the namesake of the Radiotrons themselves - the Great Radiation Crisis. war was where everything went wrong

Q) How long have you been working on it?

now, for the slightly less dark - it varies from character to character! while the official plot of RotR was established on August 25 this year, some 'bots go much further back - Pascal's earliest concepts were made on May 8, Nanotube's were made on April 25, and The Crimson Doctor's roots go as far back as a character called The Crimson-Eyed Doctor, a character created on Dec 11, 2019 (happy belated birthday, Crim!).

Q) You’re very meticulous with your dates!

i lose track of all time otherwise

Q) Give us a behind-the-scenes look! Show us a secret ;))

behind the scenes.

this is a mystery cont.

THERE'S A LOT BEHIND THE SCENES.

i will start with some no-context spoilers, here.

and, now for something a bit more genuinely secret.

whether this is a crimson doctor or a red herring, you decide.

Q) Where did you draw inspiration from? What canons, what other fiction, what parts of real life?

this varies from subtle to shameless.

my cont would fit best in an comic format, so it makes sense that i was inspired by IDW - and that it was my entry into the TF fandom! there is also some TFA bits in there, but the majority of it is personal robot worldbuilding, with a couple sprinkles of headcanons and OCs taken from Afterburn, a cont made by a longtime friend of mine.

other fiction i took inspiration from is mostly in the character designs. Blackarachnia was loosely inspired by Tawna from Crash Bandicoot 4: It's About Time (you went through such a good revamp sweetie. neon lesbian.). if you can't tell that Turbulence took inspiration from Cioccolata from JJBA: Golden Wind, i don't know what to tell you. Crim took less inspiration from a character and more from a trope - the "ever-obedient villain subordinate". i just sucked all of the homoeroticism out of it, and also decided to give him more of a self than just someone who serves the villain.

here's Tawna (specifically Crash Bandicoot 4), one of the big inspirations for Blackarachnia's design! we don't talk about your past sweetie.

and Blackarachnia headshot to compare, because her fullbody is still in progress.

i am sharing this specific image of cio, one of turb's inspos, because i BASED A TURB PIECE OFF OF IT.

real life? RADIATION, RADIATION. i have radiation and radioactive things and the PERIODIC TABLE as a special interest and it SHOWS. it's all radiation. even the names. Quicksilver comes from mercury, Starborn comes from all elements being created from stars in space, Nanotube comes from carbon nanotubes, and [REDACTED] comes from... well, you don't know yet. there's also the whole attrition war thing, for real life inspiration, too.

Q) Show off something you're really proud of, a particular favorite part of your cont.

this piece of Eclipse and Turbulence('s hand), for one

(the image is at the end of the post under a readmore, as it contains eye trauma, eye touching, and roboblood)

and another thing i am particularly proud of are all my worldbuilding posts! they look like textbook entries kinda but i really really love em. here's one of them, though there are many more on the blog!

lastly, my favorite character introduction post. if you know Afterburn, you may be pleasantly surprised seeing this.

Q) Ah, that guy.

fun fact about RotR Absolute Zero! his color palette is taken from a diagram of a human heart. here is the motherfucker in question,

Q) What other fan canons do you love and why? Would you like to see them interviewed?

Afterburn. my best friend made this i can't just NOT advertise it. go look at it there's murderers and there's an OC that's actually very inspired by not one but two of my creations (the original OC he was a fanformer of, and his altmode - I'd had thoughts of various greenhouse 'bots like that). @transformersafterburn​. please don't simp for Abzero. or maybe do. he's a better option than Turbulence.

Mirror Mirror. found at @transformers-mirror-mirror​, it's got so many epic character designs and realistically sized altmodes despite not having realistically sized altmodes this makes me go happy flappy and is also inspiring a future project of mine, also Shattered Glass!

NEW PRIMES OF CYBERTRON. RITO I LOVE YOUR CONT SO MUCH. i summed it up in "transformers ungunned" but THERE IS MUCH MORE GO CHECK IT OUT AFTER YOU FINISH READING THIS INTERVIEW @thenamesblurrito​

Q) [insert flattered keysmashing from me, creator of New Primes of Cybertron, otherwise known as TF:SNAP]

Thank you very much veev! Everyone go check out Rise of the Radiotrons! Stay tuned for next week, when we’ll get to see some Shattered Glass...

(aforementioned image under the cut, warning for eye trauma, eye touching, and roboblood)

[leovevo]

featuring: @cindyeggers​​  mentions of: @rhcdesx​​, @romanwalsh​​, @rileyyxkim​​, @marcodiangelo​​, @sureivan​

the video starts with leo arranging the camera, before flopping on the couch. leo: "konnichiwassup, guys! welcome back to my channel! today, we'll be doing a q&a with a very special guest." he waggles his eyebrows at the camera before gesturing for cindy to seat on the spot next to him, "welcome, welcome!"

cindy: literally jumps onto the couch, throwing up double peace signs, "sup y'all! i'm arizona blues of... can i say it on your channel? i don't wanna get you demonetized." she makes a jerk-off motion instead, "this is the only clue you're gonna get."

leo: nodding, leo turned to the camera with a knowing look, "she is, like me, a content creator, and if you've been on other streaming websites besides youtube, then you definitely know her. so, before we get into the main course..." he grabs the makeup kit from the coffee table in front of them, "to make this q&a a wee more interesting, i'll be putting makeup on ari and make her look even prettier while we answer your questions!"

cindy: "hell yeah bro fuck me up," she says excitedly, turning towards leo as a good little canvas. "so what kind of look are we going for today?"

leo: "something glamorous, obviously. maybe a glittery, pink look?" he rummaged through the bag, face instantly scrunching up. "the fuck is this? where do i start?"

cindy: "you're asking the wrong person, broseph. good luck," she says as she grabs a random product and tries to figure out what it's supposed to do. at least it's shiny. "anyways, while leo mua here figures this shit out, should we just get into the first question - what's the number one thing you want to do at the resort?"

leo: "i'm sure we have to start with foundation. but your skin's clear enough, and i don't want to choose the wrong shade." he pulls out a brow pencil. "okay, we can start with your eyebrows." he scooted closer to cindy, uncapping the pencil and beginning to... well, thicken cindy's brows (rather roughly). "eat. eat loads. and just bask in the sunlight 'cause i don't get much of that anymore. how about you?"

cindy: “so what you’re saying is that my brows suck,” she teases, but she sits still and lets him do his thing. “i was gonna say troll people but honestly, i’m gonna tag along with you on that. food is the answer.”

leo: once he was finished, he pulls away to examine his work. alright, they looked fine. just... a little thicker than usual. "like, we're staying in bougie-ass houses, and we get to do whatever we want. it's the life." he tosses the brow pencil back in the bag, before pulling out a random palette and some brushes. "next question! do you see a future with anyone on the sloth?"

cindy: "it's the shit," she concurs, oblivious to her new thicc brows. "uh, this sounds like it's asking me if i want to like, get married and have babies with someone. which, nah i'm good. but i'm gonna take my bromance with ivan to the grave. and i'm also gonna harass kieran forever."

leo: "the question is too ambiguous, so i'm going to worm my way around it. i'd really like to grow old with roman, kieran, and riley." he silently motions for cindy to close her eyes, before experimentally skimming a hot pink shade across her lids. it was pigmented as fuck. leo grits his teeth. "d...don't know what i'd do without them."

cindy: "god you're such a coward," she tells him, her eyes closed while he undoubtedly stains her poor eyelids for life. still blissfully unaware. "that's cute though, i can respect that... why do you sound all weird though? are you gonna cry?" she blindly reaches out and starts touching his face to check.

leo: he gingerly attempts to tone down the colour with his thumb, only smudging it and making it worse. "yea, no, there was just, uh, fallout from the palette." inwardly panicking, leo dabs on a darker shade (red) to her eyelids. oh no. ohhhh no. she looked like a cirque du soleil cast member... only with... shitty makeup. "third!" deciding not to ruin the look any further, he sets the palette down, reaching for the eyeliner. maybe he can salvage it with a classic wing. "do you believe in forgiveness?"

cindy: "what kinda philosophy shit is this," she says with a confused huff, no longer able to ignore leo's frantic smudging, "what's going on? what are you doing to my face?"

leo: "you're not allowed to look until i'm finished!" he retorted, "i'll do your eyeliner now. come on. answer the question."

cindy: "that's like the least comforting thing i've ever heard," she replies, but she lets it go because... if nothing else, it's probably good for the views, "i guess i do believe in forgiveness? like, if we're being real i've needed it sometimes so, yeah? but i also think it's fair to just snip snip, cut people out of your life so. depends. i don't fucking know, leo."

leo: this was a difficult question, but he was so focused on trying to draw a good wing that he couldn't sugarcoat his answer. despite so, his hands were trembling. he hopes cindy doesn't snip snip, cut him out of her life for fucking her face up. "i think it's important." he whispered, eyes narrowing in concentration. "i just suck at forgiving."

cindy: "i get you," she nods in agreement, realizing too late what she's done. despite all of leo's efforts, her movement sends the eyeliner out of its path and up towards her forehead, "shit i'm sorry.”

leo: at the disruption, he lets out a scream, "NOOOOOOOO!" was it ideal to throw a tantrum in front of the camera? not exactly. but he had been doing SO well! "wwwwhhhhyyyyyyyyyyyyyy!"

cindy: "I'M SORRY," she yells, grabbing a concealer from the kit, "can't you just like... paint this over it? it's fine, look..." without grabbing a mirror (because the rules forbid it) and with absolutely no idea what she's doing, she starts applying concealer in arbitrary areas.

leo: "no! NO!" leo shrieked, taking the concealer away because now she was getting concealer in her eyebrows, which he had worked so hard on! "no, no. sit there and relax," he insisted, "it's fine. we're fine. you're fine. let's move on." all leo had to do was to slap some lipstick on cindy's face and finish the job before it could get any messier. he grabs a random shade—all of them looked similar and started to apply it on cindy's lips. "who is the one person you would kick out from the sloth? wait, we already answered this question in your video, which i am not allowed to link down below because... well, of reasons..."

cindy: tries to answer but because leo is putting lipstick on her, it's more of a series of sounds than words. when he finishes, she purses her lips, "i think we did but... fuck it, i'd also kick out that victoria girl just to see what she'd do about it."

leo: "she'd kill you, probably. i'd still kick marco out. we're almost done with the makeup," he laughs nervously. the lipstick looked clean enough, though. thank god. "i'm gonna finish it off with some o' these," he raised up a blusher, "and, uh, i'll..." he trailed off, smearing it slowly across her cheeks. cindy looked like a straight-up clown. "last question: you are about to get into a fight, what song comes on as your soundtrack?"

cindy: "i've never felt more beautiful," she says, but only because she's the only person who has no idea what he's done to her face. "shit this is the easiest one. it's clearly gotta be that one that goes like..." she starts singing horribly off-key, "i don't give a damn about my reputation. the one from the tournament scene in shrek 1."

leo: "okay, okay, that's valid," leo laughed out, putting all of the makeup back in the kit and stowing it away. "mine would be the walmart fight song." he could feel his palms getting sweaty, "okay. uh." he slid the mirror towards cindy. "feel free to... take a peek at your look of the day."

cindy: "also a valid choice," cindy agrees as she grabs the mirror and comes face to face with her new clown self, "how did you even achieve this look? i look like shit leo." she looks at leo, then at the camera with a mix of amusement and true horror. "by the way," she adds to the camera, "we didn't tell you guys but.... i said i'd wear this for the rest of the day."

leo: relieved that cindy took her spankin' new look rather well, he visibly relaxed. "you're still smokin' hot, don't worry," he pinched her cheek, accidentally getting some blush on his fingers. "shit. well!" he looks at the camera, giving a thumbs up. "aaaaand that wraps up our q&a, thank you for humouring me—us, miss ari! anything else to add before we head off to the mall?"

cindy: "uhh, like and subscribe or whatever," she mumbles as she grabs the eyeliner and meticulously sketches out a penis on leo's cheek, "50,000 likes and leo will eat a live octopus." leo: "arigathanks for watching, everyone," he said, staying still for cindy. "check out mtv's sloth in paradise—as well as my channel—for more content!" cindy: "yeah check us out or else," she throws another round of peace signs and gets off the couch, "later dickface."

[secret-diary-of-an-fa]

Hidden Gems of the Silver Screen (And, to a Lesser Extent, the Telly)

It can’t have escaped your notice that the majority of my more recent posts (and fuck knows I’m not posting regularly at the moment) are about movies and TV. The reason for that is pretty simple: 2019 has, surprisingly, yielded some great movies and TV... and also some really torrid shite. On the one hand, films like Ma, Brightburn and The Perfection continue to breathe new life into the horror genre. On the other hand, sci-fi as a cinematic and televised thing continues to ignore its actual audience in favour of sniffing its own farts in a sound-proof chamber designed specifically for next-level virtue-signalling. One thing I will say about the dreck of 2019 is that it’s interesting dreck, at least so far. Another Life, for example, isn’t just bad: it’s mind-bogglingly, fascinatingly bad, as though someone set out to make the worst TV series imaginable and accidentally created a portal to another dimension made entirely of crap.

With all the amazingly wonderful and transifxingly terrible visual media on offer lately, it’s easy to forget that there’s a rich repository of films and TV series from just a few years ago that you’ve probably never watched. You see if you, like me, are a snooty, card-carrying member of the elitist intelligentsia, you probably missed films and TV series that looked dumb as soup on the surface on the grounds that they weren’t worth your time. Luckily for you, I’ve dived nose-first into the detritus of our dying culture, so you don’t have to, and I’ve ferreted out the diamonds from the pig-swill. Without further ado, I’d therefore like to present my list Easily Overlooked Gems.

1. Mandy The phrase “Nicholas Cage stars in a sword-and-sorcery rape/revenge thriller” does not inspire confidence. It’s therefore easy to ignore Mandy and the promptly forget it ever existed. Which is a shame, because it’s kind of a work of genius. The plot is exactly what you’d expect: a cult kidnaps, rapes and kills Cage’s girlfriend, Mandy, and Cage sets out on a mission of revenge culminating in a blood-bath. The nature of the revenge quest is what puts a sting in the film’s tail- or tale, if you’re feeling puntastic. You see, a lot of the bad guys exist in a constant hallucinatory haze after taking a drug that sent them mad after one dose. In order to fight on their level, Cage has to take a dose too. As a result, the world around him slowly but surely transforms into a nightmare landscape that looks like a cross between a D&D illustration and the cover of a heavy metal album and his grubby, personal mission of fury takes on the unmistakable resonance of a Conan-esque hero’s quest. By the end of the film, you have to wonder if Cage has actually slipped into some sort of alternate dimension or if he’s just lost his game-pieces completely. In places, it’s nearly as painful to watch as Landmine Goes Click (crikey, there’s one for the history buffs) but it looks and feels like Beyond the Black Rainbow. Worth your attention just because of how weird it is. I give it a solid four-out-five decapitated rapists.

2. Baby Driver Nothing about Baby Driver suggested it would be a good film: the way it was advertised as a car-chase movie trying to be cute; the stupid title; the fact that it came and went through cinemas like a fart in the night. Which is a shame, because it’s secretly brilliant. It’s a highly stylised crime film populated with the archest archetypes money can buy (to the point where some of the dialogue has a weirdly beat-poetic feel to it). It’s saturated colour palette and off-beat affect actually have something of a full-colour Jim Jarmusch flick about them. The hook, of course, is that the lead character (only ever referred to as Baby, because he’s got a punchably youthful face) has tinnitus and therefore has to listen to music constantly to drown at the buzzing in his head. The practical upshot of this is that a) every single scene is overlayed with surprisingly great and situationally appropriate music and b) he goes through life like he’s always dancing, so his way of moving lends to the film’s easy-going sense of flow. It also explains where his preternatural driving skills come from (I mean, not really, but within the context of the plot): he’s used to sliding effortlessly into patterns and rhythms because of the music thing. All of this could make a terrible film, of course, but execution is everything and, to everyone’s surprise, especially mine, this flick was executed with an astonishing level of panache. I rate it ten out of ten grizzly motor way pile ups.

3. Nightflyers It’s not just films that get overlooked as the tide of culture washes back and forth, like a great big sea of effluent. TV series also vanish unduly into the dustbin of history. Case in point, the criminally underappreciated Nighrflyers: Netflix pre-Another Life sci-fi offering that was actually good. It’s a pretty classic set-up: a group of mismatched wing-nuts on a spaceship, all of whom have secrets that that will threaten to tear them apart while they try to make contact with an alien life-form. What elevates Nightflyers is just how fuck-uped the cast are. There’s an angry British psychic whose spent his whole life in captivity in case he goes full Scanners on somebody’s head, a guy who only ever appears as a hologram for reasons too twisted to explain here, his evil mother whose uploaded her mind to the ship’s computer and gone batshit crazy, a genetic superbeing and a hacker who can send her mind into computers via a dodgy implant and who may or may not be drifting out of touch with the human condition. It’s great. 6 and half billion out of 7 billion monkeys, boiling in the void.

4. Hardcore Henry No, I don’t know who thought that title was a good idea either, but the point is that Hardcore Henry has no motherfucking right to kick as much arse as it does. It was clearly made on a budget that would embarrass a Youtube shampoo commercial, but it just flat-out rocks. Shot entirely in first-person, it follows the adventures of a mute cyborg as he seeks revenge against the bastard psychic entrepreneur who first built him then tried to kill him. Along the way, his main ally is a dude who keeps dying and coming back to life in a series of identical bodies but with radically different personalities and haircuts (this is eventually explained, but I’m not going to spoil it for you). It’s premise is demented, it’s surprisingly well-choreographed and its soundtrack is an aphrodisiac for your ears. Also, Tim Roth is in it, so that’s just yer seal of quality right there. It came out to a lot of fanfare and many, many cinema trailers back in the day and was then promptly forgotten about as soon as it launched. So I’m dragging it kicking and screaming back into the limelight. It’s on Netflix right now, so go watch it. I rate it a solid 11 out of 15 creepy duplicates of Tim Roth.

5. Upgrade Another lesser-known film about a cyborg. Unlike Henry, however, this cyborg’s life doesn’t so much ‘rock’ as ‘suck balls’. He gets crippled and then ends up with a sentient computer chip in his head that allows him to remote-control his own body despite not having a working spine anymore. Naturally, his experimental tech attracts the attention of some unsavoury characters and he and his brain-chip have to work together to figure out what’s going on, often through a series of ultra-violent, gory fight-scenes that horrify the protagonist himself. Of course, all might be well, except that the head-chip is a homicidal little shit that clearly has its own agenda. I give it at least 0000 0111 out of 0000 1001 painstakingly restored vintage kill-bots.

6. The Tick The Tick isn’t as overlooked as everything else on this list, especially since there have been a couple of previous televised incarnations of the franchise to lay the groundwork. However, I still feel like the modern iteration doesn’t quite get the love it deserves, so I’m throwing it out here. Following the adventures a mad, amnesiac and possibly stupid superhero and his neurotic sidekick, The Tick explores a world where superheroes aren’t the paragons of good from classic comics, the corrupt psychotics of The Boys or Watchmen, or the eternally struggling, walking moral life-lessons of modern cinema. Instead, they’re just ordinary people operating at various levels of competence/incompetence and mental illness and working within a bureaucratic, wildly inefficient framework. That might not sound like a recipe for a successful TV series, but it really is. Drawing out the mundane, human side of heroes and villains against the backdrop of cataclysmic, civilisation-threatening events makes for infinitely compelling and very, very funny viewing. It’s kind of doing for the superhero genre what Futurama did for sci-fi a few years back. It’s also where the phrase and/or popular song ‘seven billion monkeys boiling in the void’ comes from. My rating is four out of five sapient, homosexual boats (which will make sense when you watch it).

7. The Void Amid the high-budget horror extravaganzas of recent years, it’s easy to forget about the void, which feels like the best story H.P. Lovecraft never wrote and looks like David Chronenberg tried to adapt a Heironimous Bosch painting... in the ‘80s. The actual plot concerns a group of people getting trapped in a hospital by murderous cultists and discovering dark secrets and, arguably, a whole other dimension in its basement. You’re not exactly there for the plot though: The Void is a mood-piece and an exercise in visual FX craftsmanship. You’re there to drink in the atmosphere and see what each new cosmic horror looks like. I am delighted to award it ten out of ten unspeakable whisperers in the darkness. That’s enough for two barbershop quartets, an emcee and a supporting act.

8. Happy Death Day It’s Groundhog Day but as a horror film starring a really annoying lass in her late teens has to keep dying horribly until she learns to stop being such a terrible person... and also kill her murderer with a little help from her newly-minted, non-cunty friend. There’s a sequel that I haven’t seen yet, but the original is a low-key, oft-overlooked delight. I give it 9 out of 11 suspiciously similar corpses.

[bbclesmis]

Exclusive Track & Interview: 28 Days Later composer John Murphy’s “Les Misérables”

Check out this exclusive premiere of John Murphy's "Les Misérables" from the BBC/PBS's Masterpiece Les Misérables now. This version is very close to Victor Hugo's original novel, and hence is not a musical. The soundtrack will be available May 3.' Murphy also dishes on the challenges of scoring such a huge, epic, and sweeping story (and a lot more) in the interview below.

Exclusive premiere: John Murphy's "Les Misérables" from Masterpiece's Les Misérables Lakeshore Records is set to release the original soundtrack to the critically-acclaimed BBC/PBS Masterpiece mini-series Les Misérables, written by composer John Murphy (28 Days Later, Sunshine, Kick-Ass). Check out our interview with Murphy and the exclusive song directly below this article. Les Mis the album will be released digitally on May 3 with CD and vinyl versions forthcoming.

This Les Mis is NOT a musical; in fact, it is relatively faithful to the source novel. It premiered April 14 on PBS, but all episodes can be watched with PBS Passport.

Les Misérables is a six-part drama adaptation starring Dominic West (The Affair) as Jean Valjean, and David Oyelowo (Selma) as Javert in this landmark take on a classic, timeless, and sweeping story. They are joined by Lily Collins (Rules Don’t Apply), in the role of Fantine.

With a striking intensity and relevance to us today, Victor Hugo's novel is a testimony to the struggles of France’s underclass and how far they must go to survive. The six-part television adaptation of the renowned book vividly and faithfully brings to life the vibrant and engaging characters, the spectacular and authentic imagery and, above all, the incredible yet accessible story that was Hugo’s lifework.

The distinguished British cast includes Adeel Akhtar (The Night Manager) and Academy Award winner Olivia Colman (The Favourite) as Monsieur and Madame Thénardier, Ellie Bamber (Nocturnal Animals) as Cosette, Josh O'Connor (The Durrells in Corfu) as Marius and Erin Kellyman (Raised By Wolves) as Éponine.

Liverpool born John Murphy began scoring movies at the age of 25. In 2001, following the success of Lock, Stock and Two Smoking Barrels and Snatch, he moved to Los Angeles.

Since then he has worked with some of the industry's most respected and luminary filmmakers, including Danny Boyle, Guy Ritchie, Stephen Frears, Matthew Vaughn and Michael Mann, producing film scores as prominent and diverse as Sunshine, Lock Stock and Two Smoking Barrels, Miami Vice, Snatch, Kick-Ass, and the seminal 28 Days Later.

Murphy's movie trailers include: Captain America: Winter Soldier, Gravity, X-Men: Origins, Cloverfield, War of the Worlds, Cowboys and Aliens, Blindness, Ex Machina, Southpaw, X-Men: Days of Future Past, and Avatar. His music has been featured in advertising campaigns for Nike, Audi, Microsoft, Louis Vuitton, Samsung, Google, and Apple.

After Kick-Ass, Murphy set up the record label Taped Noise and began work on several non-movie projects. BBC/PBS Masterpiece Theatre's Les Misérables is his latest project.

Les Misérables director Tom Shankland wanted John to tell a fresh musical story and to ultimately create a raw and uncompromising score to reflect the trials and misery of "Les Misérables." John describes the scoring process as an "experimental journey."

Initially, Tom wanted a gritty, folk-oriented score, but as they began the process, he and John quickly realized that the story would need a broader musical palette. John ended up incorporating less obvious elements such as bowed electric guitar, analog synths, experimental viola, and backwards loops, with a nod to the classic French romantic scoring of the '60s. Despite mixing instrumentation, the elements fused and the sensibility stayed true throughout.

John described the scoring process further:

"My original idea for the score to Les Mis was '1816 Velvet Underground meets '60s French film music.' While director Tom [Shankland] was thinking 'gnarly, down in the dirt, French folk music.' Producer Chris Carey suggested, 'let's do both, but throw in some vintage analog synths.' I then gleefully tried all of these elements, often at the same time. And we discovered that you can actually mix a hurdy gurdy with a Moog Sub Phatty, and we loved it. And what started out as a musical standoff, became our score for Les Misérables."

Interview: John Murphy

Hello John and welcome!

Hey Wess. Good to talk with you!

Likewise. To start things off, what attracted you to this telling of Les Mis as a project? I really appreciated how it was based on Hugo's novel, and not a musical. The novel, in my opinion, does not get enough praise.

Yeah, sadly the musical has pretty much hijacked this great novel. I read it in my early twenties. I was a session player back then and I spent a lot of time on tour buses, so I got through a lot of reading. Aside from all the ideas and themes, it's a great story – hope, despair, sacrifice, redemption, all the good stuff. I loved it.

I read it when I was in my twenties as well. Such a great novel.

So when the call came in, I did some Skype meetings with the director Tom Shankland and producer Chris Carey, and they were so passionate about it, and so hell-bent on going back to the source, the book I loved. I knew I had to do it.

That's fantastic. I was hoping we could get an idea of your overall creative process on the project. It really is very sweeping in the emotions of the story and the history it covers.

Well I've really only ever done movies so I knew the production process would be different. For example, before they started shooting I had to write a lot of the in-camera music they needed to shoot to; the scene with the band in the pimp's den, Cosette's piano pieces, Gavroche's song when he runs out to collect the bullets, that kind of thing.

Oh wow.

Which was cool because I'd never done that before. And then there was a big break while they filmed and put together the episodes. So rather than sit around and wait, I started sketching out themes and ideas from the script, which is actually way more creative than writing to picture. But having this pot of ideas was a life saver because, when the episodes finally did come, they came thick and fast.

But the actual creative process wasn't too different from scoring a film. I always write the themes first, and I try to write them away from picture. And then I'll work to picture and write the featured cues, the montages, the chases, that kind of thing. And then you're down to the underscore cues and you're just connecting the dots really.

Interesting process John. What were the challenges like?

I think the biggest challenge was time. Even though I had ideas sketched out for most of the themes, there's only so much you can do until they give you locked picture. And when the final locked cuts started coming, I had about 20 days per episode from start to delivery. And this is when I would score everything in, write the underscore, record the soloists, and mix the tracks ready for the dub. There was usually about forty cues and forty minutes of music per episode. So there were a few long nights!

Were there huge differences between Les Mis as a project and working on your more conventional titles like 28 Days Later? You've scored quite a bit in the horror realm.

I've actually only scored a few horror films. They just tend to be the ones people remember!

[Laughs] good point. I was thinking just relative to other composers I've talked to…

Because of the musical, there's kind of a skewed perception of Les Miserables. But a lot of the book is actually very dark. And, for whatever reason, I find it much easier to work with darker material.

I find myself attracted to darker art as well; not just film.

For me, it's just a deeper well to draw from. So even though it's based upon an historic work I never felt like I was writing outside of my own instincts. At the end of the day, whatever the scale, it all comes down to ideas, story and characters.

Absolutely. Any memorable or funny moments that stick out from that behind the scenes process of scoring the series?

There were, but none I could mention! [Laughs]

[Laughs] fair enough. A question I ask most everybody: what scores and films have molded you most as an artist?

I think the first time I became aware that movies used music was in A Fistful of Dollars. I must have been six or seven and it was on TV one night. I remember thinking why is there music playing? Where is it coming from? After that I started listening for it when I watched movies. So, I think my love for [Ennio] Morricone started there. And after that it was the James Bond movies, and the great John Barry themes. Another film composer I love to this day. I was just a kid, but I remember getting hyped up whenever I heard that guitar riff. A few years later, when I started to play a few things, I discovered Bernard Herrmann.

Psycho always stands out for me when I think of a great score. It may be cliché to say but it is true.

I couldn't fathom how he could make music that was so dark and so beautiful at the same time. I'd never heard anything like it and it blew me away. It was like magic.

So, those three made more of an impression on me than any specific movies. Thinking about it now it's probably why I'm so theme-heavy today. Because those guys definitely knew how to write a theme.

That they did. One other big question which is sort of related, what makes a great score?

That's such a difficult question and I don't think there's a definitive answer. But if it truly moves you and takes you somewhere else, then it's doing something right.

Well said. Last, what's next for you?

Well, Les Mis was like doing six movies back to back, so I won't be jumping into another big project just yet! I'm going to mess around with one of my own projects for a few months and then see what's around. Maybe a cool little indie where I get to play everything myself!

https://www.thefourohfive.com/film/article/exclusive-track-interview-28-days-later-composer-john-murphy-s-les-miserables-155

[coeval-magazine]

The Witch Twins

Transmitted from a college dorm room, Robi and Alen Predanič use performance art to create “mysterious VHS tapes you find in the attic of the old house you have just moved in to”.

Let’s start by you introducing yourselves and how you started working together  Alen: We are Robi and Alen Predanič aka The Witch Twins and we are from Slovenia. We are twins, 25 years old and we’ve been living in the same college dorm room for five years. This is where we created our own world. We make our own surreal, eccentric and colourful costumes and perform and pose in them, usually in our dorm room. I mostly shoot and edit the photos and Robi focuses on recording and editing the videos. When we’re finished we post it on Instagram. Robi went to college one year before me. We started listening to a lot of music from the 60s and 70s. We loved the warmness of the sound and visuals of the era. Inspired by that and other stuff like Harry Potter, we transformed our totally white room into a warm, psychedelic looking place. Throughout our childhood we were always in our bubble, creating something and escaping from real life.

Robi: We don’t take life very seriously and we like to challenge man-made social constructs such as gender norms. Two years ago, we came out. Shortly after, we started watching RuPaul’s Drag Race and because of that show we were inspired to experiment with wigs and DIY clothes. Our dorm room really played an important role in all of this, because it represented (and it still does) a safe, cosy and magical place where we could be authentic and creative. We actually used to dress up in women’s clothes when we were in kindergarten and when we were home alone. We stopped, because we realised that boys were not supposed to dress like that. Through the years we used to be terribly embarrassedabout our ‘weird’ past and our sexuality. It’s really liberating that the same thing that used to be such a burden, now makes us happy and proud. 

What made you choose the medium of performance art to concentrate on? Robi: The reason I filmed myself in the first place was because of the cool VHS phone app. I realised I am comfortable in front of the camera while I’m in drag… it feels very natural to me. When I perform, I naturally gravitate towards randomness, humour and exaggeration. There are no rules in performance art, and I like that. Nobody is limiting me, I can express myself how I want to without being afraid of making mistakes. 

Alen: Robi once asked me to join him in one of his videos. It was fun and it naturally became our thing. We also started doing photoshoots together. Performance art is not something that I was originally interested in, but it has become something that allows my costumes and fantasy to come to life. 

Your work together has a very distinct aesthetic. How did this evolve?  Alen: We both like to be dramatic and ‘’larger than life’’. We are expressing ourselves freely and we just do whatever feels natural. Renovation of our dorm room has helped us to figure out our aesthetic. We developed a colour palette that was very 60s and 70s inspired and we customised everything in the room accordingly, it came out psychedelic, and colourful. We continued that vibe with our costumes, videos and photos. When we buy fabrics for our costumes, we like them to have interesting textures and beautiful colours. Right now, we are into looking like trippy life size toys - colourful and not too complex. We also like to believe that we are undercover aliens hiding our big alien heads underneath our headpieces. We both love dramatic silhouettes and big headpieces.

Robi: When it comes to our drag, we like unusual combinations. If we feel like combining facial hair with long painted nails or a short skirt with a headscarf, we just do it. I enjoy making genderless creatures. I like to make my hips, shoulders, “hair” and accessories big. I like to transform myself; to create the most fabulous version of myself and confuse people in the best way possible… When I edit the videos, I like to combine footage of us with the footage of mysterious buildings and beautiful nature. The videos we make can be described as mysterious VHS tapes you find in the attic of the old house you had just moved in.

I interpret your work as very spiritual. Is spirituality something that’s important or influential to you as individuals and/or your work? Robi:I love combining art and spirituality, because that’s the way to make meaningful art. I think by being authentically and fearlessly ourselves we send a message that is very much spiritual. I like my work to radiate a peaceful vibe and we do that through music we use in our videos for example. We also include messages of peace and love in our work by using symbols such as heart, sun and flower in our costumes, videos and dorm room décor. The warm edit of the pictures and the videos adds to the welcoming and peaceful fantasy, as well. My work is also spiritual for me, because it feeds my soul. I really enjoy what I do. 

 Alen: I love spirituality. I am determined to fulfil the highest and truest expression of myself and I know I can do that through art.

What has made you label yourself as a witch? Can you tell me a bit about this side of your creativity and how/if this influences your work as a duo? Alen: Witches fit perfectly in a great fantasy. I’ve always loved witches. We both love magic, mysterious things and places. For me, a witch represents that. I often do magic and fly on a broom when I sleep, in my dreams and I love it. Not to mention, that when we were about 8 years old, we used to believe that we were magicians. We made a secret alphabet, special objects and we performed special rituals. 

Robi: We naturally adopted this label, but we don’t take the label very seriously. We also sometimes say that we’re aliens. We love creating fantasies and by labelling ourselves as witches or aliens we do just that. A witch also represents a metaphor for an unconventional person. We are modern day witches in that sense.

You use very pronounced, textural silhouettes and there is a strong sense of fantasy through theatre. A visualisation of your combined imaginations maybe... can you introduce us to this alternative world you have created? What feeds this? Robi: We are very compatible when it comes to working together creatively. Our work is heavily influenced by movies with exquisite fantasy worlds. Such worlds are mysterious, dreamy, magical and visually stunning. They consist of trippy characters, stunning costumes, detailed set designs, mysterious places and soul touching music. We’re talking about movies such as Shrek, Spirited Away, Alice in Wonderland, A Series of Unfortunate Events, The Wizard of Oz, Harry Potter, Charlie and The Chocolate Factory and Titanic. Also, horror movies such as The Ring and The Hills Have Eyes. I’m very inspired by operas and musicals as well, because of the dramatic body movements and the dramatic vibe. 

Alen: Yes, what we do in the videos and the photos is visualisation of our combined imaginations. A lot of stuff that inspires our world is from our childhood. From a young age we were very aware of beautiful and magical things that surrounded us. Our kindergarten teachers were very creative and really made sure that we experienced a lot of magical moments. We were also encouraged to be creative by our grandma. Her house was always well decorated and we used to draw, make jewellery and decorative napkins from paper when we were at her house. We loved fantasy and magic and we still love it as much as we used to when we were kids. Major influence from many years ago are sticker albums and beautiful illustrations from children’s books. 

When it comes to forming new concepts or beginning a new creative venture, how do you normally begin? Alen: We usually start with a colour palette, or with ideas about our headpieces. We then draw a sketch of the full costume. Sometimes we have a concept about the universe our costumes and characters come from, but most of the time, each of us just does our own thing and at the end it works out.

Can you tell us anything about what you’re working on right now? Robi: I am making a music video for an artist. We will soon start working on some of our last costumes in our college years era.  We are moving out in three months.

Alen: I am working on my music. I am also a singer and I’m looking forward to finally sharing my music. We are also working on prints of our work.

What does the future hold, where would you like to see your work in 5 years? Robi: I want to continue filming with my phone app and make costumes and short movies. I’m also interested in performing live. Alen and I want to make an exhibition and publish a picture book of our work.

Alen: I definitely see myself on stage, singing in crazy outfits. Robi and I will continue to collaborate creatively on different things, because we love to work together.

courtesy ALEN PREDANIC and ROBI PREDANIC

@alenpredanic

@robipredanic

words KATE KIDNEY BISHOP

@sashasadies

  show comments

[entamewitchlulu]

Year of Yu-Gi-Oh Part II: Toei Adaptation

After the manga comes the anime adaptation known infamously among the fandom as “season zero.”

Aired in 1998, “”season zero”” has no actual season relation to the main series Duel Monster anime.  Instead, it as produced and run by Toei Animation, and follows the basic storyline of the first seven volumes of the manga, mostly in a game-of-the-week style format.  Like the manga, the story follows Yugi Mutou, a boy who solves the mysterious Millennium Puzzle which awakens a spirit in him that challenges his bullies, enemies, and other opponents to magical games.  Unlike the manga, however, the anime version heavily alters many scenes, including the content of the games, their results (few, if any characters actually die from the games, unlike the manga), filler episode plots, and most drastically, the addition of Miho Nosaka, a former oneshot character, as a recurring major character.

But you all already know all of that, probably!  So here’s the important stuff: what did I think of my rewatch?  Well...

The sad thing is, I seem to recall enjoying this anime a LOT more the first time I watched it.  The second watchthrough was...less interesting.

Good stuff first, though.  Most of the main voice cast is absolutely stunning.  Megumi Ogata as Yugi/Yami Yugi in particular is incredibly strong, and I will never love a Yami Yugi voice more than hers; the soft, unassuming sort of confidence fits and characterizes Yami Yugi in a way that I don’t think any other adaptation of Yami Yugi ever could (sorry, Dan Green).  

Also, I really, really love seeing the smaller, visibly young looking Yami Yugi animated in general.  Yami Yugi absolutely becomes significantly older looking than Yugi in DM and in the later half of the manga, which makes little sense considering he is using the exact same body as Yugi.  I much prefer this younger, cuter Yami Yugi, which, in my opinion, makes his entire schtick far more intimidating.  Small, childish looking Yugi Mutou challenging you to a death game?  Far more frightening and eerie than loud, brash Dan Green-ified Yami Yugi just shouting at you, imo.  Jonouchi and Anzu’s voices really stand out as a personification of their manga characters, as well.

I may be in the minority here, but I also really, really loved Miho’s addition to the main cast.  She didn’t fit into every scene, of course, and there were bits where even I felt like her inclusion was forced, but for good chunks of the series, especially in filler episodes, she absolutely shone and stood out as her own character with her own goals and motivations, who was still a part of the group and participated--and even won!!--in many of the group’s challenges.  I also just like having another girl in the group, ya know?

Smaller details that I did like: overall color palette aside, I really, REALLY love Yami Yugi’s red eyes, and I continue to describe Yami Yugi with red eyes in every fic I ever include him in.  Ryo’s green eyes are also a fave of mine.  Also: NO JOHJI!!!!  Miho basically replaces him completely in Death-T and wow, that’s honestly an even better idea than to replace him with Honda’s dog!

Now before I move on to the more negative part of this review, lemme leave you with a cute picture of Miho Nosaka:

the rest is under the cut so as to avoid clogging up the dash even more, and so that y’all can avoid my negative bits if ya want.

So, down to business.  Why didn’t I really enjoy my rewatch of the Toei adaptation?

1) Pacing.  The plot episodes seem to rush themselves along as fast as they can, to try and fit as much from the manga chapter in as possible.  Filler episodes, or episodes based on filler chapters, drag out so long that it becomes a slog to get through.

2) Low animation budget.  Unfortunately, the limits of the time this anime was produced didn’t help it’s case either.  The color palette is a goddamn oversaturated mess, and some of the color choices are truly head-scratching.  Seto Kaiba with green hair?  Who decided that?  Wasn’t he already colored with brown hair on a manga volume prior to this adaptation?  Palette aside, action scenes are considerably muted due to lack of budget to fully animate them, resulting in strange cuts and boring shots.  A LOT of the charm and intensity that gave a lot of moments in the manga their punch is lost in the adaptation, as Takahashi’s more horror manga-esque style is heavily simplified and stylized to get to the screen.  The extra cartoonish coloring also contributes to a lot of the more intense scenes from the manga falling flat.

3) Sound direction.  It’s just boring.  Only Yami Yugi’s theme stands out, and even that’s not really top of the line.  Sound effects are silly and cartoonish, and I’ll be honest, I do not like the OP or ED.  And outside of the main cast....?  A lot of the voice acting sounds pretty dull and unmemorable.

4) Adaptation changes pt 1. Listen...I’m not here to be all Edgy and say this show was bad because it refused to kill people.  But this anime completely pulls its punches when it comes to...everything.  As far as I can remember, not a single person actually dies during the series, despite Yami Yugi killing or hospitalizing at least five-six people in the manga.  It just hits a lot less hard when all he’s done is given someone an illusion of being burned to death instead of him actually dropping his cigarette butt into the alcohol and lighting himself on fire.  For some reason, it just makes everything feel a bit flatter.

5) Adaptation changes pt 2. The games!!!  They’re boring!!!  The real draw, for me, of the manga was when Yami Yugi used ordinary items in his surroundings to pull together a game.  In the anime, he just pops them into a weird, nightmare dimension where weird shit happens and the games never make sense.  Not to mention, the anime adds a lot of extra encounters with Kaiba than the manga had, including extra Duel Monsters games.  And while Takahashi had little to no rules for the game in the first place, in the anime, when they don’t have a manga script to follow, it is a goddamn free for all. It’s like Calvinball up in here, making up shit left and right, even WORSE than the manga ever did, and it’s...not fun to watch.  At all. Not understanding what’s happening just makes me, as a viewer, feel cheated and let down.  

6) Adaptation changes pt 3.  Due to the nature of the adaptation, a lot of bits and pieces of character arcs were switched around, cut out, or straight up ignored.  Mokuba does not go rescue Honda from the blocks game in Death-T.  The Jonouchi-Hirutani arc is condensed from its original several chapters span into a single episode.  And there are other examples as well, that I think overall do a disservice to the cast and the individual characters.

So, my overall verdict?  Unless you are a super die-hard fan of Yu-Gi-Oh, particular DM, I don’t think the anime is worth the time.  It’s quirky, funny, and can be fun in places, but overall, it at least wasn’t really worth my second watch.

I’m still stealing Miho for my own purposes, though.

[weddingjewelers]

INTERVIEW: Evan Dorkin, Veronica & Andy Fish explain exactly how Re-Animator influenced Blackwood: The Mourning After

INTERVIEW: Evan Dorkin, Veronica & Andy Fish explain exactly how Re-Animator influenced Blackwood: The Mourning After

And just why dealing with magic and resurrection can be so damn hard

Once the black Horse show Blackwood concluded, a path of systems inside her wake, plus it was as much as a reluctant gang of teenagers to create things appropriate at the school. In Blackwood: The Mourning After , author Evan Dorkin and designers Veronica and Andy Fish look after unfinished company, with more secret, mayhem and mysticism waiting for you for the teenage protectors of Blackwood university. They talked into the Beat about their brand new miniseries and why magical spells are this kind of messy company.

Nancy Powell: the complete Blackwood show feels as though this trippy mix that is nostalgic Scooby-Doo, Archie and Harry Potter. Will you be an admirer of those series?

Evan Dorkin: we enjoyed the very first four books within the Harry Potter show, and I’ve read a lot of old Archie comics. I happened to be a scooby-doo that is big as a youngster. But just what I’d at heart while developing Blackwood was 80’s horror comedies like Return regarding the Living Dead and Re-Animator , and school comedies like genuine Genius and Animal House . The comic has a college environment, there’s miracle, and there’s kids that are meddling and so I absolutely have why those actions show up a whole lot.

Veronica Fish: truthful to Jesus, I became never ever an admirer of every of the, haha!

Powell: just How did Blackwood happen?

Evan: i needed to publish more horror-themed material, and I also needed work because Beasts of Burden was for an unscheduled hiatus. I showed Daniel Chabon (Dark Horse Senior Editor) so I started working on some pitches, and Blackwood was the first one. He asked for revisions and provided me with some extremely notes that are specific assist me personally punch it and acquire it to the stage where we needed seriously to find an musician. We saw Veronica’s work while walking the aisles at Heroes Con and thought she’d be a choice that is excellent Blackwood . She consented to can be bought in as co-creator, and Andy arrived on board once we began the very first series. We now have Greg McKenna lettering so Veronica and Andy can spend more time on designs, art and colors. It absolutely was a long procedure getting Blackwood into printing nonetheless it was worthwhile, it is been lots of fun to operate on.

Andy Fish : we saw just just just what Evan and Veronica had been working up and I also blackmailed them into permitting me personally in—this was the style of series i must say i wished to focus on.

Powell: The series includes a nostalgic, psychedelic check out it which comes from the color scheme. Was that something you considered all along? Or was it a pleased scenario?

Veronica: When I paint i love to deposit a hyper-saturated base layer of neon gouache, therefore I genuinely believe that practice is originating through into the comics. Ideally the colors have actually a little bit of a “susperia” vibe.

Evan: I adore the palette. It’s variety of like a candy-coated Giallo approach that offers the show a really distinct appearance and style.

Powell: just What switches into making an issue that is typical of?

Evan: we compose a lot of and everything that is over-explain my complete script, then Veronica and Andy break it down and work out it into comics. Often we deliver guide for particular things. Often I’ll perform a rough design of something because I’m unsure in the event that script is obvious enough—the sketches aren’t a mandate, they’re simply to place the concept over. Things have kicked backwards and forwards at each stage—I’ll have actually notes, Veronica and Andy could have a few ideas, Daniel could have notes. We discuss whatever pops up and then make revisions. A few ideas don’t result from the scripts. Andy possessed an idea that is great Jamar’s character, while Veronica’s designs have actually sparked brand new plot points and changed exactly exactly how some characters are utilized. It’s a collaboration, there’s a complete great deal of back and forth.

Veronica: Evan’s scripts are available and now we have wonderful time reading it, doing thumbnails in the dining room table. We’ll glance at John Carpenter films, some Eisner, Junji Ito, whatever assists resolve a panel. Andy will need an amount of pages and commence layouts that are doing penciling. I’ll start penciling other pages. I actually do completed inks so it can have a consolidated look. We deliver it set for feedback, and Andy will begin color flats. I actually do last colors, Greg letters. We have a coronary arrest over just what else can be carried out to really make it better, and Andy informs me at some true point you must stop tweaking and move ahead. Perform.

Andy: we have been constantly fine tuning.

Powell: The fine can be a plot that is intriguing — kind of like a elixir of youth or even the pensive (the basin that reveals one’s previous memories) within the Harry Potter publications. And I also suspect perhaps maybe not when it comes to good of this college?

Evan: a while I realized it’s a lot like the Lazarus Pit that R’as Al Ghul has, and I got a little bummed out after I put the well into the storyline. We knew through the get-go it wasn’t a brand new concept, returning to the elixir of youth and mythology. I suppose the distinction with your fine is the fact that you’re resurrected into a body that is new which I’m yes in addition has been done. But i believe the interesting angle is its usage happens to be limited by a team of old control-freaks whom didn’t trust handing Blackwood College up to someone else. Each of them shared a really single-minded function, the cause of which we desire to expose in a future tale. And there’s a key towards the fine it self, how it works and what’s within it, that will make it be an issue later on. There should be a resurrection unit.

Powell: The monkey that is two-headed a pretty wicked set of characters. The thing that was the motivation behind that?

Evan: Chimp Ho Tep was one thing we invest the pitch bible as a tale, a campus metropolitan legend. It will be seen afroromance dating site reviews every now and then such as for instance a cryptid, however it wound up learning to be a of good use character.

Pages courtesy of Black Horse Comics

Powell: associated with the primary figures, which do you realy recognize most abundant in and exactly why?

Evan: Stephen, because he’s scared and incompetent but attempts to make a tale from the jawhorse all. Wren, because she’s enraged, protective and abrasive but deep down she wishes everyone else become pleased. And Chimp Ho Tep since it’s a unfortunate baby that is little contends with itself.

Veronica: we just love Jamar and totally get both their exasperation aided by the pupils along with his drive to complete the proper thing.

Andy: my character that is favorite in show (to date) is Professor Mortlake— the man has design and then he appears like precisely the type of man the college requires at this time. Really i prefer so characters that are many the show. Evan is a writer that is incredible.

Powell: of the many characters in Blackwood: The Mourning After, that are your chosen to create and draw?

Evan: i love composing the core students — Reiko, Wren, Stephen and Jamar. Colby is really a complete great deal of enjoyable because he’s miserable. Mortlake is a character that is new this arc that is become enjoyable to work alongside, aswell. And Chimp Ho Tep is enjoyable considering that the relative minds talk to the other person in screwy stunted English. But i love writing pretty much all the cast. Why introduce figures which you don’t enjoy composing?

Veronica: i like everyone, mostly the way they act as a product. Evan includes a gift that is real making individuals distinctive; you can’t simply swap their discussion. And every mix of figures will yield a fresh and result that is interesting. Wren and Colby are enjoyable to draw simply because they emote a great deal.

Andy: my personal favorite character to draw is Colby. Within the series that is first had him standing with a kind of dark cloud over their mind so we made the spots on their top deliberately Charlie Brown like—as sort of “Lucy relocated the football again” kind of thing—perfect character to exhibit feeling with. He’s got an excellent face.

Powell: Which components of the comic would be the most challenging to publish and draw?

[eddycurrents]

For the week of 9 October 2017

My favourites this week are both endings; Rocket #6 by Al Ewing and Adam Gorham and The Woods #36 by James Tynion IV and Michael Dialynas. Published by Marvel and BOOM! Studios.

Since at least the “Grounded” relaunch/expansion of the Guardians of the Galaxy franchise titles, Marvel has been producing some extremely high quality, well-written, beautifully-illustrated series that I always feel cheated out of when they’re “cancelled” instead of rightfully referred to as limited series. Particularly those of these last two groupings including Star-Lord, Gamora, I Am Groot, and the two excellent Rocket Raccoon series, first Matthew Rosenberg and Jorge Coelho’s Rocket Raccoon, and now this, Al Ewing and Adam Gorham’s Rocket, which I’d wager could possibly be the best Rocket Raccoon series since Bill Mantlo and Mike Mignola’s series back in 1985 (which this series references and draws from).

Al Ewing crafted an interesting story with "The Blue River Score”, layering it in the genre trappings of a hard-boiled caper, including the typical hard-hitting narration of a Raymond Chandler or Richard Stark novel, a femme fatale in Otta Spice, and an impossible heist, and then mixing it with colourful “obscurish” Marvel characters like the members of Technet and setting it across the backdrop of the more zany corners of Marvel’s cosmos.

Rocket #6 even brings it back around to the original Rocket Raccoon mini-series and Rocket’s old continuity, behaviour, and such with the correlation a lot of people were probably wondering about regarding Otta and Rocket’s otter-love, Lylla, being revealed here as one and the same. Not only does it add Ewing’s penchant for mining the depths of continuity for story payoffs and inspiration, but it also makes the story resonate a bit more with emotional impact.

Adam Gorham’s artwork is wonderful. He excels at drawing strange and wonderful creatures, but also has an added roughness, a scratchiness to his linework that perfectly fits the hard-boiled narrative. His overall design sense, from page layout to panel transitions also make this fun to read. There appears to be extensive thought that’s going into how the story is being told, from both Ewing and Gorham, and it results in an immensely enjoyable comic.

Particularly, I think more comics, not just crime comics like Rocket here or much of Ed Brubaker’s work, could do with a “prose gutter”. I highly recommend this to people who love off-beat crime comics.

The Woods #36 is the conclusion to a series that has dabbled in horror, fantasy, and sci-fi, but at its heart has always been a coming of age tale centred around the kids who had their whole world upended by being stolen away to a strange and dangerous realm on the other side of the universe. The ending is suitably epic as the former children show that they’ve truly grown and matured as they fight to find their way home.

Michael Dialynas has been delivering some incredible art since the series began, but these last few issues have been truly breathtaking. The double-page spreads this issue alone, juxtaposing two different types of battle going on are a treat, showing an ability to make both the quiet character moments and the high action compelling and interesting visually.

The story James Tynion IV has been telling is largely one about growth and change, of transformation through adversity, and occasionally needing to fail. The finale throws the biggest roadblocks and gives the opportunity to show how far the characters have come since that first issue, even antagonists like Adrian get a chance to shine.

This issue also shows how seamlessly Dialynas and Tynion have grown as collaborators. The scene between Isaac and Ben works well both in dialogue and in art, giving a huge emotional impact both in how it appears and in the heartfelt conversation.

Overall, this has been a great series and this is a very satisfying conclusion.

Quick Bits:

Atomahawk #0 collects the shorts that ran previously in Heavy Metal. While a new series is being published in Image+, this is a good time to pick up what came earlier in one place. Aside from just a balls to wall story from Donny Cates, Ian Bederman’s art remains phenomenal. His style reminds me a lot of Peter Kuper and the way that he constructs his characters, action, and page layouts are just fantastic. Highly recommend this special and the serial in Image+.

| Published by Image

Babyteeth #5 gives us one of those game-changing reveals that Donny Cates should be known for producing now based on at the very least Redneck and God Country. Sadie’s world just got a whole lot bigger and a whole lot stranger as she starts getting clued in to what’s going on with her and her baby.

| Published by AfterShock

Birthright #27 reminds me that I probably don’t talk about the colourists enough. Take, for instance, Adriano Lucas’ work here. Andrei Bressan’s linework would still look good, but it’s Lucas’ colours that really elevate the story and put us in a more magical reality with a shift here from standard “realistic” colours to the brighter, softer, and more colourful world inside a more fantastical realm. It just shows the impact that the colourist has on the overall tone and atmosphere of the book.

| Published by Image / Skybound

Daredevil #27 continues the twisting arc of DD’s mentoring of Blindspot since the beginning of this volume. Charles Soule gives us a more thorough backstory for Blindspot and reveals what has happened since the “Dark Art” story-arc. It’s pretty...um...dark.

| Published by Marvel

The Dying & The Dead #6 is still the most beautiful, possibly inscrutable, hidden history comic being published. 

| Published by Image

The Family Trade #1 is something different. And pretty fantastic. The premise and setting of the Float, a kind of extension of some of the politics of the Italian city-states during the time of the Renaissance, is brilliant, serving as a perfect backdrop to the populist political allegory that Justin Jordan and Nikki Reed are presenting here. The characters, and the idea of a family of assassins meant to keep society in check is also compelling, particularly the lead, (Jessa Wynn, who I’m fairly sure isn’t even named in the first issue, I grabbed it from the solicitation info), in her somewhat bumbling way.

Morgan Beem’s art also adds greatly to the overall feel and tone of this world. She has an art style that looks highly influenced by European artists, with a soft watercolour palette atop, achieving a very distinctive look for the comic.

Oh, and there’s “talking” cats. Every book should have talking cats. Every one.

| Published by Image

GI Joe #9 concludes this volume from Aubrey Sitterson and Giannis Milonogiannis. The end features some really nice action in the art from Milonogiannis. It’s nice to also get another series up to speed finally for the First Strike crossover, even though the GI Joe: First Strike comic that also comes after this series is already out. ROM looks like it’s the only hold out still before I can finally start reading that. The other highlight of this issue being the revelation of the new Cobra Commander.

| Published by IDW

God Complex: Dogma #1 is an impressive looking comic. The artwork from Hendry Prasetya is slick and layered in thick solid blacks, highly suitable to the futuristic mystery presented in the story, which is then elevated by the colours and sheen that Jessica Kholinne adds on top. Visually, it perfectly evokes that kind of Blade Runner feel. 

The story is also pretty interesting, Paul Jenkins hooks us fairly well with the murder and mystery of the Church of Trinity. The mix of a mysterious, possibly fictitious “one god” and the real, tangible deities of Delphi’s Rulers is something we’ve seen variations on before, but it’s still a compelling examination of faith vs. direct knowledge. The world, based on Glitch’s toy line, is fairly broad. The lead, Seneca, serves as a bridge between the two aspects and Jenkins delivers a little twist on the narrative partway through that has you reexamine the narration itself, making you go back and re-read the comic in that different light.

| Published by Image / Top Cow - Glitch

Grass Kings #8 focuses on Pike and his backstory, giving depth to the Grass Kingdom’s man of few words. In addition to his history, it also serves as a broadening of the mystery of the potential serial killer among the people, showing the other perspective of the conversation from last issue regarding Ms. Handel’s “suicide”, making us question even more.

| Published by BOOM! Studios

Harbinger Renegade #8 finally gives us the reunion of Kris and her parents, a plotline dating back right to the first story-arc. As has been the case for much of this series, it’s not exactly pleasant. It is, however, still satisfying and probably one of the happier moments in the series, even if bittersweet. The push towards Harbinger Wars 2 is also more apparent, with a drive for a Renegade army and training becoming more imperative. Animalia is also one scary little kid.

| Published by Valiant

Harrow County #26 is heartbreaking, even if you’ve grown to hate the character who dies this issue, it’s still heartbreaking. Kammi’s assault on Emmy’s life, friends, and whole world grows this issue, even with the devastating blow in the beginning of the issue, and it raises the question as to how far Kammi is going to take it, how much more loss the series is going to deliver, and what it might drive Emmy to do. Cullen Bunn and Tyler Crook are firing on all cylinders with this arc.

| Published by Dark Horse

Hulk #11 is another dramatic shift in tone, suddenly reintroducing Jen’s ability to break the fourth wall, hitting for a story that is more humorous in tone, and in some cases being silly, as the last issue before the Marvel Legacy “relaunch” back to She-Hulk and legacy issue number. Personally, I’m not sure I like it. It’s by no means bad, but it’s still a dramatic departure from the more serious “Deconstructed” arc and continuing with the more ridiculous aspects of the last arc with the food vloggers. It works for what it’s going for, recapturing some of the humour that previous incarnations of She-Hulk have presented, I just find it a bit of a jarring change.

| Published by Marvel

Jimmy’s Bastards #4 finally clues in the leads as to what we’ve known since the announcement of the series. This issue also hammers home that I think the wider joke of Garth Ennis’ black humour and piss-take of current identity politics is missing the mark.

| Published by AfterShock

Mech Cadet Yu #3 is still every bit as fun and heartfelt as the previous two issues, this remains an incredible all ages story with giant robots and invading bugs. Greg Pak has created a character in Stanford Yu that you just can’t help but smile at his stumbles and achievements, so incredibly likeable that you want to read more as soon as the issue’s finished. Takeshi Miyazawa also gets to reveal the Sharg this issue, setting up what looks like a battle between the cadets and the monsters for next issue.

| Published by BOOM! Studios

Noble #5 is my first issue of this series and I feel in a similar position to ostensibly the POV character, Astrid Allen, a little in the dark. Brandon Thomas uses an unreliable narrator in Lorena Payan explaining to Astrid what has been going on with her husband, the titular Noble, and the changes that have turned him into a superhero and it’s fairly compelling. Certainly enough that I decided to pre-order the Noble: God Shots book out later this month collecting the first four issues. I wonder how this issue’s reality and the previous issues will align. The artwork from Jamal Igle is a high point. The action scenes of Noble trying to save a commercial airliner are particularly well done.

I also have to say that how they’re numbering these books is also interesting. They’ve got a main issue number for the overall series, but they’ve also got a volume and issue number for story-arc/trade as this is Volume 2, Number 1. It makes story delineations fairly easy to see where breaks and potential jumping-on points occur.

| Published by Lion Forge / Catalyst Prime

Optimus Prime #11 begins the “Primeless” arc, acting as a kind of non-branded tie-in to the First Strike event, covering what’s happening to the Cybertronians on Earth cut-off from Cybertron and left in the dark. I haven’t begun reading the First Strike crossover yet, as I’m still waiting for the last issue of ROM to land to be up to speed, but it doesn’t feel as though I’m missing anything here having not read it yet. In fact, in some ways, it puts me in a similar position to the characters in the book as I don’t know what’s happening either. In any event, John Barber does a good job of ratcheting up the tension between the different factions on Earth and amongst the rest of the Council of Worlds. I also need to reiterate that there really should be at the very least a Thundercracker mini-series.

| Published by IDW

Redlands #3 shifts point of view to Laurent, a bounty hunter without a license, gator man, and apparent lover of Bridget of the coven, who was introduced as a prisoner in the first issue. I really like how Jordie Bellaire is telling this story, in somewhat non-linear waves that keep rippling outward introducing new characters and interactions while still advancing the overall plot. The epistolary backmatter of clippings of gator man sightings and how to field dress a deer are also interesting touches. It adds a nice depth to the world.

And as since the first issue Vanessa Del Rey’s artwork is incredible. Dark, moody, and at turns erotic. This book is pretty much as sensual as it is horrific and bloody, and I think that’s a very welcome choice from Bellaire and Del Rey for this story.

| Published by Image

Retcon #2 is still...something. Between the first two issues, we’ve got some kind of government conspiracy involving black ops superhuman/magic-user teams. That seems pretty straight-forward and is fairly interesting. The problem is that the interviews and backmatter with the creators imply that they’re doing something else with the series and that just doesn’t come through in the narrative. So, if you’re looking for something that kind of taps the same vein as Doom Patrol meets Automatic Kafka, this is up your alley.

| Published by Image

Royal City #6 kicks off a new arc set in 1993, delving into the teenage years of the Pike children, back when Tommy was still alive. Jeff Lemire’s story gets more layers to it as it shows the personalities of the children in their genesis, and starts easily putting together some of the pieces as to what we’re going to see happen in the first arc, including Richie’s girlfriend, Tara’s relationship with Steve, their mother’s affair, and maybe what happened to Tommy. Lemire is great at weird, and great at small town family dynamics, and this series puts them all together in a beautiful illusory package.

| Published by Image

Sheena: Queen of the Jungle #2 adds some more depth to the story and more mysteries as Sheena chances upon the guy who’s been watching with drones and the two of them stumble upon unknown ancient temples in the jungle. Marguerite Bennett and Christina Trujillo are still treading common ground, but it’s still entertaining and they’ve managed to make Sheena a fairly interesting character in her own right, and, with Moritat’s art, great to look at.

| Published by Dynamite

Star Wars: Doctor Aphra #13 concludes the “Enormous Profit” arc and with it Kieron Gillen & Kev Walker’s run on the title. Gillen will apparently be back to co-write the next issue before fully transitioning to the main Star Wars title and I’m not sure what Walker is doing next. Suitably this issue features some nice action, some duplicitous intrigue, and the trademark sardonic humour. What the murderbots, Triple-Zero and BeeTee-One, have up their sleeves after being unshackled of morality earlier in this arc is a frightening prospect.

| Published by Marvel

Wormwood - Gentleman Corpse: Mr. Wormwood Goes to Washington #1 brings back Ben Templesmith’s comedy horror opus to tackle corruption in politics and it’s a very welcome return. It’s ridiculous, it’s over the top, and it’s actually scary that the bigoted plutocrat scrambling for more power in politics is now a believable reality and not just a caricature.

| Published by IDW

Other Highlights: All-New Wolverine #25, Alters #7, Amazing Spider-Man #789, Amazing Spider-Man: Renew Your Vows #12, Baking with Kafka, Black Science #32, Defenders #6, Despicable Deadpool #287, Eternal Empire #5, Falcon #1, First Strike #5, Inhumans: Once & Future Kings #3, Lazaretto #2, Runaways #2, Sacred Creatures #4, Scales & Scoundrels #2, Slam!: The Next Jam #2, Star Trek: Boldly Go #12, The Unbelievable Gwenpool #21, Uncanny Avengers #27, The Wicked & The Divine #32, X-Men Blue #13 

Recommended Collections: Animosity - Volume Two, Black Cloud - Volume One: No Exit, Coady & The Creepies, Harrow County - Volume Six: Hedge Magic, Ladycastle, Low - Volume Four: Outer Aspects of Inner Attitudes, Secret Warriors - Volume One: Secret Empire, Seven to Eternity - Volume Two, Star Wars: Screaming Citadel, TMNT Universe - Volume Two: New Strangeness

d. emerson eddy can both walk and chew gum. If he tries really hard, sometimes he can even achieve both at the same time. But only sometimes.

[straykatfish]

Task: a portrait from memory or imagination.

Not so long ago I would have looked at this with joy and relief. Now, after struggling to make sense of what I see in front of me and realising the advantages that confers in terms of perspectives and all those unevennesses faces have, I’m glaring at the instruction with an expression somewhere between disbelief and horror. Someone I saw in passing? A person I used to know? A character from a book? Strange how that wipes every conceivable memory and drops my imagination through a trapdoor so that I can’t even remember what I’ve read.

That was half an hour ago and now I have it. A poet (Facebook) friend wrote about battling lack of self confidence and how her mentor reminded her that diamonds only reflect light, they don’t make any of their own – a comment on the perceived glossiness of others compared to her own ability to shine. The result was the poem From Crazy Diamond to Borrowed Light (Joslin, 2016). I made a painting based on this poem not long after I read it but the figure had no face. This time I hope to give her both the features and the light. For the record, it isn’t the author.

While I don’t want to simply replicate the painting from a different angle, I thought it might be worth starting with the palette to think about sketches and what kind/colour/texture of support will suit it best. I’m also keeping in mind that this is an exercise – a work designed to move me up a gear towards the assignment – and not an extensive study in itself.

Upside down in the sketchbook (hazard of lefthandedness), these are head shapes and colours overlayed with gesso deliberately blotted from the next page to avoid constructed marks and textures. Prismacolor pencils work well under and on top of gesso. I seem to be aiming for a rather passive, eyes-closed figure but do I want something a little more fierce?

This is not at all fierce and I’d drawn it before considering that idea. These are soft pastels on white gesso using gestural marks rather than lines. A little too pretty I think; even though it’s not aiming in any sense to be a likeness of the author, she is nothing if not feisty and so that should probably come through.

Oil crayon on blotted black gesso. Terrified wasn’t the expression I was aiming for! Oil crayons are a little bit immutable once in situ and so the white I was intending to add simply didn’t show up (oil crayon) or adhere (charcoal/conte). I liked the patchiness of the underlying gesso and it made its own shapes which suggested the way the drawing went, but I’d rather have something a little less of a feature in its own right.

The effects are interesting – Prismacolor, conte, and ink on black gesso. I’m wondering if I’ll need to resort to a reference photo for this semi-profile approach, and I’d rather not as this might detract from the image forming in my mind. Another question is how far this meets the requirements for drawing, given it’s more impressionistic than ‘realistic’. It’s my constant query – am I nearly drawing yet?

  I think the next step is to move to a larger size where I can be more gestural. I like the knowing look on this last woman’s face and the dabs of gold ink (it’s actually bronze but it looks gold to me) hint, I think, at the emergence of light.

First stage: white gesso on selected parts of this A3 black cartridge to lift the light out of any colours I apply, and black gesso over most of the rest to provide body, resistance, and texture.

One thing I really have to learn is when to stop which means I may not have this right. I was actually tempted to stop at the pure gesso (above) but there are constraints to this as a task that I wouldn’t have were it for my own purposes so I’ve continued into layers of colour. Black, white, and coloured conte, some coloured charcoal, and a few dabs of gold ink. This face seems to me to be more defiant and assured, more deserving of the capacity to generate her own light, and I guess that’s what all of us on this course are ultimately aiming for.

  Question: what is a portrait?

This question has come up before, I recall debating it with some people not at all impressed by the winner of Sky’s Portrait Artist of the Year because her final piece ‘looked nothing like her’ (Kim Catrall). At one time I would have agreed but now I am far less convinced of the need for direct mapping of features onto canvas via hands, eyes, and brain. There are cameras that can do that. So the question then is what should an artist bring to a portrait that a camera (and I’m factoring out artist photographers for now) could not?

Before cameras, artists were the recorders of visual evidence, often commissioned to paint portraits or landscapes that showed off the wealth of the paying customer. John Berger in his Ways of Seeing series talked about this – the need to demonstrate status via everything from a beautiful wife to a table full of meat dishes and burnished goblets. Had he made this series now, no doubt he would have drawn comparisons between these and today’s instagram and Facebook posts. I wondered at the time how often artists were pressured to produce flattering rather than ‘truthful’ paintings and what they did to accommodate this requirement. Today we would apply filters either in-camera or via image editing software. I manipulated the final drawing in my iPhone to alter it on a number of dimensions but how far are these deviations from the ‘real’ piece when vision and colour perception are emergent properties of neurological processes?

The question of realism seems obvious – if it looks like the person then it is real. The difficulty is that the person only really looked like that in that moment and quite often people fail to recognise people in reality from one static photograph. Eye witness evidence is often jeopardised because of differences in lighting, clothing or angle of view between the image of the perpetrator in their mind and the one in the police records.

Still, I think I know what ‘looking like’ means and that it differs from portraits that seek to bring out the essence of the person. But what does that mean? An energy? Their movement or the colours they exude as imagined by the artist?  A mood?

A subsequent Portrait Artist of the Year winner painted Tom Jones with considerable photographic accuracy while using quite a blocky approach to mark-making which requires distance to construct the image. The link I found refers to the ‘striking resemblance’, suggesting that this is a key and valuable attribute for a winner.

Ultimately, a ‘good’ portrait is probably one that meets your expectations as an observer or purchaser and pays little attention to any underlying drivers with regard to style or exposure of the sitter’s personality. If I want a snapshot of someone who matters to me, then a camera is probably the go-to device; if not, I might prefer an interpretation or impression of that person; one that reflects my sense of them and carries hints and glints of the fragments that remain consistent in the real world. If I’m honest though, I would not want to be looking at it a few years down the line and wondering who it was supposed to be, so I guess my ambivalence is showing. And as this discussion borders on the rabbit hole of what good art actually is and who decides, I will stop at this personal conclusion.

            Joslin, O. V. (2016) From Crazy Diamond to Borrowed Light. In Three Pounds of Cells, by Joslin, O.V. P6. Published by The Linnet’s Wings, 2016. Amazon.

Part 4, project 6, exercise 3 – portrait Task: a portrait from memory or imagination. Not so long ago I would have looked at this with joy and relief.

[thesydneyfeminists]

#NotJustAGirl Flash Day: Inspirations and creative processes of female tattoo artists

This article is part of a series. Part Two.

Q: Where do you find your inspiration for your creative style and processes in your artworks?

Sasha Mezoghlian: “I’m always inspired by nature and my Russian culture and family. Also working alongside other amazing artists and being inspired, forever learning and trying new things.”

[Above: Tattoo art by Sasha Mezoghlian (Instagram: @sashimi_roll_tattooing) (The Darling Parlour, Balmain: https://www.thedarlingparlour.com/)]  

 Siarn Engels: “I find a lot of inspiration for my darker artworks/tattoos from occult and witchcraft related imagery, it’s something I’ve always been fascinated by and interested in. For my ornamental/geometric style work like mandalas etc. I am very inspired by nature and the amazing shapes that occur in the natural world; I just like to exaggerate and stylise them. I also definitely have a thing for symmetry overall too, it’s very aesthetically pleasing to me. Although it can make my life very difficult at times haha.”

[Above: Tattoo art by Siarn Engels (Instagram: @siarnthecatwitch) (FLT Studio, Newcastle: https://www.flttattoostudio.com.au/)]

Onnie O’Leary: “Hard deadlines are a huge inspiration for me. It seems like all the ideas that have been hiding at the back of my mind jump out at me and I'm forced to commit them to paper finally. I actually just bought an iPad to draw on rather than my old sketchbooks and so that will probably mean a shift in my process, with things being a bit more direct. My inspiration comes from all kinds of places, my colleagues at TLD Tattoo are all such great artists and getting to be around them every day is a real inspiration. When I'm at home I like to read old comics and watch old horror movie trailers for ideas, but half my ideas come from my clients, and taking their ideas and trying to impress them is a challenge I really dig.”

[Above: Tattoo art by Onnie O’Leary (Instagram: @onnieolearytattoo) (TLD Studio, Gymea: https://tldtattoo.com/)]

 Amy Unalone: “It’s nice to do a flash day as I spend most of my time drawing custom pieces based on clients’ requests, so it was refreshing to tattoo my own pieces that I thought would make awesome tattoos.”

[Above: Tattoo art by Amy Unalome (Instagram: @amy_unalome_tattoo)]

 Rosie Roo: “My style is very much influenced by nature, I have a massive appreciation for the natural environment, and I’ve spent a lot of my life living in the bush. I don’t think I have much conscious control over how things look, or how my style has developed, it has grown pretty organically. However, I would like to challenge myself to work in areas I’m less familiar with, and to work in other creative areas than tattooing.”

[Above: Tattoo art by Rosie Roo (Instagram: @rosieroo_tattoo)]

 Sandra Saar: “I find inspiration in everything around me, from the people I surround myself with, from movies, dreams, personal life experiences. My goal is to give human feelings a visual representation and combine it with surrealistic elements to raise questions or give the viewer a chance to make up their own version of the story behind the artwork. Most of the time I will not start a design unless I have at least a vague idea of where I want to take the design but once I start drawing, random ideas pop up and the piece becomes something completely different than what it started out as.”

[Above: Tattoo art by Sandra Saar (Instagram: @sannisaartattoo) (FLT Studio, Newcastle: https://www.flttattoostudio.com.au/)]

  Tahlia Undarlegt: “My observations of the world around me and life, it’s all so trivial and meaningless yet we all feel so connected to it.”

[Above: Tattoo art by Tahlia Undarlegt (Instagram: @tahliaundarlegt)]

  Shell Valentine: “I am so spoilt in what I get to tattoo on the daily. The root of my style essentially stems from my love of old school/traditional tattooing: the bold lines and big blocks of solid colour, you know exactly what it is from across the room, it's unmistakable. Traditional tattooing however was limited to a small colour palette which was essentially because back in the early days of tattooing coloured inks weren't available in the array of rainbows they are today. I wanted to use the design principals of traditional tattoos but make everything cute and bright and colourful or magical and pastel, the more colours the better, contrasting against thick black lines! I draw a lot of inspiration from my childhood- I'm definitely a child of the 80's/90s. The pop culture, the toys, the colours and patterns, they all invoke happy memories and inspiration for a lot of the work my customers like too because they are of that era. I also love retro/kitsch imagery, Japanese kawaii culture, country and Western, Disney, palm springs, books, toys, op shops, art, flowers, food, my dogs...my inspiration is endless.”

[Above: Tattoo art by Shell Valentine (Instagram: @shell_valentine_tattoo)]

By Bethany Laura

[recentanimenews]

Why Made in Abyss Should ABSOLUTELY Win Anime of the Year

Voting is now open for Anime of the Year and the competition is tough. 2017 has been an incredible year for anime. From the creative assembly of Little Witch Academia, to the action-packed My Hero Academia Season 2, there was an exemplary show for every genre. Therefore, as a fan of adventure series, I was thrilled to be able to watch Made in Abyss, an adventure anime full of mystery and beauty. And so now I will use my platform here on Crunchyroll to recruit help for my campaign to make sure that Made in Abyss wins Anime of the Year!

Thrills and Chills

Made in Abyss is a show that, much like the abyss itself, has layers of mystery. Even when we finally get to the point where we have the same understanding of the abyss as the characters we’re following, there are still new discoveries to be made. Even up until the last episode, there is still so much intrigue as to what this world is and how it’s being used. World mechanics that feel insignificant at first are eventually brought up later in life defying situations. Things like the Curse of the Abyss seemed like they won’t be relevant for a very long time, but Episode 10 showed us that sometime’s there’s no choice but “up” and it can have devastating consequences.

Watching Made in Abyss in some ways can be masochistic. We know for a fact that they’re going to a place with no glory, no safety, and no hope, but the show knows how to draw you in to see them try. The small moments of achievement are always brilliant after episodes of squashing hope and this is no better represented by the concluding episodes of Season 1 with a series of new challenges and new hopeless situations being defeated by hope for a better tomorrow. As the cast set off for a new adventure (that will hopefully be seen in a second season), we’re left not just thinking “I hope they’ll be okay”, but also, “I wonder what horrors the Abyss will inflict on them next”.

The Art of Made in Abyss

Made in Abyss is one of the best looking shows of the last year. Even when it was originally announced, the aesthetic of two round faces looking distressed whilst escaping from a monstrosity among some beautiful overgrowth was immediately appealing to me. The amount of effort and thought that goes into the background art of our favorite series are too often overlooked and they’re responsible for giving us not only a sense of the world but also the darkness that defines it.

In this case, the backgrounds are directed by former-Ghibli veteran artist and teacher Osamu Masuyama. Within the world of background art, he’s regarded very highly, having worked closely with many of the anime industry’s greatest artists for years. He works best when being asked to portray nature and landscapes with stunning detail and that’s exactly what he achieves within Made in Abyss. Even simple things like which flowers grow in what part of the world and the ways in which twisted trees would grow upside-down are given an extraordinary level of attention.

Penkin’s Prodigious Pieces

I am certainly not the first person to say that Kevin Penkin’s musical score for Made in Abyss was the best anime soundtrack of the year, but it isn’t just great music by itself. The music is a driving force behind the dramatic narrative and represents that feeling of exploration in truly unique ways. In my interview with him for AnimeNewsNetwork, he talked about developing a musical “color” palette that allowed him to create music that represented the visual and story elements being performed on screen.

In this video, he shows the process of composing the soundtrack at the Synchron Stage in Vienna, Austria:

  Made in Abyss is one of the best-crafted shows of 2017 and is a true thrill from start to end. Even in the small interludes of quieter life, there’s still a lurking horror that always feels like it’s out to get them. It’s a show that likes to play with its audience’s expectations, leading you to never be quite comfortable in many episodes. And for those reasons, it is one of the most fulfilling viewing experiences you can have with anime and deserves to win Anime of the Year 2017 at the Crunchyroll Anime Awards.

Place your vote for Made in Abyss at the Anime Awards here!

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Callum May is on an unending quest to make the anime industry seem cool and interesting. You can follow his journey on The Canipa Effect Youtube channel or follow his Twitter.

By: news+feed@crunchyroll.com