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fibula-rasa · 6 months

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(Mostly) Lost, but Not Forgotten: Omar Khayyam (1923) / A Lover’s Oath (1925)

Alternate Titles: The Rubaiyat of Omar Khayyam, The Rubaiyat, Omar Khayyam, Omar

Direction: Ferdinand Pinney Earle; assisted by Walter Mayo

Scenario: Ferdinand P. Earle

Titles: Marion Ainslee, Ferdinand P. Earle (Omar), Louis Weadock (A Lover’s Oath)

Inspired by: The Rubaiyat of Omar Khayyam, as edited & translated by Edward FitzGerald

Production Manager: Winthrop Kelly

Camera: Georges Benoit

Still Photography: Edward S. Curtis

Special Photographic Effects: Ferdinand P. Earle, Gordon Bishop Pollock

Composer: Charles Wakefield Cadman

Editors: Arthur D. Ripley (The Rubaiyat of Omar Khayyam version), Ethel Davey & Ferdinand P. Earle (Omar / Omar Khayyam, the Director’s cut of 1922), Milton Sills (A Lover’s Oath)

Scenic Artists: Frank E. Berier, Xavier Muchado, Anthony Vecchio, Paul Detlefsen, Flora Smith, Jean Little Cyr, Robert Sterner, Ralph Willis

Character Designer: Louis Hels

Choreography: Ramon Novarro (credited as Ramon Samaniegos)

Technical Advisors: Prince Raphael Emmanuel, Reverend Allan Moore, Captain Dudley S. Corlette, & Captain Montlock or Mortlock

Studio: Ferdinand P. Earle Productions / The Rubaiyat, Inc. (Production) & Eastern Film Corporation (Distribution, Omar), Astor Distribution Corporation [States Rights market] (Distribution, A Lover’s Oath)

Performers: Frederick Warde, Edwin Stevens, Hedwiga Reicher, Mariska Aldrich, Paul Weigel, Robert Anderson, Arthur Carewe, Jesse Weldon, Snitz Edwards, Warren Rogers, Ramon Novarro (originally credited as Ramon Samaniegos), Big Jim Marcus, Kathleen Key, Charles A. Post, Phillippe de Lacy, Ferdinand Pinney Earle

Premiere(s): Omar cut: April 1922 The Ambassador Theatre, New York, NY (Preview Screening), 12 October 1923, Loew’s New York, New York, NY (Preview Screening), 2 February 1923, Hoyt’s Theatre, Sydney, Australia (Initial Release)

Status: Presumed lost, save for one 30 second fragment preserved by the Academy Film Archive, and a 2.5 minute fragment preserved by a private collector (Old Films & Stuff)

Length: Omar Khayyam: 8 reels , 76 minutes; A Lover’s Oath: 6 reels, 5,845 feet (though once listed with a runtime of 76 minutes, which doesn’t line up with the stated length of this cut)

Synopsis (synthesized from magazine summaries of the plot):

Omar Khayyam:

Set in 12th century Persia, the story begins with a preface in the youth of Omar Khayyam (Warde). Omar and his friends, Nizam (Weigel) and Hassan (Stevens), make a pact that whichever one of them becomes a success in life first will help out the others. In adulthood, Nizam has become a potentate and has given Omar a position so that he may continue his studies in mathematics and astronomy. Hassan, however, has grown into quite the villain. When he is expelled from the kingdom, he plots to kidnap Shireen (Key), the sheik’s daughter. Shireen is in love with Ali (Novarro). In the end it’s Hassan’s wife (Reicher) who slays the villain then kills herself.

A Lover’s Oath:

The daughter of a sheik, Shireen (Key), is in love with Ali (Novarro), the son of the ruler of a neighboring kingdom. Hassan covets Shireen and plots to kidnap her. Hassan is foiled by his wife. [The Sills’ edit places Ali and Shireen as protagonists, but there was little to no re-shooting done (absolutely none with Key or Novarro). So, most critics note how odd it is that all Ali does in the film is pitch woo, and does not save Shireen himself. This obviously wouldn’t have been an issue in the earlier cut, where Ali is a supporting character, often not even named in summaries and news items. Additional note: Post’s credit changes from “Vizier” to “Commander of the Faithful”]

Additional sequence(s) featured in the film (but I’m not sure where they fit in the continuity):

Celestial sequences featuring stars and planets moving through the cosmos

Angels spinning in a cyclone up to the heavens

A Potters’ shop sequence (relevant to a specific section of the poems)

Harem dance sequence choreographed by Novarro

Locations: palace gardens, street and marketplace scenes, ancient ruins

Points of Interest:

“The screen has been described as the last word in realism, but why confine it there? It can also be the last word in imaginative expression.”

Ferdinand P. Earle as quoted in Exhibitors Trade Review, 4 March 1922

The Rubaiyat of Omar Khayyam was a massive best seller. Ferdinand Pinney Earle was a classically trained artist who studied under William-Adolphe Bougueraeu and James McNeill Whistler in his youth. He also had years of experience creating art backgrounds, matte paintings, and art titles for films. Charles Wakefield Cadman was an accomplished composer of songs, operas, and operettas. Georges Benoit and Gordon Pollock were experienced photographic technicians. Edward S. Curtis was a widely renowned still photographer. Ramon Novarro was a name nobody knew yet—but they would soon enough.

When Earle chose The Rubaiyat as the source material for his directorial debut and collected such skilled collaborators, it seemed likely that the resulting film would be a landmark in the art of American cinema. Quite a few people who saw Earle’s Rubaiyat truly thought it would be:

William E. Wing writing for Camera, 9 September 1922, wrote:

“Mr. Earle…came from the world of brush and canvass, to spread his art upon the greater screen. He created a new Rubaiyat with such spiritual colors, that they swayed.” … “It has been my fortune to see some of the most wonderful sets that this Old Earth possesses, but I may truly say that none seized me more suddenly, or broke with greater, sudden inspiration upon the view and the brain, than some of Ferdinand Earle’s backgrounds, in his Rubaiyat. “His vision and inspired art seem to promise something bigger and better for the future screen.”

As quoted in an ad in Film Year Book, 1923:

“Ferdinand Earle has set a new standard of production to live up to.”

Rex Ingram

“Fifty years ahead of the time.”

Marshall Neilan

The film was also listed among Fritz Lang’s Siegfried, Chaplin’s Gold Rush, Fairbanks’ Don Q, Lon Chaney’s Phantom of the Opera and The Unholy Three, and Erich Von Stroheim’s Merry Widow by the National Board of Review as an exceptional film of 1925.

So why don’t we all know about this film? (Spoiler: it’s not just because it’s lost!)

The short answer is that multiple dubious legal challenges arose that prevented Omar’s general release in the US. The long answer follows BELOW THE JUMP!

Earle began the project in earnest in 1919. Committing The Rubaiyat to film was an ambitious undertaking for a first-time director and Earle was striking out at a time when the American film industry was developing an inferiority complex about the level of artistry in their creative output. Earle was one of a number of artists in the film colony who were going independent of the emergent studio system for greater protections of their creative freedoms.

In their adaptation of The Rubaiyat of Omar Khayyam, Earle and Co. hoped to develop new and perfect existing techniques for incorporating live-action performers with paintings and expand the idea of what could be accomplished with photographic effects in filmmaking. The Rubaiyat was an inspired choice. It’s not a narrative, but a collection of poetry. This gave Earle the opportunity to intersperse fantastical, poetic sequences throughout a story set in the lifetime of Omar Khayyam, the credited writer of the poems. In addition to the fantastic, Earle’s team would recreate 12th century Persia for the screen.

Earle was convinced that if his methods were perfected, it wouldn’t matter when or where a scene was set, it would not just be possible but practical to put on film. For The Rubaiyat, the majority of shooting was done against black velvet and various matte photography and multiple exposure techniques were employed to bring a setting 800+ years in the past and 1000s of miles removed to life before a camera in a cottage in Los Angeles.

Note: If you’d like to learn a bit more about how these effects were executed at the time, see the first installment of How’d They Do That.

Unfortunately, the few surviving minutes don’t feature much of this special photography, but what does survive looks exquisite:

see all gifs here

Earle, knowing that traditional stills could not be taken while filming, brought in Edward S. Curtis. Curtis developed techniques in still photography to replicate the look of the photographic effects used for the film. So, even though the film hasn’t survived, we have some pretty great looking representations of some of the 1000s of missing feet of the film.

Nearly a year before Curtis joined the crew, Earle began collaboration with composer Charles Wakefield Cadman. In another bold creative move, Cadman and Earle worked closely before principal photography began so that the score could inform the construction and rhythm of the film and vice versa.

By the end of 1921 the film was complete. After roughly 9 months and the creation of over 500 paintings, The Rubaiyat was almost ready to meet its public. However, the investors in The Rubaiyat, Inc., the corporation formed by Earle to produce the film, objected to the ample reference to wine drinking (a comical objection if you’ve read the poems) and wanted the roles of the young lovers (played by as yet unknown Ramon Novarro and Kathleen Key) to be expanded. The dispute with Earle became so heated that the financiers absconded with the bulk of the film to New York. Earle filed suit against them in December to prevent them from screening their butchered and incomplete cut. Cadman supported Earle by withholding the use of his score for the film.

Later, Eastern Film Corp. brokered a settlement between the two parties, where Earle would get final cut of the film and Eastern would handle its release. Earle and Eastern agreed to change the title from The Rubaiyat of Omar Khayyam to simply Omar. Omar had its first official preview in New York City. It was tentatively announced that the film would have a wide release in the autumn.

However, before that autumn, director Norman Dawn launched a dubious patent-infringement suit against Earle and others. Dawn claimed that he owned the sole right to use multiple exposures, glass painting for single exposure, and other techniques that involved combining live action with paintings. All the cited techniques had been widespread in the film industry for a decade already and eventually and expectedly Dawn lost the suit. Despite Earle’s victory, the suit effectively put the kibosh on Omar’s release in the US.

Earle moved on to other projects that didn’t come to fruition, like a Theda Bara film and a frankly amazing sounding collaboration with Cadman to craft a silent-film opera of Faust. Omar did finally get a release, albeit only in Australia. Australian news outlets praised the film as highly as those few lucky attendees of the American preview screenings did. The narrative was described as not especially original, but that it was good enough in view of the film’s artistry and its imaginative “visual phenomena” and the precision of its technical achievement.

One reviewer for The Register, Adelaide, SA, wrote:

“It seems almost an impossibility to make a connected story out of the short verse of the Persian of old, yet the producer of this classic of the screen… has succeeded in providing an entertainment that would scarcely have been considered possible. From first to last the story grips with its very dramatic intensity.”

While Omar’s American release was still in limbo, “Ramon Samaniegos” made a huge impression in Rex Ingram’s Prisoner of Zenda (1922, extant) and Scaramouche (1923, extant) and took on a new name: Ramon Novarro. Excitement was mounting for Novarro’s next big role as the lead in the epic Ben-Hur (1925, extant) and the Omar project was re-vivified.

A new company, Astor Distribution Corp., was formed and purchased the distribution rights to Omar. Astor hired actor (note, not an editor) Milton Sills to re-cut the film to make Novarro and Key more prominent. The company also re-wrote the intertitles, reduced the films runtime by more than ten minutes, and renamed the film A Lover’s Oath. Earle had moved on by this point, vowing to never direct again. In fact, Earle was indirectly working with Novarro and Key again at the time, as an art director on Ben-Hur!

Despite Omar’s seemingly auspicious start in 1920, it was only released in the US on the states rights market as a cash-in on the success of one of its actors in a re-cut form five years later.

That said, A Lover’s Oath still received some good reviews from those who did manage to see it. Most of the negative criticism went to the story, intertitles, and Sills’ editing.

What kind of legacy could/should Omar have had? I’m obviously limited in my speculation by the fact that the film is lost, but there are a few key facts about the film’s production, release, and timing to consider.

The production budget was stated to be $174,735. That is equivalent to $3,246,994.83 in 2024 dollars. That is a lot of money, but since the production was years long and Omar was a period film set in a remote locale and features fantastical special effects sequences, it’s a modest budget. For contemporary perspective, Robin Hood (1922, extant) cost just under a million dollars to produce and Thief of Bagdad (1924, extant) cost over a million. For a film similarly steeped in spectacle to have nearly 1/10th of the budget is really very noteworthy. And, perhaps if the film had ever had a proper release in the US—in Earle’s intended form (that is to say, not the Sills cut)—Omar may have made as big of a splash as other epics.

It’s worth noting here however that there are a number of instances in contemporary trade and fan magazines where journalists off-handedly make this filmmaking experiment about undermining union workers. Essentially implying that that value of Earle’s method would be to continue production when unionized workers were striking. I’m sure that that would absolutely be a primary thought for studio heads, but it certainly wasn’t Earle’s motivation. Often when Earle talks about the method, he focuses on being able to film things that were previously impossible or impracticable to film. Driving down filming costs from Earle’s perspective was more about highlighting the artistry of his own specialty in lieu of other, more demanding and time-consuming approaches, like location shooting.

This divide between artists and studio decision makers is still at issue in the American film and television industry. Studio heads with billion dollar salaries constantly try to subvert unions of skilled professionals by pursuing (as yet) non-unionized labor. The technical developments of the past century have made Earle’s approach easier to implement. However, just because you don’t have to do quite as much math, or time an actor’s movements to a metronome, does not mean that filming a combination of painted/animated and live-action elements does not involve skilled labor.

VFX artists and animators are underappreciated and underpaid. In every new movie or TV show you watch there’s scads of VFX work done even in films/shows that have mundane, realistic settings. So, if you love a film or TV show, take the effort to appreciate the work of the humans who made it, even if their work was so good you didn’t notice it was done. And, if you’ve somehow read this far, and are so out of the loop about modern filmmaking, Disney’s “live-action” remakes are animated films, but they’ve just finagled ways to circumvent unions and low-key delegitimize the skilled labor of VFX artists and animators in the eyes of the viewing public. Don’t fall for it.

VFX workers in North America have a union under IATSE, but it’s still developing as a union and Marvel & Disney workers only voted to unionize in the autumn of 2023. The Animation Guild (TAG), also under the IATSE umbrella, has a longer history, but it’s been growing rapidly in the past year. A strike might be upcoming this year for TAG, so keep an eye out and remember to support striking workers and don’t cross picket lines, be they physical or digital!

Speaking of artistry over cost-cutting, I began this post with a mention that in the early 1920s, the American film industry was developing an inferiority complex in regard to its own artistry. This was in comparison to the European industries, Germany’s being the largest at the time. It’s frustrating to look back at this period and see acceptance of the opinion that American filmmakers weren’t bringing art to film. While yes, the emergent studio system was highly capitalistic and commercial, that does not mean the American industry was devoid of home-grown artists.

United Artists was formed in 1919 by Douglas Fairbanks, Charlie Chaplin, Mary Pickford, and D.W. Griffith precisely because studios were holding them back from investing in their art—within the same year that Earle began his Omar project. While salaries and unforgiving production schedules were also paramount concerns in the filmmakers going independent, a primary impetus was that production/distribution heads exhibited too much control over what the artists were trying to create.

Fairbanks was quickly expanding his repertoire in a more classical and fantastic direction. Cecil B. DeMille made his first in a long and very successful string of ancient epics. And the foreign-born children of the American film industry, Charlie Chaplin, Rex Ingram, and Nazimova, were poppin’ off! Chaplin was redefining comedic filmmaking. Ingram was redefining epics. Nazimova independently produced what is often regarded as America’s first art film, Salome (1923, extant), a film designed by Natacha Rambova, who was *gasp* American. Earle and his brother, William, had ambitious artistic visions of what could be done in the American industry and they also had to self-produce to get their work done.

Meanwhile, studio heads, instead of investing in the artists they already had contracts with, tried to poach talent from Europe with mixed success (in this period, see: Ernst Lubitsch, F.W. Murnau, Benjamin Christensen, Mauritz Stiller, Victor Sjöström, and so on). I’m in no way saying it was the wrong call to sign these artists, but all of these filmmakers, even if they found success in America, had stories of being hired to inject the style and artistry that they developed in Europe into American cinema, and then had their plans shot down or cut down to a shadow of their creative vision. Even Stiller, who tragically died before he had the opportunity to establish himself in the US, faced this on his first American film, The Temptress (1926, extant), on which he was replaced. Essentially, the studio heads’ actions were all hot air and spite for the filmmakers who’d gone independent.

Finally I would like to highlight Ferdinand Earle’s statement to the industry, which he penned for from Camera in 14 January 1922, when his financial backers kidnapped his film to re-edit it on their terms:

MAGNA CHARTA

Until screen authors and producers obtain a charter specifying and guaranteeing their privileges and rights, the great slaughter of unprotected motion picture dramas will go merrily on.

Some of us who are half artists and half fighters and who are ready to expend ninety per cent of our energy in order to win the freedom to devote the remaining ten per cent to creative work on the screen, manage to bring to birth a piteous, half-starved art progeny.

The creative artist today labors without the stimulus of a public eager for his product, labors without the artistic momentum that fires the artist’s imagination and spurs his efforts as in any great art era.

Nowadays the taint of commercialism infects the seven arts, and the art pioneer meets with constant petty worries and handicaps.

Only once in a blue moon, in this matter-of-fact, dollar-wise age can the believer in better pictures hope to participate in a truely [sic] artistic treat.

In the seven years I have devoted to the screen, I have witnessed many splendid photodramas ruined by intruding upstarts and stubborn imbeciles. And I determined not to launch the production of my Opus No. 1 until I had adequately protected myself against all the usual evils of the way, especially as I was to make an entirely new type of picture.

In order that my film verison [sic] of the Rubaiyat of Omar Khayyam might be produced under ideal conditions and safeguarded from intolerable interferences and outside worries, I entered into a contract with the Rubaiyat, Inc., that made me not only president of the corporation and on the board of directors, but which set forth that I was to be author, production manager, director, cutter and film editor as well as art director, and that no charge could be made against the production without my written consent, and that my word was to be final on all matters of production. The late George Loane Tucker helped my attorney word the contract, which read like a splendid document.

Alas, I am now told that only by keeping title to a production until it is declared by yourself to be completed is it safe for a scenario writer, an actor or a director, who is supposedly making his own productions, to contract with a corporation; otherwise he is merely the servant of that corporation, subject at any moment to discharge, with the dubious redress of a suit for damages that can with difficulty be estimated and proven.

Can there be any hope of better pictures as long as contracts and copyrights are no protection against financial brigands and bullies?

We have scarcely emerged from barbarism, for contracts, solemnly drawn up between human beings, in which the purposes are set forth in the King’s plainest English, serve only as hurdles over which justice-mocking financiers and their nimble attorneys travel with impunity, riding rough shod over the author or artist who cannot support a legal army to defend his rights. The phrase is passed about that no contract is invioliable [sic]—and yet we think we have reached a state of civilization!

The suit begun by my attorneys in the federal courts to prevent the present hashed and incomplete version of my story from being released and exhibited, may be of interest to screen writers. For the whole struggle revolves not in the slightest degree around the sanctity of the contract, but centers around the federal copyright of my story which I never transferred in writing otherwise, and which is being brazenly ignored.

Imagine my production without pictorial titles: and imagine “The Rubaiyat” with a spoken title as follows, “That bird is getting to talk too much!”—beside some of the immortal quatrains of Fitzgerald!

One weapon, fortunately, remains for the militant art creator, when all is gone save his dignity and his sense of humor; and that is the rapier blade of ridicule, that can send lumbering to his retreat the most brutal and elephant-hided lord of finance.

How edifying—the tableau of the man of millions playing legal pranks upon men such as Charles Wakefield Cadman, Edward S. Curtis and myself and others who were associated in the bloody venture of picturizing the Rubaiyat! It has been gratifying to find the press of the whole country ready to champion the artist’s cause.

When the artist forges his plowshare into a sword, so to speak, he does not always put up a mean fight.

What publisher would dare to rewrite a sonnet of John Keats or alter one chord of a Chopin ballade?

Creative art of a high order will become possible on the screen only when the rights of established, independent screen producers, such as Rex Ingram and Maurice Tourneur, are no longer interferred with and their work no longer mutilated or changed or added to by vandal hands. And art dramas, conceived and executed by masters of screen craft, cannot be turned out like sausages made by factory hands. A flavor of individuality and distinction of style cannot be preserved in machine-made melodramas—a drama that is passed from hand to hand and concocted by patchworkers and tinkerers.

A thousand times no! For it will always be cousin to the sausage, and be like all other—sausages.

The scenes of a master’s drama may have a subtle pictorial continuity and a power of suggestion quite like a melody that is lost when just one note is changed. And the public is the only test of what is eternally true or false. What right have two or three people to deprive millions of art lovers of enjoying an artist’s creation as it emerged from his workshop?

“The Rubaiyat” was my first picture and produced in spite of continual and infernal interferences. It has taught me several sad lessons, which I have endeavored in the above paragraphs to pass on to some of my fellow sufferers. It is the hope that I am fighting, to a certain extent, their battle that has given me the courage to continue, and that has prompted me to write this article. May such hubbubs eventually teach or inforce a decent regard for the rights of authors and directors and tend to make the existence of screen artisans more secure and soothing to the nerves.

FERDINAND EARLE.

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☕Appreciate my work? Buy me a coffee! ☕

Transcribed Sources & Annotations over on the WMM Blog!

See the Timeline for Ferdinand P. Earle's Rubaiyat Adaptation

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yourlocaltrashcan657 · 7 months

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Mental Hospital AU! Yandere! Attack on Titan x Female Reader. Prologue.

“Cmon Y/N! We’re going to be late for our first day at this shitty job!” Ymir said fixing her uniform.

”Ymir! That’s 50 cents in the jar.” Krista exclaimed quickly turning back to fix her makeup.

”Fine.” Ymir said only to quickly shout. “Oi! Sasha stop eating all of the food!”

”Lets go now. I’m all ready.” Y/N said grabbing her bag and slipping on her shoes.

The four girls have been friends since they were young so it was no surprise when they all moved in together at an apartment and got the same job.

Whilst walking to your new workplace Krista talked about how we should be careful about this workplace due to the accidents and how we should carry around pepper spray just in case.

That soon led to Ymir laughing and saying how Sasha would just drink it all. The four of them giggled before finally reaching the workplace.

It had a faint smell of cherry which was different from the last time you came which was to give your resume and to do an interview in which you all succeeded.

Y/N led them to a room in which they signed in and got their land yards to open locked doors around the hospital.

“We have 10 minutes to spare.. let’s just stay here like everyone else.” Krista said as she sat down on a chair.

“Which ward did you guys get?” Ymir asked as she plopped down onto the couch in the lounge room. “I got ward 6 and it’s all the way on the other side of this crappy building!”

”I think there’s a reason you got an easy ward, Ymir..” Y/N said, earning a scoff from the freckled woman.

”Yeah Ward 6 is for slightly unstable people.. I got ward 4 and I think that’s for children who need help..” Krista said before sulking at the thought of children being in a mental hospital.

”I got Ward 3! I’ll be able to see Krista every now and then so it won’t be that bad.” Sasha said making Ymir groan in annoyance.

”I got Ward 1.” Y/N said bluntly making the whole room go quiet. “What?”

”Y/N, Ward 1 is where all the crazy shi- I mean uh stuff happens.” Ymir said. “Before we applied for this crazy job, so many doctors have died just by taking care of one patient in Ward 1”

”Ymir! Stop scaring us like that!” Krista said.

”It’s true! I’ve heard that one of the guys in there is so crazy that he just stares at you and you’ll want to die!” Sasha exclaimed scared.

”Sasha! S-stop it!” Krista exclaimed. “Y/N if you ever need to swap Wards I think you can ask the boss or some higher up.”

”I’ll be alright.. I think I got placed there due to my grades and experience.” Y/N explained with a smile.

”I heard only experts work in Ward 1 so good luck with those people.” Ymir said.

*RING* *RING*

“That must be the bell for us to start working.. see you later Y/N.” Sasha said before waving goodbye and walking off with Ymir and Krista who also did the same.

I made my go Ward 1 only to be greeted by a tall, blue eyed man and a and goggled, brunette woman.

”You must be Y/N?” The tall man asked reaching out to shake her hand. “We are in charge of Ward 1.”

”Yes. I’m working in Ward 1, it’s a pleasure to meet you” Y/N said shaking his hand.

”I’m Erwin Smith and this Hange Zoe. I’ll be accompanying you for today to see how it goes.” Erwin said smiling.

”If you ever need me I’ll be in my office, pretty gal.” Hange said before smirking and walking off.

”Let’s begin, shall we?” Erwin said.

#aot x y/n #yandere erwin smith #yandere aot x reader #yandere jean kirstein #yandere aot #yandere levi ackerman #yandere shingeki no kyojin #yandere reiner #yandere levi #yandere jean #yandere erwin #yandere #yandere eren yeager #yandere armin #yandere Connie springer #Yandere Bertolt #ymir #christa lenz #sasha braus

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dangcornholders · 2 months

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Brent if he did the trials instead of Randy. S. Ward Smith would be laughing butt off,

#rc9gn brent #rc9gn

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cm2tfemotd · 8 months

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Todays Canon Male to Transfem Headcanon Is Brent from Randy Cunningham 9th grade ninja! she is a butch lesbian transfem that uses she/he! also the daughter of S. Ward smith!

#brent rc9gn #randy cunningham 9th grade ninja #rc9gn #cm2tfemhcotd #transfem #transgender #trans #transfem hc #trans hc #lgbt #req list

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underteika · 4 months

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CHARACTER SHEET REPOST, DON'T REBLOG!

basics !

FULL NAME. Anda Teika TITLE. Responsible-ish Stoner, Child of Sorrow NICKNAME. n/a GENDER. Nonbinary PRONOUNS. They/Them HEIGHT. 6'3, but slouches, so it's more like 5'9-6'0 AGE. 24 (30 in Isola) ZODIAC. Technically an aries bc their birthday is a bad luck reference (4/4), but doesn't act like it at all SPOKEN LANGUAGES. English, broken Japanese

physical characteristics !

HAIR COLOR. Naturally dark brown, but now it's 50/50 white due to stress. Dyes it all violet EYE COLOR. Brown (gold if using their powers) SKIN TONE. Tan BODY TYPE. Top-heavy and broad shouldered, muscular upper body but skips leg day all the time. Not the body-builder kind of muscle, but muscle from years of lifting dead weight (pun intended) VOICE. Soft spoken, like speaking too loud would get them in trouble. Breaks a lot. DOMINANT HAND. Left POSTURE. Needs a desperate visit from the posture posse SCARS. Many. Pre-isola scars are a long one on their scalp that their hair covers and a few other faded ones from the crash. Isola scars are... all over them, unfortunately, and mostly consist of claw marks. TATTOOS. None, but wants one. But too indecisive BIRTHMARKS. None MOST NOTICEABLE FEATURE(S). Kindness and sadness in equal measure in those big ol' eyes. Wears a prosthetic from the calf down on the right leg that's covered in stickers. Always wearing SOME kind of band shirt

childhood !

PLACE OF BIRTH. Washington, USA HOMETOWN. Washington, USA. Moved to a hidden forest in Japan after the accident to seal away the family curse SIBLINGS. none PARENTS. Deceased. Was taken in by their grandmother after the accident, now deceased. No living relatives left. Thanks, fate!

adult life !

OCCUPATION. Cemetery caretaker (various wards, goes wherever their boss needs them. Takes jobs from other cemeteries too due to a good work ethic), body removals, restores/repairs monuments and headstones. Used to work for a detective agency. CURRENT RESIDENCE. The Misfit House in Archimedes. Recently, the new owner CLOSE FRIENDS. Zal Liakos (Unofficial life partner?). Has a few people they get along well with, like Eiden and Ismael. They've been in the city for so long that a lot of their other close friends are gone. They need some... RELATIONSHIP STATUS. Single (and intends to keep it that way), but hooks up sometimes for casual relationships. FINANCIAL STATUS. Actually? They're pretty well off, but live modestly. They could probably spend the next five years without working a day and be just fine, between their savings and Zal's big money /j DRIVER’S LICENSE. It's all up to date! They love their van. CRIMINAL RECORD. It would be harboring a criminal, breaking and entering, mass-manipulation of crowd psyche, and some old petty theft, but 'conveniently', people forget those :) VICES. Weed, cigarettes, junk food, and varying weed-fueled junk food crimes

sex & romance !

SEXUAL ORIENTATION. Bisexual (and freezes up if they're talking to someone attractive for the first time) LOVE LANGUAGE. Favors, quality time, cooking for you RELATIONSHIP TENDENCIES. Anda will love with everything they have. They're very attentive and understanding due to their empathetic powers, and they'll do just about anything for the people they love, even if it takes them out of their comfort zone. They're happy to mutually coexist. For romantic partners, they're the strong affectionate type, and they like to cuddle.

miscellaneous !

CHARACTER’S THEME SONG. How Soon is Now -- The Smiths HOBBIES TO PASS TIME. Weed Video games, going to concerts, fixing furniture, gardening PHOBIAS. Trains. Really, really hates guns SELF CONFIDENCE LEVEL. Abysmal lmao. Everything they do, no matter how good it is, 'could always be better' VULNERABILITIES. They tend to run away from the things that scare them, unless someone will be harmed by running. They also suffer from the kind of hopelessness of being doomed by the narrative, but try to live a 'normal' life anyway. Rather than confront what scares them, they'll use their abilities to make people forget it ever happened, prolonging the inevitable. That used to be way better until their canon point updated, so now they're kind of in a toxic 'What's the point' whirlpool. On the more light-hearted side? They can't cook eggs, no matter how hard they try to.

#munday #weed ment #god... I've had Anda in this community for like 6 years #you need some friends buddy

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riverbills · 5 months

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RIVER BILLINGHAM ( JUSTICE SMITH ) is a TWENTY-EIGHT year-old SCREENWRITER in LOS ANGELES. They were brought under Richard’s care when they were only TWELVE. They are known as THE MELODRAMATIC because they are IDEALISTIC but also TEMPERAMENTAL. Let’s see what choice they make regarding the fate of Woodrow House

BASIC INFORMATION.

Full Name: Christopher River Billingham

Nickname(s): As a child he used to go by Christopher. He decided to start going by his middle name when he moved to Woodrow. River had always preferred his middle name to his first name. Christopher was too inconspicuous and boring. He decided that moving to a new place was the perfect time to reinvent himself (as much as you can reinvent yourself as an twelve year old). Plus, he associated his first name with his parents and didn't want anyone else to call him that.

Date of Birth: March 3rd 1977

Age: 28

Occupation: Screenwriter

Current Residence: Los Angeles, California

PHYSICAL APPEARANCE.

Hair: Right now River has a curly bleach blond close cropped fade. Please always picture Justice in Generation even when I'm using gifs from other projects x

Eyes: Brown

Height: 6ft1

Notable Features: Dimples and a cute wide smile but he won't be smiling very much through the course of this rp

PERSONALITY & BEHAVIOR:

Strengths: Inventive,spontaneous and compassionate

Weaknesses: Immature,credulous and scattered

Quirks: Frequently chews gum, talks with his hands, usually wears multiple bracelets which he plays with,regularly gasps de and used to chew pens tops when he used pens more often

Vices:River is a very pleasure seeking person so has dabbled in alcohol, nicotine and drugs at various points in his life. He was a regular smoker from the ages of 16-19 but he didn't like the lingering smell of cigarettes on his clothes so decided to fill the hole nic left with red bull.

INTEREST & HOBBIES:

Interests: Writing, fashion, the history of film & photography, literature and after he processed his parents deaths he got back into music.

Hobbies: River has cds but he stands by his tape collection. He doesn't go out as much as he used to in his early 20s but he still enjoys clubbing. He also enjoys rollerblading and painting

Special Skills/Talents: Depending on when you ask him River would either answer this question with “Whatever I put my mind to.” or “Nothing.” He's pretty good at writing and acting. He learned to play the drums as a child but stopped after his parents death. However, he started playing the drums again in his late teens. He has tried djing a couple of times and is quite good at that

BECOMING A WARD.

cws: lightly implied period typical racism and this is woodrow ward lore so parental death (this time with a slight twist on a motor accident)

When River was born his dad was the frontman of a popular psychedelic rock band. River’s birth and his parents long term mostly monogamous relationship was kept a secret from the press because it was safer and more beneficial for River's dad to act as a cool sexually available rockstar than admit to the public that the Black woman working as the bands public assistant was actually his wife. Even long after the band split up and River's dad had moved onto making weird but very of the time new wave music as a solo artist he kept River's existence a secret from the general public. This was so River could have an upbringing that was more luxurious than most people's but didn't involve his classmates asking about his dad or being pestered by the paparazzi. River’s upbringing was very sheltered and he still views his childhood as an idyllic time in his life. His primary caretaker was a nanny but at the time he didn't see this as a negative experience and he didn't feel emotionally neglected by his parents. It was an exciting treat every time they stayed with him for long periods of time. When he was twelve both of his parents went on the twentieth anniversary reunion tour for his dad's band's first album. There was a horrific tour bus crash in which both of his parents died. Even though the general public didn't know he existed, various rich people his parents met at charity events did (this includes Richard Woodrow). Forever the bleeding heart Richard offered to take in River. Both sets of River's grandparents agreed that there would be less chance of a scandal and word getting out about River existing if he lived at Richard's secluded New York Estate.

LIFE AS A WARD.

Unsurprisingly, River was very volatile when he first moved to Woodrow House. He was a sensitive pre-teen who was grieving his parents and had just moved to the other side of the country. He would snap at unexpected moments and cry for no particular reason. With the passage of time and the best therapy Richard could buy that behaviour eased up. However, he was still one of the more expressive wards. He would make his emotions known through his words and actions. He was probably a source of great annoyance for most of the wards. But I'm sure at least one of them found him to be fun, charming and loving. River enjoyed having lots of people around Woodrow as a teenager. He's a true extrovert and being around others reinvigorates him. Though growing up River often felt like a failure compared to some of the other wards because he wasn't an academic genius.

AESTHETIC .

River's sense of style is a lot more garish and informal than most of the other wards. He has a behind the scenes job in film and tv and lives in LA so he really can wear whatever he wants. He has a lot of loose fitting brightly coloured shirts. But he's still young and hot enough for the occasional tight tank top. He also has a lot of shorts of various colours and textures. He does not have many clothes that are weather appropriate for New York. River has one of his ears pierced so he often wear stud earrings or little hoops. He loves wearing multiple embroidered bracelets at once

EDUCATION.

River chose to go to the same private school other wards had/were attending. He wanted to prove that he was as good as they were despite not being a natural academic. Another reason River wanted to go to a real school was because he wanted to meet more people and have a social life outside of the other wards. While in school one of the writing exercises River enjoyed the most was screenwriting and he wanted to go back to California so that's why he applied for a BFA in film at Dodge.

EXTRACURRICULARS.

If it wasn't clear River was a very artistic and dramatic adolescent. He spent a lot of time painting and crafting in the art room. He also enjoyed creative writing. When he started private school he did drama and directed multiple productions. River wasn't interested in sports but decided to try to find some he enjoyed because he knew Richard thought sport was an important part of making the wards well rounded individuals. Plus, he was jealous of the cute little outfits other wards wore as sports uniforms. He played cricket for multiple years. He never fully understood the rules but knew he had to run after batting the ball and thought cricket whites looked chic. He also took up dressage because he thought there was something sweet about doing a sport where you need to connect to an animal and again he got to wear a fun outfit.

LIFE NOW.

River has been coasting through life since graduation. He decided to stay in LA to pursue screenwriting and because he's a west coast baby at heart. Two of his scripts have been made into movies but they weren't big Hollywood features. The movies he wrote were very low budget indie dramas that didn't make much money. The biggest fans of his films are probably people who found them at the Dollar Tree DVD basket. River mainly writes TV show episodes. His most steady source of income is a medical drama. His lifestyle hasn't changed much since his early 20s. He goes out to clubs to feel something and make meaningful fleeting connections. The only way he's more successful than most of the other wards is the fact he has a spacious house with a pool. He uses the fact his house was expensive to justify why he has 3 housemates (an actress who mainly works in tv, a mildly famous model and a director he met because she directed one of his scripts). He also has a cat called Saskia. He adopted her from a friend who couldn't look after her anymore after moving in with her boyfriend with cat hair allergies. River brought Saskia to Woodrow House with him because she’s a daddy's girl and would make everyone's lives miserable if he left her for weeks.

#wrhq.intro

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john-bracket · 2 years

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Behold the Jacket

Polls will start on Saturday, March 25th, starting with the left side of the bracket, then taking a day break, and running the right side of the bracket on Monday, March 27th!

Match-ups will also be listed below the cut:

1L: John Gaius (The Locked Tomb) (54) vs Wee John Feeney (Our Flag Means Death) (1)

2L: John McClane (Die Hard) (4) vs John Crichton (Farscape) (4)

3L: John Winchester (Supernatural) (7) vs John Hart (Torchwood) (2)

4L: John Henry (Folk tale) (2) vs John Seward (8)

5L: John Watson (Sherlock Holmes) (16) vs Don John (Much Ado About Nothing) (2)

6L: John Granby (Temeraire) (4) vs Little John (Robin Hood) (6)

7L: John Sheppard (Stargate Atlantis) (6) vs John Stewart (DC) (4)

8L: “Trapper” John McIntyre (M*A*S*H*) (1) vs John MacNamara (Hatchetfield) (20)

1R: John Egbert (Homestuck) (24) vs Prince John (Robin Hood) (1)

2R: John Jacob Jingleheimer Schmidt (Song) (4) vs John Peters, you know, the farmer? (Welcome to Night Vale) (5)

3R: Long John Silver (Treasure Island) (6) vs John Reese (Person of Interest) (4)

4R: John (The Vampire Dies In No Time) (2) vs John Constantine (DC) (15)

5R: John Hunger (The Adventure Zone: Balance) (8) vs John Smith (Doctor Who) (2)

6R: John Doe (unORDINARY) (3) vs John Wick (John Wick) (6)

7R: John Bender (The Breakfast Club) (5) vs John Ward (FAITH: The Unholy Trilogy) (4)

8R: John Hammond (Jurassic Park) (1) vs John Doe (Malevolent) (35)

#…look I can’t tag all of these #they’re tagged on the individual polls #<3

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bookgeekgrrl · 7 months

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My media this week (18-24 Feb 2024)

i'll always prefer the og but this iteration is entertaining

📚 STUFF I READ 📚

😍 The Old Codgers Greatest Hits Album (AggressiveWhenStartled, author; quietnight, narrator) - 57K series, canon-divergent stucky co-starring peter parker. Reread of this hilarious forever fave where first teenage peter is forced to deal with two body-swapped geriatric supersoldiers and then bucky is forced to deal with two teenage spidermen trying (and failing) to stealthily rescue their "dog". Great podfic by quietnight, absolute hilarity

🥰 History of American Capitalism (Zenaidamacrouras1) - 85K, shrinkyclinks college AU with superstar QB!Bucky & history nerd Steve - incredible found family dynamics, can't believe @zenaidamacrouras1 made me actually really get into an AU that involved both undergrads AND football. The nerve! The talent! (the fic is single POV but there's an amazing companion piece that's Bucky's convos with this sister that give a his POV on some of it and it's equally amazing)

💖💖 +347K of shorter fic so shout out to these I really loved 💖💖

Half sleep, half waking (softestpunk) - The Sandman & Rivers of London crossover: dreamling, 8K - amazing crossover! I wish there was 60K of this for me to read

Road to Joy (Oddree13) - Stranger Things: steddie, 25K - latest chapter in this omegaverse steddie series that I absolutely adore

Knit One, Purl Two (mollus) - MCU: stucky, 32K - reread; forever fave WS recovery fic with lots of softness in the form of: knitting, dancing, soap making and senior citizens

Red, White & Royal Goose (fairestfaerie) - RWRB: alex/henry, 7K - I just love a good Soulmate Goose of Enforcement fic

This Sunlit Land (eyres) - MCU: stucky, 38K - wonderful canon/timeline-divergent WS recovery AU

📺 STUFF I WATCHED 📺

Resident Alien - s1, e1-3

QI - series S, ep 7-9

D20: The Unsleeping City: Chapter II - "The Fall of New York City" (s7, e1)

D20: The Unsleeping City: Chapter II - "Heaven and Hell on Earth" (s7, e2)

D20: Fantasy High: Junior Year - "Stress Tested" (s21, e7)

D20: Adventuring Party - "A Negroni and a Bowl of Spinach" (s16, e7)

Ghosts (US) - s2, e16-22; s3, e1-2

🎧 PODCASTS 🎧

Vibe Check - Hey, Sis: featuring Kimberly Drew

The Sporkful - Can A Restaurant Makeover Make Diners Spend More?

The Atlas Obscura Podcast - Boston’s Blue Hill

Short Wave - The Life And Death Of A Woolly Mammoth

Desert Island Discs - Sheku Kanneh-Mason, cellist

I Said No Gifts! - Jay Jurden Disobeys Bridger

The Assignment with Audie Cornish - Where Does Fani Willis Go From Here?

The Atlas Obscura Podcast - World’s Loneliest House

⭐ Switched on Pop - Adult Contemporary, but make it cool (with CHROMEO)

Shedunnit - The Unpleasantness at the Bellona Club (Green Penguin Book Club 1)

Up First - Julian Assange Extradition Hearing, Egypt Buffer Zone, Louisiana Special Session

Today, Explained - The Panama Canal is drying up

It's Been a Minute - Jada Pinkett Smith, the artist

Vibe Check - Welcome to Tip Check

Outward - True Detective: Night Country’s Lesbian Subtext

⭐ Code Switch - Why menthol cigarettes have a chokehold on Black smokers

Short Wave - When The Sun Erupts

The Atlas Obscura Podcast - Stone of Destiny

⭐ 99% Invisible #571 - You Are What You Watch

Films To Be Buried With - Tyler James Williams

Ologies with Alie Ward - Black Hole Theory Cosmology (WHAT ARE BLACK HOLES?!) Part 1 with Ronald Gamble, Jr.

Off Menu - Ep 226: Noel Fielding

NPR's Book of the Day - 'Thank You Please Come Again' pays homage to Southern gas station food shops

The Atlas Obscura Podcast - Buffalo Soldiers National Museum

The Assignment with Audie Cornish - Jake Tapper on American Political Scandal

⭐ Throughline - Dance Yourself Free (Throwback)

If Books Could Kill - The Better Angels of Our Nature

Our Opinions Are Correct - We Don't Give a F*ck About Canon

⭐ Today, Explained - Fight at the Museum

The Sporkful - Deep Dish With Sohla And Ham: Bagels

Dear Prudence - My Friend Has a Master’s Degree in Lying. Help!

What Next: TBD - The Coasts are Sinking

Short Wave - Didn't Get A Valentine's Love Song? These Skywalker Gibbons Sing Love Duets

Endless Thread - Endless Thread: The Musical

⭐ Twenty Thousand Hertz+ - Industrial Musicals

Strong Songs - "Black Hole Sun" by Soundgarden

You're Dead to Me - Queen of Sheba [turned out to be really perfect timing to have this knowledge right before getting to certain relevant bits in my current read The Adventures of Amina al-Sirafi]

It's Been a Minute - Have we hit celebrity overload? Plus, Miyazaki's movie magic

Simply Reflecting - Did You Say Delusional?

Under the Influence - Seeing is Believing: The Power of Demonstration Commercials

Hit Parade - The Bridge: Bon Soir, Barbra

🎶 MUSIC 🎶

Chromeo

Living Colour

Chicago House Foundation

Presenting Soundgarden

Swing Fever [Rod Stewart & Jools Holland] {2024}

Adult Contemporary [Chromeo] {2024}

Campfire Classics

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narcobarbies · 9 months

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A YEAR IN REVIEW: CREATIONS OF 2023

Post your favorite and most popular post from each month this year (it’s okay to skip months).

Tagged by @maxxxines <3 thank you so much for taggging me!!

JANUARY

MOST POPULAR: india love via instagram stories (2,547 notes)

FAVORITE(S): victoria monét via instagram stories , ryan destiny as alex crane on star on fox 2.02 , beyoncé as lilly on the fighting temptations

FEBRUARY

MOST POPULAR: victoria monét via instagram (1,716 notes)

FAVORITE(S): ryan destiny via instagram , carlacia grant via instagram , joyce wrice's bittersweet goodbyes MV , keesha ward from general hospital , joyful joyful from sister act 2

MARCH

MOST POPULAR: victoria monét via instagram (2,901 notes)

FAVORITE(S): nikolas cassadine calling out everyone in port charles from GH , carlacia grant via instagram , tessa thompson for armani beauty

APRIL

MOST POPULAR: sydney sweeney via glencocoforhair's IG (1,152 notes)

FAVORITE(S): victoria monét via tiktok , sydney sweeney via glencocoforhair's IG , sofia wylie via tiktok

MAY

MOST POPULAR: taylor russell by kali kennedy (2,789 notes)

FAVORITE(S): victoria monét party girls MV , saweetie via instagram stories , tems met gala after party , carlacia grant via instagram

JUNE

MOST POPULAR: victoria monét and janelle monáe at the age pleasure LA listening party (06/10/2023) (2,283 notes)

FAVORITE(S): saweetie via instagram (06/26/2023) , saweetie via instagram , ryan destiny via instagram , victoria monét via instagram , carlacia grant as cleo for obx s4 promo , kiana ledé via instagram , sofia wylie via tiktok

JULY

MOST POPULAR: Earth, Wind & Fire sit down with Victoria Monét (1,682 notes)

FAVORITE(S): flo milli in want em hood MV , saweetie birthday mv , india love in flyest in the city mv , sydney sweeney via glencocoforhair's IG , carlacia grant during the ACQUA DI GIO and Gen A event by Giorgio Armani. (07/15/2023)

AUGUST

MOST POPULAR: victoria monét via instagram (1,651 notes)

FAVORITE(S): foxy brown in i'll be mv , mya whine mv , kiana ledé via instagram , saweetie shot o clock mv , saweetie via instagram

SEPTEMBER

MOST POPULAR: victoria monét via instagram for spotify’s RNBx (779 notes)

FAVORITE(S): FAITH EVANS | CAN’T BELIEVE FEAT. CARL THOMAS (2001) , NELLY FURTADO – 2023 MTV Video Music Awards , sofia wylie via tiktok , saweetie via basedkenken’s instagram , ryan destiny via instagram , victoria monét via instagram

OCTOBER

MOST POPULAR: victoria monét photographed by byjamiebruce (615 notes)

FAVORITE(S): kiana ledé via instagram , saweetie via instagram , savannah smith via tiktok , alina baraz in breathless mv , faith evans in never gonna let you go mv , saweetie via instagram , danna paola via instagram

NOVEMBER

MOST POPULAR: sydney sweeney for armani beauty (1,150 notes)

FAVORITE(S): VICTORIA MONÉT photographed by chanellington , cassie photographed by jorden keith , india love for true religion , sydney sweeney via glencocoforhair's IG , ryan destiny for off white

DECEMBER

MOST POPULAR: tems via instagram (2,333 notes)

FAVORITE(S): tabyana ali as trina robinson on GH , sydney sweeney 'anyone but you' NY premiere , victoria monét via instagram , chloe bailey via instagram , jhené aiko via instagram

tagging: @miss-lauryn-hill , @oneofdem , @itszonez , @blackerthings , @ivanpellicer , @agorahills , @saw-x , @keatinglayla , @zendadya , @possession

#tag games #i liked looking backk

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beyondthespheres · 4 months

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Frankenstein illustrated by Lynd Ward 's woodcuts for a 1934 edition of Frankenstein, published in New York by Harrison Smith and Robert Haas.

#Frankenstein #Lynd Ward #illustraton

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dumdumdumsalot · 4 months

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I have an opinion, once again and I hope people arent too unpleasant about it

I have heard alot of criticism from people on here regarding taylor swifts new album. Im not really a fan of her work, and the lyrics being discussed like 'you play ball, I know aristotle' and the famous 1830's line was enough to put me off, and I havent listened to it. But I have gathered that alot of people dont like it, and I get it.

There has also been alot of discussion regarding her 'you wouldnt last an hour in the asylum which they raised me' and I find that I disagree with the people criticizing her over THAT specific line

Alot of people are saying that the line is tone deaf, and that shes a rich white privelaged lady, who hasnt had any hardships the way normal people do, and therefore she shouldnt be able to say stuff like that.

And while im not saying she doesnt have privelage, here me out, we do realize that rich, privelaged people can also have mental health issues, yes?

I remember when jaden and willow smith talked about their poor mental health, they were also told that they were privelaged and spoilt and that they didnt go through half the things normal people go through.

I would argue that its probably extremely isolating to have mental health issues as a celebrity, because people deem you ungrateful and spoilt when you do talk about your issues.

Has taylor swift gone through as much as most people on here go through? Maybe not.

But I do know she has had an eating disorder, she has been subjected to a concentrated amount of misogyny, and that is bound to cause atleast A SIZABLE amount of issues mentally, and I think she should be able to talk about them.

But I also think it was despicable of her to romantisize electroshock therapy and romantisize being in A PSYCH WARD. And all her fans, that are doing this as well, hopefully they refrain from buying tickets for her concerts, and instead use that money for therapy.

All in all, I think the wording of her sentiment was.. not great. And her romantsizing psych wards has caused outrage that I wholeheartedly support. But I also think that we should extend empathy to celebrities dealing with mental health issues.

To sort of brush their issues away, and invalidate what they go through and feel because they are 'rich' isnt right. Being rich doesnt absolve you of mental illness, nor the right to talk about it.

They may not go through as much as many of us, but that doesnt mean they dont go through anything.

#taylor swift critical #im not a fan of hers I AM STATING THIS HERE #i dont like her #but I do think its weird to sort of say in so many words that rich ppl cant talk about their mental health issues

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sysba · 1 year

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my characters

* thought i’d post this list that was sitting in my drafts; not all of them because i have too many but have some (if) ocs ♡

ORIGINAL / MISC VERSES

edith blake. original, the wayhaven chronicles, the exile verse ♡ she/any (queer). november 13th. fc: laura james. 5′11/181cm. ROs: cal, adam du mortain. connections: kiara kingston (sister).

freddie han. ear candy verse. ♡ he/him (m). february 14th. fc: christian yu. 5′9/174cm. ROs: shiloh rue, winslow montgomery. connections: ryuwon han (sister).

ryuwon han. straight red verse. ♡ she/her (f). nicknames: ryu. fc: kim do-yeon. 5′10/179cm. ROs: jude schofield. connections: freddie han (brother).

zoe beckett. original (modern gods verse), the wayhaven chronicles ♡ she/her (f). fc: misc. 6′/184cm. ROs: veera, nat sewell. connections: jada beckett-jones (cousin). tag.

A MAGE REBORN

atalanta daenys ♡ she/they (nb). specialty: spiritism + alchemy. fc: misc. 5′7/170cm. ROs: elias revelois.

ANDROMEDA SIX

ersa altalune peg’asi ♡ she/her (agender). species: kitalphan. fc: emily browning. 5′1/154cm. ROs: vexx serif.

ATTOLLO

nefta gil ♡ she/her (f). august 15th. fc: misc. 5′1/156cm. ROs: sysba, dreamwalker.

BLOOD MOON

selene king ♡ she/her (f). beta. fc: phoebe tonkin. 5′7/172cm. ROs: farroq khan.

starling baluyot ♡ she/they (nb). alpha. fc: beatrice laus. 5′3/161cm. ROs: marco.

BLOOMING PANIC

anya petrova ♡ she/they (genderfluid). username: gothitax. fc: florzoye on ig. 5′1/155cm. ROs: nakedtoaster, toastyx.

BODY COUNT

kim ngo ♡ they/them (nb). fc: naomi roestel. 5′10/178cm. ROs: arthur campbell.

angelica vaughan ♡ she/her (f). nicknames: angie. fc: benedetta gargari. 5′8/172cm. ROs: vinh nguyen.

CHECKMATE IN 3 MOVES

cahya vinteren ♡ she/her (f). fc: brianne tju. 5′1/154cm. ROs: noir zu, jareth january.

diamond emeraude vinteren ♡ she/they (nb). fc: savannah smith. 5′7/170cm. ROs: sailor bones, hawthorne (spilt milk).

CHOICES: BLADES OF LIGHT AND SHADOWS

nehal nightbloom ♡ she/all (genderfluid). species: elf. fc: misc. 5′11/180cm. ROs: all. tbd.

CHOICES: OPEN HEART

victoria torres ♡ she/her (f). nicknames: vic, v. fc: tashi rodriguez/ giovana cordeiro. 5′1/155cm. ROs: bryce lahela.

COLLEGE TENNIS: ORIGIN STORY

angel rivas ♡ they/he (nb). fc: omar rudberg. 5′9/175cm. style: all-court player. doubles partner: rayyan. ROs: rayyan afiq.

FIELDS OF ASPHODEL

persephone ♡ she/any (agender). fc: misc/anya chalotra. 5′6/167cm. ROs: hades, tbd. tag.

INFAMOUS

kate hanna ♡ they/them (nb). august 23rd. full name: kateebah. stage name: arkane (prev: rickety kate). band: dance of the planets. genre(s): alt-rock, pop punk. fc: nour rizk. 6′2/187cm. ROs: seven lawless.

sung-won kang ♡ she/they (f). december 15th. nicknames: sunni, lucky. stage name: lady luck. band: WBM. genre(s): pop rap, R&B, hip-hop, EDM. fc: jeon so-yeon/kang min-ah. 5′7/169cm. ROs: griffin reign + victoria valentine, orion quinn.

OUR LIFE

jamie last ♡ they/them (nb). fc: tbd. 6′/182.5cm. ROs: cove holden.

cierra last ♡ she/her (f). nicknames: cherry. fc: kendra bailey/misc. 6′/182.5cm. ROs: derek suarez.

marina howard ♡ she/her (f). fc: yvonne logan. 5′/153cm. ROs: baxter ward.

PERFUMARE

sharona west. real name: milagros ramon. ♡ she/her (nb). fc: lizeth selene. 5′3.5/161cm. ROs: flavio esposito.

naomi morren. real name: naomi kurosawa ♡ she/they (f). fc: rina fukushi. 5′10/179cm. ROs: reed esposito, laurent rosier.

PROJECT HADEA

sidra. real name: yuna arai. ♡ they/he (nb). fc: misc. 5′7/169cm. ROs: nash, rohan.

gienah. real name: izzi muhammad ♡ she/they (nb). fc: bonzaimai on ig/misc. 5′9/176cm. ROs: rhaxa.

SCOUT: AN APOCALYPSE STORY

jamilah durant ♡ she/her (f). nicknames: jam. fc: sharon alexie. 5′6/168cm. ROs: oliver shen.

SHEPHERDS OF HAVEN

shanna wenrys ♡ she/they (f/nb). fc: misc. 4′11.5/151cm. ROs: blade bronwyn.

kiran rhune ♡ they/them (nb/genderfluid). fc: misc. 5′2.5/159cm. ROs: red antiqua.

SPEAKER

kassandra farhat ♡ she/they (nb). nicknames: kass. fc: jamie gray-hyder. 5′11/179cm. ROs: li cowles, sebastian wynric. connections: sebille (sister), scooby boo (dog).

SUPERSTITION

sage roe ♡ she/her (f). fc: zoë kravitz. 5′2/157cm. ROs: zillah.

THE BASTARD OF CAMELOT

mordred pendragon ♡ she/they/he (genderqueer). fc: tbd. ROs: galahad du lac.

THE EXILE

farja ja’qhar ♡ she/her (f). title: painted phoenix. fc: misc. 5′1/155cm. ROs: syfyn.

nathair cheronobog ♡ he/him (m). title: gilded gorgon. fc: noen eubanks. 6′5/196cm. ROs: vethna, +nikke.

neamhain rezoth ♡ they/them (nb). title: deathless demon. fc: tbd. ROs: freedom.

saeha lygris ♡ he/him (m). title: white wolf. fc: park seonghwa. 5′8/174cm. ROs: sabir + nikke.

THE MIDNIGHT HOURS

reyna santos ♡ she/her (f). fc: shay mitchell. 5′4/161cm. ROs: rylan villanueva.

ziv mays ♡ they/them (nb). fc: jaiiy d. moses. 6′/183cm. ROs: blane rekner.

salvador soto ♡ he/they (m). nicknames: chava. fc: misc/cristo fernández. 6′3/190.5cm. ROs: k de vries.

THE WAYHAVEN CHRONICLES

[link]

#myocs #i have so many more i tried to be selective to make a shorter post lmfao

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