#the nights king

[nightswatchdisbandmentera]

There are a lot of theories out there about the true identity of the last hero, but I think the one that makes the most thematic sense is that he was a member of the original Night’s Watch. See the last hero’s identity is shrouded in mystery but his deeds live on forever and he is attributed with having led to the defeat of the Others. The legends show that his actions are famous, but the man himself is forgotten.

This seems quite close to what being a member of the Night’s Watch entails. The Watch’s vows dictate that members, who are the sword in the darkness and the fire that burns against the cold thus directly marking them in opposition to winter and the Others, shall hold no lands, wear no crowns, and win no glory. They are known to the rest of the kingdoms as those who guard the realms of men, but their identities and individual triumphs are largely unimportant.

This is a shared parallel between the members of the Night’s Watch and the last hero. We don’t know anything about his name, house, or background. Even the title ‘the last hero’ is merely an identifier - note that it’s in lower case. So it would make sense that the last hero’s identity is to remain anonymous if that was the entire point of it all; he was a man of the Night’s Watch and thus, indirectly, swore a vow of anonymity. And better yet, we don’t even know who his twelve companions were. We know only that they rode out with him and died in the process. However we do know that in the north, there are two figures who are directly identified as having been responsible for the ending of the long night: the last hero (as per folk tales narrated by Old Nan) and the Night’s Watch (see the Night that Ended). It could be that the legend of the last hero and his twelve companions is a glimpse of the NW’s last stand.

I also think it’s interesting that we have various last hero parallels in the text who are members of the Night’s Watch. We first have Waymar Royce who seems very last hero-y in the AGOT prologue. Then we have Jon Snow who is implicitly identified by the narrative as a last hero figure. And it gets even more interesting when we consider that Jon has at many times stated that as a member of the night’s watch, he is to remain a shadow among all shadows. His greatest deeds are to go unnoticed and his name is not to be spoken in the halls of men. His deeds could live on, but his name won’t; even more interesting when we consider that Jon, due to his bastardy, technically doesn’t actually have a name to begin with. And what makes Jon’s connection to the last hero so poignant is that while the last hero’s name has been lost to history, Jon has a whole thing about being a lost and forgotten prince/king.

But there’s a rather unexpected last hero parallel in Sam Tarly, also a member of the Night’s Watch. Sam is not magically special, nor is he marked as someone with a particularly important bloodline or destiny. However, he is the first person in thousands of years to slay an Other. And he did that using a shard of dragonglass, which provides an interesting callback to the last hero’s dragonsteel blade. There’s also the parallel of both heroes being the last men standing after an Other attack. But interestingly enough, there’s a slight deviation in that though we still do not know who the last hero was, we do know of Sam the Slayer.

So it’s entirely possible that the last hero was one of the members of the original NW. And this makes for a rather interesting foil in another character who is explicitly stated as having a relationship with the Others - the Night’s King. It’s interesting if both figures have some background with the NW due to the dichotomy that arises. The last hero kept his vows and wore no crown and got no glory, but the Night’s King very directly broke his. The last hero protected the realms of men, while the Night’s King embarked of a path of destruction. And he was, quite famously, a member of the Night’s Watch (and is even identified as having been the 13th lord commander). But it’s interesting that while we don’t really know of the Night’s King’s true identity, we are actually given multiple clues by the narrative. We’re even told that he may have been a Brandon Stark - thereby having a name which the last hero doesn’t. But even then, just as it was with the last hero, the Night’s King has deeds which live on forever even though his name (very deliberately) has not.

[croffle-bits]

Fighting God in his own home

[lesbiannieism]

good afternoon i made a thing

[william-shakespeare-official]

Here's THE masterpost of free and full adaptations, by which I mean that it's a post made by the master.

Anthony and Cleopatra: here's the BBC version, here's a 2017 version.

As you like it: you'll find here an outdoor stage adaptation and here the BBC version. Here's Kenneth Brannagh's 2006 one.

Coriolanus: Here's a college play, here's the 1984 telefilm, here's the 2014 one with tom hiddleston. Here's the Ralph Fiennes 2011 one.

Cymbelline: Here's the 2014 one.

Hamlet: the 1948 Laurence Olivier one is here. The 1964 russian version is here and the 1964 american version is here. The 1964 Broadway production is here, the 1969 Williamson-Parfitt-Hopkins one is there, and the 1980 version is here. Here are part 1 and 2 of the 1990 BBC adaptation, the Kenneth Branagh 1996 Hamlet is here, the 2000 Ethan Hawke one is here. 2009 Tennant's here. And have the 2018 Almeida version here. On a sidenote, here's A Midwinter's Tale, about a man trying to make Hamlet. Andrew Scott's Hamlet is here.

Henry IV: part 1 and part 2 of the BBC 1989 version. And here's part 1 of a corwall school version.

Henry V: Laurence Olivier (who would have guessed) 1944 version. The 1989 Branagh version here. The BBC version is here.

Julius Caesar: here's the 1979 BBC adaptation, here the 1970 John Gielgud one. A theater Live from the late 2010's here.

King Lear: Laurence Olivier once again plays in here. And Gregory Kozintsev, who was I think in charge of the russian hamlet, has a king lear here. The 1975 BBC version is here. The Royal Shakespeare Compagny's 2008 version is here. The 1974 version with James Earl Jones is here. The 1953 Orson Wells one is here.

Macbeth: Here's the 1948 one, there the 1955 Joe McBeth. Here's the 1961 one with Sean Connery, and the 1966 BBC version is here. The 1969 radio one with Ian McKellen and Judi Dench is here, here's the 1971 by Roman Polanski, with spanish subtitles. The 1988 BBC one with portugese subtitles, and here the 2001 one). Here's Scotland, PA, the 2001 modern retelling. Rave Macbeth for anyone interested is here. And 2017 brings you this.

Measure for Measure: BBC version here. Hugo Weaving here.

The Merchant of Venice: here's a stage version, here's the 1980 movie, here the 1973 Lawrence Olivier movie, here's the 2004 movie with Al Pacino. The 2001 movie is here.

The Merry Wives of Windsor: the Royal Shakespeare Compagny gives you this movie.

A Midsummer Night's Dream: have this sponsored by the City of Columbia, and here the BBC version. Have the 1986 Duncan-Jennings version here. 2019 Live Theater version? Have it here!

Much Ado About Nothing: Here is the kenneth branagh version and here the Tennant and Tate 2011 version. Here's the 1984 version.

Othello: A Massachussets Performance here, the 2001 movie her is the Orson Wells movie with portuguese subtitles theree, and a fifteen minutes long lego adaptation here. THen if you want more good ole reliable you've got the BBC version here and there.

Richard II: here is the BBC version. If you want a more meta approach, here's the commentary for the Tennant version. 1997 one here.

Richard III: here's the 1955 one with Laurence Olivier. The 1995 one with Ian McKellen is no longer available at the previous link but I found it HERE.

Romeo and Juliet: here's the 1988 BBC version. Here's a stage production. 1954 brings you this. The french musical with english subtitles is here!

The Taming of the Shrew: the 1980 BBC version here and the 1988 one is here, sorry for the prior confusion. The 1929 version here, some Ontario stuff here, and here is the 1967 one with Richard Burton and Elizabeth Taylor. This one is the Shakespeare Retold modern retelling.

The Tempest: the 1979 one is here, the 2010 is here. Here is the 1988 one. Theater Live did a show of it in the late 2010's too.

Timon of Athens: here is the 1981 movie with Jonathan Pryce,

Troilus and Cressida can be found here

Titus Andronicus: the 1999 movie with Anthony Hopkins here

Twelfth night: here for the BBC, here for the 1970 version with Alec Guinness, Joan Plowright and Ralph Richardson.

Two Gentlemen of Verona: have the 2018 one here. The BBC version is here.

The Winter's Tale: the BBC version is here

Please do contribute if you find more. This is far from exhaustive.

(also look up the original post from time to time for more plays)

[mellxncollie]

Dead Boy Detectives characters + live, laugh, love variants

+ bonus:

[eskildit]

In a better kinder world. Gideon nav would have been at the club.

[lorastyrels]

Butcher, Night Nurse, Crow and a King of Cats

[kingzombear]

Also uuuhhh my Glamrocks from a vid that bombed lmao. I replayed Security Breach on 4/20 so I'm gonna make u look @ them </3

[bluerosefox]

Always Favors You

Another Sibling Danny and Jason idea!!

"Are you Jason Peter Todd?!" demanded a deep and commanding tone from the strange glowing being in front of them.

All the Bats stiffened and tensed, no doubt gearing up for a fight against the being that somehow knew Red Hood's full name.

Jason, Red Hood, decided to put on a brave front despite no doubt cursing in his head and wondering how the heck did this thing know his full freaking name.

"Whose asking." he snarled out, his hands twitching for his gun when the huge glowing knight with purple flames coming out of his helmet and cape, who was riding on a nightmare looking horse while they all had been in the cave going over tonight's patrol.

The Knight didn't seemed bothered by his response nor did he even seem to care or flinch when Batman made his own demand on 'Why was he there and who was he' or when Damian unsheathed his sword and pointed it towards him. Instead the strange glowing Knight reached to it side and pulled out... A glowing scroll? Huh. (Also he completely unnerved everyone in the room when the Knight didn't even react when Batman had tossed a Baterang when he reached for his side)

The Knight opened the scroll and spoke clearly with purpose.

"Jason Peter Todd,

You are hereby invited as a special guest of honor to the crowning of our future King of the Infinite Realms.

Daniel Phantom, once Daniel Jackson Fenton, and once Daniel Austen Todd.

Prince of the Infinite Realms, the Keeper of Balance, The Peacekeeping Halfa, the Defeater of the Tyrant King Pariah Dark, The Great One, Youngest of the Ancients, Ancient of Space, The Bridge between Life and Death.

You, the half-brother of our King, have been given the highest of honors for your past actions and will be given housing and food in the Realms and Phantom's Keep, for the week long event. Personal servants and attendants will be at your disposable and a seamstress will be on hand to tailor make your attire for the Coronation.

Signed: Clockwork. Ancient of Time. Watcher of the Infinite Timeline. Kronos. Mentor and Adviser.

PS: I shall have Fright Knight ("Me" the Knight bluntly said for a second) leave this scroll along with a personal one for you from Daniel to read over and once you make up your mind sign the bottom of the scroll.

I do hope in time you will pick the right choice Jason Todd, we of the Infinite Realms would like to reward you for your actions. After all, if you hadn't gotten young Daniel away from your father that night all those years ago, we would never had gained our Prince nor be free from our once Tyrant King.

Ah, one more thing.

The Infinite Realms will always favor you Jason."

Jason felt like he couldn't breath as Fright Knight? Rolled up the scroll, pulled a letter from his side, and held out the two items for him to take.

[chloesimaginationthings]

This is basically Michael in FNAF Sister location,,

[hannaloony]

Types of Magic

[dinoserious]

full moon dogey

[bet-on-me-13]

The Ambassador

So! It was finally happening. After Years of Pleading with the Guardians and other Ruling Bodies of the Galactic Community, the Justice League had finally gotten then to agree to create an Alliance with Earth.

With an Alliance, Earth would gain the Protection of Multiple Empires and The Guardians, which would mean an end to the Constant Alien Invasions they faced. There was also the legal opening of Trade Routes between Planets to exchange Technology and Resources on the Galactic Scale.

Of course Earth would return the Favor, legally being able to defend it's Allies with its unusually large population if Superheroes and quickly advancing Tech, while also trading Tech and Resources between Planets.

Of course the battle was not entirely won yet.

They still needed to begin Negotiations to see if both sides would even agree to the Alliance in the First Place, as well as decide on the specifics of the Treaty. The United Nation's would decide on Ambassadors to represent the different countries, while the different Alien Governments would send an Ambassador Each.

When the Ambassadors arrived, they asked to be introduced to the Representatives of the Planet. Except, they claimed that there was a missing Member.

They claimed that there was one more Major Kingdom on the Planet, the most Powerful One, which they felt must be at the Negotiations.

When asked who this missing Ambassador was, they simply replied, "King Phantom of the Infinite Realms, he and a Shard of his Kingdom reside on this Planet, do they not?"

Now they are working around the clock to find this missing Kingdom, because the Alien Ambassadors refused to negotiate without the most powerful Kingdom at the Table, and they woud not wait forever.

Just who was this "King Phantom", and why had he not revealed himself yet?

...

Sam and Tucker sat on the Couch in their apartment, staring at the TV as the Chosen Representatives for America finished their Speech. Apparently the Peace Talks had been put on Hold for a few more days as they did some last minute preparations. Something about making their Guests more comfortable before they began discussing politics.

"Hey Danny, they're delaying the Negotiations for a few more days." Sam called over to the Kitchen.

"Aw, what?!" Shouted Danny from the Kitchen, sounding extremely disappointed, "I just finished making all the Popcorn!"

"I know Honey, its too bad." Tucker comforted his Partner, "Let's marathon Star Trek instead, how about that?"

Danny slumped out of kitchen and into the Couch between them, steaming bowl of Popcorn in his Lap, "I guess. We can make good use of all this popcorn at least."

Sam patted him on the arm, "Hey it's okay, the Talks will just take a few more days."

Danny shrugged, "Yeah, you're right. Man, what I wouldn't give to be in that Room."

[deconstructthesoup]

One thing I absolutely adore about Dead Boy Detectives is the immaculate costume design. Specifically, how it perfectly encapsulates who the characters are, both as a whole and who they are in the moment.

From the very first scene of the show, we know immediately that Edwin is a bookish, somewhat stuffy guy from the Edwardian era who attended a boarding school, and Charles is a punk from the 1980's who's most likely the wildcard between the two of them, just going off of the way that they're dressed. Both of them have distinct color schemes and different styles, but the general shape of their outfits is actually relatively similar---both of them have collared shirts (Edwin's dress shirt, Charles's polo), something over those shirts (Edwin's vest, Charles's suspenders), a jacket of some kind (Edwin's suit jacket, Charles's flannel thing), a longer overcoat (Edwin's traveling coat, Charles's peacoat), something around the neck (Edwin's bowtie, Charles's necklace), slacks, and nice shoes. They're distinct, yet matching, two clearly defined separate characters yet part of a set.

Edwin's prim, proper, buttoned-up personality lends itself to the way he dresses throughout the season---in the first episode, he only dresses down when he's in the office with Charles, aka his safe place and his safe person, and he doesn't really dress down like that again for a good long while after getting stuck in Port Townsend (though, if my memory serves me correctly, he does take off the suit jacket while watching TV with Niko). But in episode six, he's changed up his usual look for a cozier, casual-looking sweater and a little bit of collarbone, and in episode seven... well, he's in his nightclothes, and he's about as open, raw, and vulnerable as you can get. Edwin's color scheme is also predominately blue, which lines up nicely with his logical and practical, yet deeply sad and closed off personality, and the only time he really wears anything other than his normal blue-and-brown outfit (willingly, that is) is when he's in that green sweater in episode six. And, uh... all I can say is that it's quite telling how blue and green---or, well, teal---are the main colors of the gay/mlm flag.

Charles, by contrast, dresses down a lot, and that makes a lot of sense when you consider the fact that unlike Edwin, he feels comfortable pretty much anywhere. On any given episode, he goes from wearing his peacoat to just wearing his flannel to ditching the flannel to not even wearing the freaking polo---though, again, the latter is something that only happens when he's in the office with Edwin. Safe space, safe person. And, well, plenty of people have analyzed Charles's polo shirt going from red to burgundy to black over the course of the series, and there being a little bit of red under the collar of his coat that's only visible when Edwin fixes it, and then it goes back to burgundy, and then it's red again when Edwin's out of Hell... for good reason! It's color symbolism at its finest! Not to mention, the red and black not only perfectly contrasts Edwin's color scheme, but it also lines up with Charles's personality---he's a rebel, he's hotheaded, he's bold and brash and loud... and yes, he's angry, but he's also so, so loving.

When we first meet Crystal after she loses her memories, her outfit choices feel very deliberate. They're stylish and vaguely trendy, they're arty and a little bit witchy---pretty fitting for a psychic who's also a showbiz kid, even if she doesn't know that last part. But all of her clothes appear thrifted, or at the very least vintage, and the patterns and the general vibe all feel natural and comforting. Her makeup's always fairly simple, her hair's either down or up in a couple of cute space buns... overall, this Crystal looks like the kind of person who'd make you tea when you're in a bad mood, who'll listen when you just need to vent, and who may not always know the right thing to say but will understand what you're going through. But when we see her in the flashbacks, her clothing's flashy and prioritizes high-end trends over comfort, she's either got her hair up or has it straightened, and she not only has dramatic makeup, but acrylics. This is a girl who talks shit about you behind your back, who's bitter and cynical and wants everyone to feel the same way, who makes up for the lack of love and stability in her life via material things. It's also worth noting that Crystal's color scheme has a lot of purple, which is a color that connects to wealth and luxury, but also creativity and magic---which, yeah, fits her two conflicting sides pretty damn well.

You cannot talk about Niko Sasaki without talking about her outfits, and the meaning behind each of them has already been talked about at length. However, one thing that really stands out to me is that the reason they're so iconic isn't just because of the monochrome color schemes, but because they're out there. They're weird, they're eclectic, they're a little mismatched in style sometimes, and they're so unapologetically her. Niko wears heart-shaped sunglasses, unironically. Everything about the way she dresses speaks to how, even though she's a recovering shut-in who initially doesn't want to be perceived, she's still very sure of who she is.

Jenny's design, like Charles and Edwin's, is a design that gives you the key information you need the minute she first appears onscreen. The dark makeup, the silver jewelry, the leather apron, and the hairstyle all point to a person who's tough, doesn't take anyone's shit, and has long since given up on caring what other people think---in other words, she's a badass. But the butterfly tattoo hints at a softer side, a side that we see time and time again throughout the series as she shows that she cares about Crystal and Niko, and even the boys... eventually. Also, Jenny's design is perhaps one of the most clearly queer-coded in the series, to the point where her being a confirmed lesbian is pretty much a no-brainer.

Esther's design oozes camp, from top to bottom. The fluffy coat, the bustier, the boots and the cane and the everything, speak to a woman who's kept with the times and yet has seen it all. There's really not a lot I can fully say about her design, other than what Charles has already said: "She looks like a witch... like, kind of a sexy witch, who smokes a lot." (Or maybe I'm just tired and running out of steam at this point, idk, I love Esther's design and I can't really put it into words.) It's also pretty fitting that her color scheme has a lot of yellow in it---after all, she's always striving for more, so what better color for her than the color of gold?

Everything about the Night Nurse's design speaks to a woman who follows rules and discipline above all else, from the pantsuit to the pinned-up hairstyles to the tie to the heels. She's also the most muted out of the main cast in terms of color, dressing mostly in browns, dull greens, and duller browns---and while I don't have a lot to go into detail about there, I feel like that's kind of a symbol of her narrow-minded and bureaucratic worldview.

And the animal characters... Jesus Christ, I fully forget that they're all being played by human actors. Tragic Mick dresses like a man who's always spent his life by the sea, layered denim and all, and it's never a stretch to see this sad, bushy-bearded, baggy-clothed fisherman and imagine him as a walrus lounging on a beach. Monty, at first glance, seems to only wear black, which would be perfectly fitting for a crow, but when he's in better lighting, you see that he dresses in layers of red and blue, calling to how he envies Charles and Edwin and clearly longs for something more---and this might just be me, but I think that even though his outfits seem fairly normal at first glance, they feel kind of like a costume for Monty more than anything else, like he's trying to emulate a teenager that he's seen on TV more than someone in real life.

The Cat King fits this just as well, with all of his outfits aligning perfectly with whatever his cat form is at the time---when he's a fluffy ginger, it's always sequins and fur coats and clothing pieces that are specifically designed to take up space and call attention, and when he's a black shorthair, it's sleek styles and shiny leather and pieces that are designed to cut an intimidating yet more subtle figure. And while I could go into detail about all of those, what really stands out to me is how clearly queer everything is---more than Jenny's alt lesbian attire, more than Esther's campy coat and corset. From the very first scene he's in, he's wearing a skirt, and it looks natural. Nothing about the way the Cat King presents himself is exaggerated, nothing about the way he dresses is played for laughs---he's flamboyant and feminine and flirty, and he looks so fucking hot while he does it. It's gorgeous.

So... yeah, uh, all the awards for the Dead Boy Detectives costume designers!

[hopeidontgetaddictedtothis]

Dead Boy Detectives | 1.01: The Case of Crystal Palace

[alicedusstuff]

Quelques croquis nocturnes.