#zeila

[jessica-read]

The other gorgeous outfit I found that made me feel so special when I wore it. I love the thought of how I felt when I put it on 🙏❤️👗👠

[linked-history]

Finally made a banner for the account and wanted to share the full image. Originally debated on having Zeila in her usual attire or in her "Prayer" attire and in the end I figured there was already so much blue in the image and I didn't want Zeila to be lost in it so I quick threw together a prayer outfit for her for the sake of this picture. may make a reference for it later.

Below the cut I included the unobscured Gate of Time as well as the changed symbols that I used surrounding it and the Link that each Symbol corresponds with as I wanted them to have more meaning and needed to add more, one for each of the Links.

Overall the design for the gate of time didn't change, only thing I altered were the 12 symbols along the outer rim as I wanted them to have a connection to the different Links. And because I have so many I needed to add 4 additional symbols. I've included all of the symbols below with their corresponding Link and the meaning/inspiration behind the symbol, though there are a few that I didn't change too much and only made minor changes

[logi1974]

The Zeila was stranded on 25 August 2008 in the early morning hours near a popular fishing spot about 14 km south of Henties Bay. The fishing trawler was retired by Hangana Fishing of Walvis Bay, was sold as scrap metal to an Indian company and got stranded after it came loose from its towing line while on its way to Bombay shortly after it left Walvis Bay. As the Zeila had been stripped to its shell it was decided to tow her to India. In the middle of the night, not far beyond the Walvis Bay harbour limits, the towing line broke and the Zeila began to drift.  During the night the Zeila had drifted close to shore and finally came to rest on a sandbank near the popular fishing spot. Being a weekday, the fishing spot would normally have been empty, but luck was on the side of the crewmen. It was a public holiday and several fishermen had decided to make the best of the day and go fishing. Frantically the two crewmen signalled the fishermen, who alerted Henties Bay authorities to the plight of the two men.  Once on shore the crew were taken to hospital and treated for shock and minor injuries.  

———————————————-

Die Zeila strandete am 25. August 2008 in den frühen Morgenstunden in der Nähe eines beliebten Angelplatzes, etwa 14 km südlich von Henties Bay. Der Fischtrawler wurde von Hangana Fishing aus Walvis Bay in den Ruhestand versetzt, als Altmetall an eine indische Firma verkauft und strandete, nachdem er sich auf dem Weg nach Bombay kurz nach dem Verlassen von Walvis Bay von seiner Schleppleine gelöst hatte. Da die Zeila bis auf die Hülle entkernt worden war, wurde beschlossen, sie nach Indien zu schleppen. Mitten in der Nacht, nicht weit hinter den Hafengrenzen von Walvis Bay, brach die Schleppleine und die Zeila begann zu treiben. Während der Nacht war die Zeila nahe an die Küste getrieben und kam schließlich auf einer Sandbank in der Nähe des beliebten Angelplatzes zur Ruhe. An einem Wochentag wäre der Angelplatz normalerweise verwaist gewesen, aber das Glück war auf der Seite der Besatzungsmitglieder. Es war Feiertag und mehrere Angler hatten beschlossen, das Beste aus dem Tag zu machen und fischen zu gehen. Die beiden Besatzungsmitglieder signalisierten verzweifelt den Fischern, die Behörden von Henties Bay auf die Notlage der beiden Männer aufmerksam zu machen. An Land angekommen, wurde die Besatzung ins Krankenhaus gebracht und wegen Schock und leichten Verletzungen behandelt.

[panafrocore]

The Historical Significance and Cultural Heritage of Zeila, Somalia

Situated on the coastline of Somalia, Zeila stood as a bustling port city during the Middle Ages, playing a pivotal role in the trade network of the Horn of Africa. Its historical significance is underscored by the fact that in the thirteenth century, it was often synonymous with the Ifat Sultanate, which exerted its influence over the entire region. This association continued into the fourteenth…

[saxafimedianetwork]

Secret Intel Uncovers Plot Against Somaliland Stability

A secret intel has uncovered a sinister plot involving @M_Farmaajo & the influential Darod elites. It appears that they are conspiring to incite a civil war in West #Somaliland, a region known for its stability & peaceful coexistence.

Continue reading Untitled

[usssnarfblat]

A few 2D Muslim heroes

[teamnick]

💌 (❤️‍🩹❤️🩷🧡💛💚💙🩵💜😘)

Zeila.....you are someone who is very special to me on this site, and I love that we are still friends and still texting despite being in different fandoms for years now. Like instead of stop talking we just adopted each others blorbos <3 you're funny af and i cant wait for the next football match that we can liveblog on discord (euro 2024 here we come!!)

mutuals send me a 💌 and ill tell u something i love about you

[paralleljulieverse]

‘Who is queen of all the garden?’: 70th anniversary of The Rose of Baghdad (UK version) Christmastime 1952/53

Ask almost anyone the name of Julie Andrews’ first film and the automatic response will be: “why,  Mary Poppins...of course!” It’s part of Hollywood folklore that, having been passed over by Jack Warner for the film adaptation of My Fair Lady because she wasn’t a ‘proven movie star’, Andrews was offered the title role of the magical nanny in Walt Disney’s classic 1964 screen musical. It earned Andrews a Best Actress Oscar straight off the bat and catapulted her to international stardom as Hollywood’s musical sweetheart. Her film debut in Mary Poppins has even been a question in the ’easy’ category on Jeopardy!  (Answered correctly, natch, for $100 by Steven Meyer, an attorney from Middletown, Connecticut). 

But, with all due respect to Alex Trebek and general knowledge mavens everywhere, Julie's very first film actually came out more than a decade before Mary Poppins. In 1952, when the young star was just 16 going on 17, she was cast to voice the lead character of Princess Zeila in the UK version of the Italian animated film, The Rose of Baghdad. 

It’s an easily overlooked part of Andrews’ oeuvre, figured, if at all, as a minor footnote to her later Broadway and Hollywood career. But The Rose of Baghdad was a not insignificant stepping stone in Andrews’ rise to stardom and one, moreover, that prefigures important aspects of her later screen image. So, on the 70th anniversary of the film’s British release, it is timely to look back briefly at The Rose of Baghdad.

La rosa italiana

Produced and directed by Anton Gino Domeneghini, The Rose of Bagdad -- or, in its original title, La rosa di Bagdad -- was the first feature-length animation ever made in Italy and also the country’s first Technicolor production. As such, it commands a prominent position in Italian film history (Bellano 2016; Bendazzi 2020).

La rosa di Bagdad was a real passion project for Domeneghini, a commercial artist and businessman with a successful advertising company, IMA, headquartered in Milan. During the 30s, Domeneghini’s firm handled the Italian marketing for many major international clients including Coca-Cola, Coty, and Gillette (Bendazzi: 23). With the outbreak of WW2, the advertising industry in Italy was effectively shut down. In an effort to keep his company afloat, Domeneghini rebranded as a film production company, IMA Films. 

Inspired by the success of animated features from the US such as Disney’s Snow White and the Seven Dwarves (1937) and the Fleischer Brothers’ Gullivers Travels (1939), Domeneghini decided to produce an Italian animated film that could emulate the crowd-pleasing dimensions of American imports but with a distinct Italian sensibility (Fiecconi: 13-14). He threw himself heart and soul into the endeavour.

Based on an original idea developed from various stories Domeneghini had enjoyed as a boy, La rosa di Bagdad was conceived as an orientalist fairytale pastiche. The plot was patterned loosely after the Arabian Nights, complete with an Aladdin-style boy minstrel, a mystical genie, tyrannical sorcerer, and a golden-voiced princess. But it was embroidered with a host of other elements from assorted folktales and pop cultural texts.

To oversee the production, Domeneghini handpicked a core creative team including a pair of stage designers from La Scala, Nicola Benois and Mario Zampini, and a trio of head artists: animator Gustavo Petronio, caricaturist Angelo Bioletto, and illustrator Libico Maraja (Bendazzi: 23). They helped craft the film’s distinctive aesthetic with its striking blend of comic character-based animation and figurative exoticism of the Italian Orientalist School of painters such as Mariani, Simonetti, and Rosati (Fiecconi: 17). 

Music was crucial to Domeneghini’s vision for the film. Fiecconi (2018) asserts that “the original creative part of the movie lies in the musical moments where the film seemed to celebrate the Italian opera” (17). Domeneghini commissioned the celebrated Milanese composer, Riccardo Pick-Mangiagalli, to write the film’s musical score. It would be the composer’s last complete work before his untimely death at age 66 in early-1949 and it has been described as something of “a summa of Pick-Mangiagalli’s art” (Bellano: 34). Combining Hollywood-style romantic underscoring with Italian and Viennese classicism, Pick-Mangiagalli composed a broadly operatic score replete with arias, waltzes, and orientalist nocturnes. 

Given the difficulties of wartime, the production process for La rosa was long and arduous and the film took over seven years to complete. At various stages, more than a hundred production staff worked on the film, including forty-seven animators, twenty-five ‘in-betweeners’, forty-four inkers and painters, five background artists, and an assortment of technicians and administrative assistants (Bendazzi: 25). Colour processing was initially done using the German Agfacolor system but it produced a greenish tint that was not to Domeneghini’s liking. So after the war, he took the film to the UK where it was reshot in Technicolor at Anson Dyer’s Stratford Abbey Studios in Stroud (Bendazzi: 24).

La Rosa di Bagdad finally premiered in 1949 at the Venice Film Festival where it won the Grand Prix in the Films for Youth category. The following year, the film was given a general public release in Italy. Leveraging his professional training as an ad man, Domeneghini crafted an extensive marketing and merchandising campaign for the film that was unprecedented at the time (Bendazzi: 30). It helped secure decent, if not spectacular, commercial returns for the film in Italy and encouraged Domengheni to shop his film abroad to other markets in Europe (Ugolotti: 8). 

The English Rose 

It was in this context that a distribution deal was brokered in early-1951 with Grand National Pictures in the UK to release La Rosa di Bagdad to the British market (’Many countries’: 20). Not to be confused with the short-lived US Poverty Row studio whose name -- and, even more confoundingly, logo -- it adopted, Grand Pictures was an independent British production-distribution company established in 1938 by producer Maurice J. Wilson. While it produced a few titles of its own, Grand National was predominantly geared to film distribution with an accent on imported product from the Continent and Commonwealth countries (McFarlane & Slide: 301).

Retitled The Rose of Baghdad, the film was part of an ambitious suite of twenty-six films slated for distribution by Grand National to British theatres in 1952, the company’s “biggest ever release programme” (’Grand National’: 16). The screenplay and musical lyrics were translated into English by Nina and Tony Maguire, and a completely new soundtrack was recorded at the celebrated De Lane Lea Processes studio in London (Massey 2015). 

To do the voicework for the English-language version, Grand National assembled a roster of diverse British talent from across the fields of theatre, radio and film. The distinguished BBC actor Howard Marion-Crawford lent his sonorous baritone to the role of the narrator. RADA graduate and popular radio comedienne, Patricia Hayes voiced Amin, the teenage minstrel. Celebrated stage and film star, Arthur Young voiced the kindly Caliph, while rising TV actor Stephen Jack provided a suitably menacing Sheikh Jafar. 

The biggest and most publicised name in the line-up, however, was Julie Andrews 'enacting’ the role of Princess Zeila. Much was made of Julie’s casting, and she was the only member of the British cast to be given named billing on the film’s poster and associated marketing materials. Scene-for-scene, her role wasn’t necessarily the biggest. Other characters have more lines and more action. But, as the symbolic “rose” of the film’s title and the focus of narrative attention, Julie as Princess Zeila had to carry much of the film's emotional weight. 

And, musically, Princess Zeila certainly dominates proceedings. Her character is meant to posses a golden voice of rare enchantment and the film showcases her virtuosic singing in several key scenes. As mentioned earlier, composer Riccardo Pick-Mangiagalli imbued the score with a strong operatic flavour and this is nowhere more apparent than in the three coloratura arias that he penned for Zeila: “Song of the Bee”, “Sunset Prayer” and the “Flower Song”. In the original Italian release, the part of Zeila was sung by Beatrice Preziosa, an opera soprano of some note who performed widely in the era with the RAI and had even sung opposite Gigli (Bellano: 35).

In her 2008 memoirs, Julie recalls the challenge of recording the Pick-Mangiagalli score:

“I had a coloratura voice, but these songs were so freakishly high that, though I managed them, there were some words that I struggled with in the upper register. I wasn’t terribly satisfied with the result. I didn’t think I had sung my best. But I remember seeing the film and thinking that the animation was beautiful. I’m pleased now that I did the work, for since then I don’t recall ever tackling such high technical material” (Andrews: 143-44).

The Rose opens

The British version of The Rose of Baghdad had its first public screenings in September of 1952 at a series of trade events organised by Grand National to market the picture to prospective exhibitors. The first such screening was on 16 September at Studio One in Oxford Street, London, followed by: 17 September at the Olympia in Cardiff; 19 September at the Scala in Birmingham;  22 September at the Cinema House in Sheffield; 23 September at the Tower in Leeds; 25 September at the Theatre Royal in Manchester; and 26 September at the Scala in Liverpool  (’London and provincial’: 32; ’Trade show’: 14). 

In promoting the film, Grand National pitched The Rose of Baghdad as wholesome family fare perfect for children’s matinees and double features. “A fascinating cartoon to enchant audiences of all ages” was the campaign catchline. They especially plugged the film’s potential as a seasonal attraction with full-page adverts in trade publications that billed it as the “showman’s picture for Christmastide”.

One of the film’s first UK reviews came out of these early trade screenings with Peter Davalle of the Welsh-based Western Mail newspaper filing a fulsome report:

“Ambitious in scale as anything that Disney has conceived...it has very right to demand the same intensity of judgement conferred on the Hollywood product. I have little but praise for it and I hope my enthusiasm will infect one of the country’s cinema circuit chiefs to the extent of giving it the showing it deserves” (Davalle: 4).

Ultimately, the film was unable to secure an exhibition deal with a major cinema chain. Instead, it was given a patchwork release at various independent and/or unaffiliated theatres across the country. 

The Tatler theatre in Birmingham proudly billed its 14 December opening of The Rose of Baghdad as the film’s “first showing in England”. Archive research, however, evidences that it opened the same day at several other provincial theatres such as the Classic in Walsall (’Next week’: 10).  Other notable early openings included the Alexandra Theatre in Coventry on 22 December -- the day before Julie premiered in the Christmas panto, Jack and the Beanstalk at the Coventry Hippodrome -- and the News Theatre in Liverpool and the Castle in Swansea on 29 December.

The film’s initial London release was at the Tatler in Charing Cross Road where it had a charity matinee premiere on 28 December sponsored by the West End Central Police with 470 children in the audience from the Police Orphanage (’Pre-release’: 119). The film then continued a chequerboard rollout across the UK throughout early-1953 with concentrated bursts around school holiday periods.

Because of the fitful nature of the film’s release pattern, The Rose of Baghdad didn’t attract sustained critical attention, though there were short reviews in various newspapers and publications. The critical response was lukewarm with reviewers finding the film pleasant, if lacking in technical polish. Most praised the English soundtrack with generally kind words for Julie:

The Times: “This Italian cartoon, ‘dubbed’ into English, proves once again how much more happy and at home the medium is with animals than with human beings. Mr. Walt Disney never did anything better than Bambi, which was given entirely over to the beasts and birds of the forest, and the Princess Zeila, the rose of Baghdad, proves just as unsatisfactory a figure as Snow White and Cinderella. The fault is that not of Miss Julie Andrews, who speaks and sings the part; it seems inherent in the medium itself...The Rose of Baghdad is not, however, without some delightful incidentals (’Entertainments’: 9).

The Observer:  “Intelligently dubbed English version of full-length Italian cartoon...Nice use of crowds and minarets; one or two brilliant shots...; variably jerky animation; trite comedy; chocolate box princess...Not at all bad, a little too foreign to be cosy” (Lejeune: 6).

Picturegoer: “Charm stamps this full-length Italian cartoon, dubbed in English. Technically, it hardly bears comparison with the best of Disney. But it has genuine freshness and some appealing character studies...There is a delicate, very un-jivey musical score, and Julie Andrews sings attractively for the princess” (Collier: 17).

Photoplay: “The under 20′s and the over 50′s will love this one...Young B.B.C. star Julie Andrews ‘enacts’ the role of the Princess and sings three of the film’s seven tuneful songs....Yes, you’ll love this -- make it a must” (Allsop: 43).

Kinematograph Weekly: “Refreshing, disarmingly ingenuous Technicolor Arabian Nights-type fantasy, expressed in cartoon form. Made in Italy and expertly dubbed here...It hasn’t the fluid continuity nor flawless detail of Walt Disney’s masterpieces, but even so its many charming and novel characters come to life and atmosphere heightened by tuneful songs, is enchanting” (’Late review’: 7).

Picture Show & Film Pictorial: “Such a charming mixture of heroics,  villainy and romance should not be missed, and although the animation is not as good as first-class American cartoons, the colour and the songs are delightful” (’New Release’: 10).

The Birmingham Post: “[A]n Italian cartoon in colour which equals Disney in artistic invention though not in smooth animation...Fancy flies high but always it takes us with it. Much of the colour work is beautiful...The characters remain always between the covers of the story book, but within their limited living rom they are a  gay and enterprising company” (T.C.K.: 4).

Coventry Evening Telegraph: “It would be difficult to find a more delightful fantasy for Christmas entertainment than “The Rose of Baghdad” (Alexandra) -- the new Italian full-length cartoon. Until recently, Hollywood held an unbreakable monopoly in this field of coloured picture making. Now we have the opportunity to see a new and refreshing approach to the subject...All dialogue has been English-dubbed and appropriately enough Julie Andrews, who opens in Coventry pantomime tonight, sings and speaks the part of the little princess Zeila” (Our Film Critic: 4).

Faded Rose 

The Rose of Baghdad continued to pop up at various British theatres across 1953 and was even screening as a second feature at children’s matinees into 1954 and 55. In 1958, the film had a special Christmas TV broadcast in Australia where much was made of the fact that it featured Julie Andrews who was riding high at the time on the success of My Fair Lady (’Voice’: 15).

Ironically, the film would receive its most high profile release many years later in 1967 when a minor US film distributor, Trans-National Film Corp, secured North American exhibition rights for the property. Trans-National was one of a series of companies set up by Laurence “Larry” Joachim who would find modest success in later years as a distributor of martial arts films. With a background in TV gameshows, Joachim was known for his aggressive marketing strategies and he was very “hands on for the theatrical campaigns and art work for all the movies with which he was involved” (’Larry Joachim’ 2014).

In an effort to capitalise on Julie’s sudden film superstardom in the mid-60s, Joachim tried to sell The Rose of Baghdad as a ‘new’ Julie Andrews musical. He gave it a new title as The Singing Princess and marketed it with the dubious tagline: “It’s joy, it’s magic, it’s Julie Andrews”. He even billed the film as made in ‘Fantasticolor’, an entirely fictitious process. 

Registered with the Library of Congress in April 1967, The Singing Princess wasn’t released to the public till November of that year, likely to coincide with the holidays (Library of Congress: 121). It opened with a series of ‘children’s matinees’ at over 60 venues in New York before rolling out to other theatres across the US (’Children’s show’: 105).

It’s not clear if Joachim had access to the original UK source elements or if he just used a standard release print, but release copies of The Singing Princess were decidedly sub-par. They were marred by artefacts, colours were muddied and the soundtrack was prone to distortion. Moreover, by 1967, the film was hugely dated with old-fashioned production values and glaringly anachronistic elements. Joachim even had to edit a few sensitive scenes which were either too graphic or impolitic for the times.

The Singing Princess was not well received. Indicative of the dim response is this New York Times review summarily titled, ‘Feeble Princess’:

“The Singing Princess has joined the parade of foreign-made movies that turn up on weekend movies, most of them only fair and some of them incredibly awful...Parents would do well to read the smaller print in the ads...for the picture stars ‘the magic voice of Julie Andrews’ and emphatically not the lady’s magical presence....As an hour-length, fairy-tale cartoon of Old Baghdad the film is feeble entertainment compared with the technical wizardry and dazzling palettes of Walt Disney and others. It is possibly best suited for very small toddlers who may never have watched a cartoon on a theater-size screen. The distributor said that the film was made years ago in Italy and later dubbed into English in London, where apparently a very youthful Miss Andrews was recruited to sing three very so-so tunes. Those pristine, silvery tones certainly sounded like her on Saturday, but in the diction department she could have learned a thing or two from the Andrews Sisters. As a matter of fact, while London was revamping Old Baghdad, Italian-style, it might have been a good idea to set it swinging” (Thompson: 63).

The hatchet-job US release of The Singing Princess is the English-language version that has largely circulated since. In the intervening years, it has been given several TV, video and DVD releases of varying degrees of technical quality. None of which have helped the film’s reputation.

Not surprisingly, the film has enjoyed rather more favourable treatment in Italy. To mark the 60th anniversary of the original Italian release in 2009, La rosa di Bagdad was carefully restored and reissued on Blu-Ray. There have been some recent attempts to couple these restored visuals with the existing Singing Princess soundtrack, but it would be nice to see a properly remastered English-language version, ideally from the original audio elements if they still exist.

Heirloom Rose

Although it was never a major entry in the Julie Andrews canon, The Rose of Baghdad is not without critical significance. Not only was it Julie’s first foray into film-making, but it was also an early instance of the animation voice-work that would become a major part of her latter day professional output with recent efforts such as the Shrek and Despicable Me series. 

In addition, Princess Zeila signals an early entry in the long line of royal characters that would come to inform the evolving Julie Andrews star image. By 1952, Julie was already a dab hand at playing princesses, having donned crowns several times both on stage and in song. She would proceed to ever more celebrated royal character parts from Cinderella and Guinevere in Camelot to Queen Clarisse in The Princess Dairies and Queen Lillian in the aforementioned Shrek films. 

Ultimately, though, the principal historical significance of The Rose of Baghdad lies in its status as one of the few recorded examples we have from Julie’s early juvenile career in Britain. She worked assiduously in these early years, giving hundreds, if not thousands, of performances on stage, radio, and television. Sadly, other than a few 78 recordings and the odd surviving radio programme, very little of that early work remains. One lives in hope that more material may surface in coming years. In the meantime, The Rose of Baghdad offers a tantalising glimpse back into this fascinating early period when Julie was ‘Britain’s youngest singing star’.

References:

Allsop, Kathleen (1953). ‘Photoplay’s guide to the films: Rose of Baghdad.’ Photoplay. 4(1) January: p. 43.

Andrews, Julie (2008). Home: A memoir of my early years. London: Weidenfeld and Nicolson.

Bellano, Marco (2016). ‘“I fratelli Dinamite” e “La rosa di Bagdad”, l'Italia e la musica’. In: Scrittore, R. (Ed.). Passioni animate. Quaderno di studi sul cinema d'animazione italiano, Milan : 19-52.

Bendazzi, Giannalberto (2020). A moving subject. Boca Raton: CRC Press.

‘Children’s show’ (1967). Daily News. 8 November: p. 105.

Collier, Lionel. (1953). ‘Talking of films: “The Rose of Baghdad”.’ Picturegoer. 25(929): pp. 17-18.

Davalle, Peter C. (1952). ‘Film notes: Italy treads Disney trail.’ Western Mail and South Wales News. 20 September: p. 4.

‘Entertainment: Film Of Botany Bay. (1952). The Times, 29 December p. 9. 

Fiecconi, Federico (2018). ‘L’arte preziosa della Rosa / The Precious art of the Rose’. In Gradelle, D. (Ed.). La rosa di Bagdad: Un tesoro ritrovato. Parma: Urania Casa d’Aste: pp. 6-11.

‘Grand National offers ten British.’ (1952). Kinematograph Weekly. 1 May: p. 16.

‘Larry Joachim, distributor of kung du films, dies at 88.’ (2014). Variety. 2 January.

‘Late review: The Rose of Baghdad.’ (1952). Kinematograph Weekly. 18 December: p. 7.

Lejeune, C.A. (1952). ‘At the films: Dan’s Anderson.’ The Observer. 21 December: p. 6.

Library of Congress (1967). Catalog of copyright entries: Works of art. 21(7-11A), January-June. 

‘London and provincial trade screenings.’ Kinematograph Weekly. 11 September: p. 32-34.

‘Many countries covered in big Grand National List’ (1951). Kinematograph Weekly. 1 February: p. 20.

Massey, Howard (2015). The great British recording studios. London: Hal Leonard Publishing.

McFarlane, Brian, & Slide, Anthony. (2013). The encyclopedia of British film. 4th Edn. Manchester University Press.

‘Next week’s cinema shows.’ (1952). The Walsall Observer. 12 December: p. 10.

‘New Releases: Rose of Baghdad’ (1952). Picture Show and Film Pictorial. 59(1361). 20 December: p.10.

Our Film Critic (1952). ‘Seasonable fantasy.’ Coventry Evening Telegraph. 23 December, p. 4.

‘Pre-releases and release dates.’ (1952). Kinematograph Weekly. 18 December: p. 119.

‘Rose of Baghdad.’ (1952). 

T.C.K. (1952). ‘Cinema shows in Birmingham: Italian cartoon.’ The Birmingham Post. 17 December: p. 4.

Thompson, Howard (1967). ‘Screen: Feeble princess.’ The New York Times. 13 November: p. 63.

‘Trade show news: colour cartoon feature.’ (1952). Kinematograph Weekly. 11 September: p. 14. 

Ugolotti, Carlo (2018). ‘La rosa di Bagdad: il folle sogno di Anton Gino Domeneghini / The Rose of Bagdad: the mad dream of Anton Gino Domeneghini.’ In Gradelle, D. (Ed.). La rosa di Bagdad: Un tesoro ritrovato. Parma: Urania Casa d’Aste: pp. 12-21.

‘Voice of Julie Andrews.’ (1958). The Sydney Morning Herald. 8 December: p. 15.

Copyright © Brett Farmer 2023

[shamemp3]

NAME PLAYLIST PLEASE 🤲🏻💞

ANYTHING FOR YOU

l: lights on - fka twigs

e: echo park - bedouine

y: ya ana ya ana - fairuz

l: limitless - sudan archives

i: icarus - mashrou' leila

[twelvesaints]

MEET THE LEADS OF TWELVE SAINTS

Zeila Newton (15)

Born in the nation’s capital with an affinity for gravitation, Zeila Newton’s dream is to be the Saint of Light like her idol Marie Adonai.

A diligent student of Transelmany’s history, Zeila adores the revolt against the monarchy and its heroes, wanting nothing more than to do whatever she can to keep Yemisi’s dream alive.

Tini Charre (15)

Tini is from the Church of Fire but moved from Yola to the Capital after her father Damian Charre was canonized as the Saint of Fire.

After Damian’s tragic murder at the hands of Crown Restorationists, she vowed to honor his legacy and stop at nothing to become the next Saint of her home church.

Max Faraday (15)

Born in the Church of Lightning, Maxine “Max” Faraday was long thought to have far too weak a connection to the flux to allow her be an Apostle. But she eventually realized that her unique variant of fulguration could be amplified by a conduit to devastating effects.

She would later take to carrying a portable conductor— a thin, long sword— with her everywhere she went. Max resolved to become an Apostle and help her country in any way she could, and prove that even someone with naturally weak flux could achieve great things.

Decapre (15)

Decapre was raised in Sylens by two physicians from Port Mera. Her real parents and place of birth are unknown. They supported her decision to become an Apostle, and she hopes to be chosen by the Church of Water so she can remain close to her home.

She is a powerful hydrator specializing in the control of ice. While she can project it outwards from her hands and feet, she prefers to encase them in the ice and unleash a flurry of surgically precise strikes on her opponent from close range.

[rachirodehills]

Charadex NO.9: (Zeila The Parafiene)

The Offical Charadex of Rachi-Rode Charadex NO.9: (Zeila The Parafiene) Species: Parafene(an flying alien cat from another dimension) Sexaulity: Pansexual Age: 24 Height: 6'5" Gender: Female Class: GigaNatural Race: British/Indian Relatives: Amy the Parafiene(Twin Sister) Headcannon Voice(s): Cindy Robinson, Bulma the bunny/Tails and Sonic Pals Debut: Unlike her sister Amy, she appeared way later. She, like amy was going to appear more in scratch projects, but the creator soon left scratch. They were thinking of bringing both her and Amy back on 2021, but it wasn't offical yet... until 2022 when Amy and Zeilas models were remade, now the officaly a thing. Like I said about Amy guys!

[prythianpages]

ACOSM | The Night her Father found out her secret

azriel x rhysand's sister (oc)

warnings: angst, mentions of violence, blood, dead bodies

summary: the High Lord of the Night Court discovers his daughter's little secret. He does not take her sneaking off to train with the Valkyries lightly and decides to punish her for it.

A/N: this is an imagine among my collection that follow Rhysand's sister, Valeria. while I'm still working on them, you can find the masterlist for it here. I'm currently watching The Witcher and Yennefer is my fav character. the fact that she has purple eyes reminded me of Rhysand's sister so now I can't help but picture her as Val, hence me using her in one of the pics above.

**

The air buzzed with anticipation as they circled each other, eyes locked in fierce determination. Zeila, a seasoned Valkyrie instructor, initiated the first strike. Valeria, her dark membranous wings stretching proudly, deftly parried. Their blades danced in a symphony of skill and grace.

Despite Zeila’s experience, Valeria’s proved a formidable force. A quick succession of well-executed maneuvers caught Zeila off guard. Her sword fell from her grasps clattering to the ground but the warrior did not falter. With a grin, she unsheathed her daggers and Valeria did the same, throwing her sword to the floor.

They danced around each other, eyes sharp and focused. It was Valeria who threw the first strike, lunging forward with precision. She was at a disadvantage as she only had one dagger and Zeila two but she did not let this deter her. Zeila countered swiftly, her dagger slicing through the air grazing Valeria’s leathers, drawing a hiss of pain as it left a shallow cut on her arm. Undeterred, Valeria pressed on. Her keen eyes assessed Zeila’s movements, searching for an opening. When she found one, she disarmed her instructor in a swift maneuver. Before Zeila could react, Valeria had her backed against the training ground’s boundary, dagger gently pressed against her mentor’s throat.

A hushed pause settled over the training grounds as the surrounding Valkyries assessed the situation. Zeila’s eyes gleamed with pride rather than disappointment as she bore witness to Valeria’s skills and dedication that shined as bright as the full moon above them. She grinned. “Well done, Valeria.”

Valeria, panting but radiant, lowered her weapon in disbelief. The realization of her victory, not just in the spar but in the eyes of her instructor, overwhelmed her with a whirlwind of emotions. The look Zeila was giving her was one she had previously yearned to find within her father.

 Zeila had taken her under her wing, not caring that she was the High Lord’s daughter. She saw her as Valeria, a girl with a determined and unwavering spirit. She understood that Valeria’s path to training was not a smooth one, given the tempest of her fate as a high fae. So Zeila devoted every opportunity to guide her and it was through her and the other Valkyrie’s relentless support that Valeria transformed. She, who once faced the storm, had become the storm itself. This training session was more than a physical exercise. It was a moment of growth and validation of all the years Valeria trained.

“Looks like someone brought you a gift.”

Valeria turned around, her gaze finding Tanwyn and some of her other Valkyrie friends. Her heart swelled at the small pastry, a lemon cake, in Tanwyn’s hand that was topped with two lit candles. One for each decade of her life. “Happy late birthday,” Tanwyn smiled.

“Thank you.” Valeria’s own lips curled up into a smile as she took the pastry into her hands. Noctis, who had been persistent in accompanying her tonight, squeaked in delight and returned to her shoulder.

Valeria pursed her lips, preparing to blow the candles but there was a sudden gust of wind. She watched as the flames died out, eyes widening in horror as a familiar cloud of darkness began to engulf the training grounds. It wrapped them in its cold embrace, prompting all Valkyries to draw out their weapons, senses on high alert.

There was a thundering sound and in the blink of an eye, a figure appeared that had the blood draining from Valeria’s face. Both her wings and Noctis’s began to quiver.

It was her father. He had found her.

**

The Night Court’s throne room was bathed in twilight. Tall, obsidian pillars, adorned with intricate carvings of celestial motifs, reached toward the vaulted ceiling. As Rhysand walked through the vast room, he couldn’t help but notice the delicate mist that hung in the air.

He came to a halt upon the dais, where his father sat upon his throne.

“Ah, Rhysand.” The High Lord greeted with a smirk, his violet eyes flickered with an emotion Rhysand couldn’t quite place. “My son.”

“You called for me?”

“Yes.” His father replied. “I was hoping Valeria would be with you.”

Rhysand frowned. He rarely ever asked about his sister’s whereabouts. “She’s with Cassian. They’re shopping for the upcoming Starfall.”

“Interesting.” His father said with a hum. He inclined his head slightly to his left and in that subtle motion, the air seemed to dance with translucent waves. As the glamor fell apart, a crestfallen Cassian came into view. “Cassian was just telling me how Valeria was at the library with Azriel.”

He then gestured his head to his right and from the shadows emerged Azriel, maintaining an unwavering composure that echoed stoicism. “But he has been with me all day.”

Rhysand shrugged yet the discerning gaze in his eyes subtly revealed a crack in his normally composed facade–a fleeting trace of concern. His powers reached out toward his friends and they let him in their minds, allowing him access to their thoughts. They mirrored his concerns but neither of them knew of Valeria’s whereabouts.

 “Perhaps she is with Mor then.”

“Morrigan is in Velaris alone.”

“Then Mother–”

“Your mother has been in her room, working on dresses for Starfall. Also alone.”

Rhysand’s eyebrows furrowed and a surge of panic quickened his heartbeat. His hands instinctively folded together in front of him. “So where is Valeria?”

“I’ll tell you where she was.” The High Lord’s voice rang taut and rough and it was then that Rhysand recognized the look in his eyes. It was one of pure rage. “She was with the Valkyries.”

An eerie silence filled the throne room. Rhysand’s eyes were wide and he turned to his friends. Azriel remained stoic but there was an icy rage lurking within his eyes and Cassian’s fists were clenched at his sides as he glared at the High Lord. There was another haunting realization.

“Oh, you didn’t know either?” The High Lord’s voice carried a taunting tone, accompanied by an almost amused expression that played across his features. “Your little sister was sneaking off to train as if she were a Valkyrie herself.”

After another moment of silence, the High Lord spoke again. “Would you like to know where your sister is now?”

Rhysand’s throat tightened. “Where?”

The High Lord leaned back into his throne with a malevolent smirk that sent shivers down Rhysand’s spine. “Learning a very much needed lesson in Windhaven.”

As if following an otherworldly cue, the ground beneath them quivered and the mountains themselves seemed to shift. A low chuckle escaped the High Lord, his eyes gleaming in the face of such an overwhelming power, failing to recognize that it was not Rhysand who had made the Night Court tremble.

**

Valeria’s ears were ringing and her breath hitched at the sight of five heavily armed Illyrian males surrounding her. Her wings were taut, one of them curling inwards over Noctis, her dear bird. She had no weapons herself. Her dagger had fallen from her grasp at the Valkyrie’s training grounds and she didn’t have enough time to reach for it before her father had roughly grabbed her and winnowed them to Windhaven.

“You want to be a warrior?” Her father had seethed into her ear. “Go ahead then.”

He had pushed her to the ground in front of the hungry and malicious Illyrian males. “Have at her. This one needs to learn her place.” He had said before winnowing away.

She rose to her feet, eyeing each of them. She recognized one of them. He was the only one among them that bore no siphons. His eyes were cold and spiteful as ever. Mallory’s father.

This would not be a fair fight. She was outnumbered and unarmed but she refused to let the fear that surged through her body surface. She would not yield to it. She turned her head toward the bird on her shoulder, her eyes were pleading. Go. Noctis blinked back at her, his dark eyes twinkling with defiance. He refused to leave her side.

Mallory’s father was the first to step forward, a wicked smirk etched onto his face. The blade in his hand gleamed as it was directed toward her. “You thought yourself untouchable because you were the High Lord’s daughter but it is he who brought you to us. It’s going to be fun breaking you.”

“Let’s start with her wings.”

The one who last spoke was the one who lunged at her first. She dodged his strike with ease and grace and then kicked him, sending him crashing into one of the other Illyrian males.

“You will not take my wings from me.” Valeria snarled as she tucked her wings behind her and stepped into a defensive stance–one she learned from Cassian.

Mallory’s father chuckled. “You’re outnumbered.”

The four Illyrian males lunged at her, their siphons glowing. She punched, kicked and threw tendrils of silver light their way. Noctis flew from her shoulders, his beak piercing and pricking at their eyes to allow Valeria the upper hand. She didn’t scream as blades pierced her skin, refusing to give them the satisfaction of hearing her pain. 

Valeria managed to steal a dagger from one of them and swept it across his chest, sending the Illyrian male staggering backwards. “You bitch,” he growled before lunging for her again.

Distracted by the bleeding male before her, she didn’t catch the nod the two males approaching from behind her shared. She found herself pinned to the ground before she could even react properly. She squirmed and fought against their hold until a third male came from behind. One of them grasped her hair and yanked her head up, forcing her to look up at Mallory’s father.

Noctis let out a croak in warning as Mallory’s father approached her, flaring out his wings as he perched himself on her shoulder again.

“How embarrassing it must be.” Valeria choked out, blood trickling from her mouth. “To know that it takes three strong Illyrians, siphons and all, to hold me down.”

When the fingers digging into her pierced into her skin and Mallory’s father’s eyes flickered with uncertainty, she almost grinned.

“Do it now.”

She heard it before she felt it.

 The haunting sound of a blade slicing through her wing. The blade drew back and it was then that the fear within her surfaced for a fleeting moment as she watched Noctis fall from her shoulder. He fell to the ground silently, blood trickling from the gaping wound at his throat. Her own blood began to splatter on the ground beside him from the wound in her wing.

She could not bring herself to cry or scream. She could not afford to at the moment so with an unwavering determination, she pushed all her grief and hurt away until only one feeling remained. Anger.

Her father thought her to be weak. He had taunted her, believing that she could not withstand the storm of Illyrian rage. But he had forgotten that she was a half breed. Illyrian blood coursed through her veins too. She would not fall victim to this storm. She would not falter. She would not yield.

She looked up, past Mallory’s father, at the night sky above them. The moon was full and shining brightly. It seemed to cast its ethereal glow upon her, sparking a feeling she had never felt before. Thirst for revenge. For blood.

The moonstone wrapped around her neck glowed intensely and her pupils flared, capturing the reflection of the full moon within their depths. 

There was a scream and then the hold on her was faltering. She took advantage of it, pushing the three Illyrians away from her. She swore the ground beneath her trembled as she rose to her feet, gaze fixed on Mallory’s father.

Tendrils of pure and raging moonlight were snaking around him. They wrapped around his legs, his arms, his neck. They were burning and suffocating, clinging onto him as they anxiously awaited their master’s next orders.

“Witch.” She heard one of the males hiss under his breath.

Valeria allowed her silver tendrils to continue as her powers surged through her veins. She had never felt them like this before. So strong, so intense. It almost scared her to know what had been lurking within her.

The tendrils began to move over Mallory’s father. The ones at his neck snaked up and slithered into his parted mouth. She could see them glow from within him and she watched as he fell to the ground. Screams of agony escaped from the male as more of her light flooded into his mouth. He writhed on the ground while the other males froze in terror.

Mallory’s father fell silent and still as the tendrils of light that had swarmed into him were now surging out from his mouth and eyes. They rushed back to Valeria, slithering up her arms and she was surprised to find that they were warm and loving. 

She turned to the remaining males with a wicked gleam in her violet eyes. Her silver tendrils were radiating from her glowing body. The male who had sliced through her wing and killed Noctis was the first to drop his weapon and run.

“Where are you going?” She called out, taunting him. “I was just getting started.”

Her silver tendrils whirled after him and Valeria took delight in the way they wrapped around the male’s ankles and yanked, forcing him to the ground. They dragged his screaming body until he was laying at her feet with such force that the rocky ground beneath cut through his leathers and pricked his skin. One of her silver tendrils brought forth the male’s weapon and Valeria took the dagger into her own hands with a thankful smile before hurling it toward the male and silencing him, the dagger tearing into his throat just as he had done to Noctis.

The remaining males growled at her, their siphons glowing so bright that they burst as they rushed at her, unaware of the beast they had unleashed within Valeria. She brought them all down one by one, using both the dagger and her powers. 

When the last male had dropped to the ground, her knees gave out and it was only then that she released the scream that had been lingering in her throat.

**

Azriel’s heart was at his throat. He could feel everything she was feeling. He reached out toward that golden thread–that connection between him and Valeria–but he could not get a hold of her. He couldn’t reassure her as he did before. All he could do was feel her pain, her hurt and it drove him insane.

He desperately clung to that fine thread, urging it to lead him to where she was as he landed in Windhaven with Cassian and Rhysand by his side. His shadows were rushing from his side, diffusing into the chilling night.

“She’s close.” Azriel said as his shadows picked up on her scent. “The training grounds.”

A sudden, piercing scream followed his words. Its abruptness resonated through the cold Windhaven air, making their skins crawl and Azriel’s blood run cold. Valeria, Azriel’s shadows screamed in his ears.

**

A chilling and terrifying scene was before them. Five Illyrian males were strewn across the training grounds, their mouths agape–a telltale sign that they had died screaming. The scent of burnt flesh was strong and Rhysand’s eyes darted around them in fright. They all had matching injuries with the exception of one. Blood was seeping from their eyes and mouths and their exposed skin was marred by burnt marks while the one exception had bled out from a gaping wound at his throat.

“Valeria.” Rhysand breathed as he spotted her.

She was in the center of the dead males, hunched over on the ground as she hurled, her chest heaving. Her body was glowing so bright that Rhysand had to squint his eyes. He rushed toward her, dropping to the ground besides her as he heard Azriel and Cassian arrive.

Azriel’s shadows darted toward her, desperate to assess her injuries–to know how badly she had been harmed. His shadows were able to break through her protective light and Azriel’s knees nearly gave out as they returned to him and curled against his ear. Cassian’s eyes were wide and he moved to confirm that each of the males who had hurt her were dead.

“I didn’t mean to kill them all. I just wanted to hurt them, to scare them away but then something came over me.” Valeria’s voice was shaky and frantic as she sobbed. “They wanted to–my wings–Noctis–they–”

Rhysand let out a curse as he spotted the dead carcass of her beloved bird, his heart breaking at the sight. His touch was gentle and soothing despite the rage he felt within as he held her head in his hands, bringing her fearful gaze to his.

“Father–he brought me here–he wanted to–I was–I'm so sorry–I only wanted to–”

"Shh, it's okay."

Valeria’s cries and broken voice were soul-crushing. Azriel’s body was shaking and his wings prepared to take flight but Cassian, who sensed his intent, was stopping him. With a firm grip, he led Azriel to where Valeria and Rhysand were kneeled on the floor instead.

Rhysand’s eyes bore into Valeria’s. “You’re safe now.”

Valeria’s eyes continued to dart around her, her breathing ragged and uneven. Her tears blurred her vision but she could still make out the silhouettes of the dead bodies. She had killed them. All five of them. 

“You’re safe now.” Rhysand repeated, pulling her trembling body into his arms. He rested his hand on the back of her head, pressing it to his chest to keep her from looking at the scene around them. “It’s alright.”

Yet the vulnerability in his eyes betrayed his words and as he locked gazes with Cassian and Azriel, he found that a shared sentiment of unease painted their expressions. This was the night the High Lord unwittingly forged three formidable enemies.

**

A/N: after writing this I feel kind of bad for making rhysand's dad so evil but I don't want to defend him at all in this au bc he's an asshole. anyway, it was kind of fun writing Val's powers and also her Illyrian urge to kill awakening in her. sorry there wasn't much Az x Val interactions. just one more imagine and we're done with the collection of Val's early life. I don't have the name up for it yet bc I wanted it to be a little bit of surprise but any guesses as to what the theme will be? 👀 i've left subtle hints lol

tag list:  @justrepostandlove , @kemillyfreitas, @thelov3lybookworm

[grifff17]

Audiodrama Sunday 04/28/24

So much stuff this week! I think this is going to be my longest writeup yet!

@camlannpod what the fuck? Trying to avoid spoilers, but the ending of that episode was wild. The sound design for the last scene was so good. Also “You're good with an axe, right?” was brutal, I audibly said "oof". Only 1 more episode in the season, hopefully they get funding for a second one.

The first episode of @wanderersjournalpod came out this week. This was a promising start to a new show, I'm excited to see where it goes from here. The setting feels very mystical, I can't wait to learn more about the world.

@worldsbeyondpod was so tense. Suvi and Ame had the most awkward conversation in existence. This story has so much nuance, neither of them are clearly in the right, though I feel inclined to take Ame's side due to the "Geas + Alter Memory" double espionage scheme. Meanwhile Ursulon discovers that Orima of the Reaching Green is a short queen and gets a cool horse.

I'm now up to date with @lostterminal. Season 15 was great. I love Nia, and Daphne and Raffi were really interesting new characters. Also, the dragon was terrifying. This show doesn't usually have very much action, so the confrontation with it really stood out. The description of the automatic turret going "click, click" as it locked on to Maddie was so intimidating.

@worldgonewrongpod I loved this episode. The storytelling felt so natural and real, like someone telling me a story about a weird road trip they went on. I think I said this about the last episode too, but this was my favorite episode yet. It also sets up the backstory which was never really explained as to why Jamie and Malik are separated at all.

In @midstpodcast we finally had a nicer episode. No horrible fucked up Weep/Trust stuff happening, just Lark reunited with Zeila and Sherman. However, there's so much tension between these characters. I was surprised that Lark forgave Sherman for selling her out. Something to remember is that Lark and Sherman had been hooking up before everything went to shit, which was mentioned once and I think really changes their relationship.

New @keepitsteadypod! This is the first new episode of this show since I started doing these. This was a really cute episode. For how popular fake dating is as a trope in fandom spaces, you don't see a lot of it in audiodramas.

Fun episode of Mission Rejected this week. It was cool to see Bowden go from "vain actor" to "badass spy" when the stakes ramped up. We don't get to see him take charge very often, it was neat for him to be a competent leader. I wonder if the gang lying to Zelda(who definitely saw through it) and Chet(who probably didn't) is foreshadowing for more of a conflict with the new Secretary of Defense later in the season. Also I loved the squabbling gay couple running an illegal mining operation as the villains of the week.

@breakerwhiskey episode 200 wow. A letter from Harry! We learned that Harry has been listening to most of Whiskey's broadcasts, which recontextualizes a lot of the previous episodes. Also, the end was heartbreaking.

I started season 2 of @longcatmedia's Mockery Manor! I'm 2 episodes in and really like it so far. JJ and Bettie are employed in different parks, JJ is on the run from an organized crime ring, and Bettie became a monk? Also, it's clear that neither Hilda nor Jenkins stole the shipment, neither of them have motive. But I don't know who else would have motive either. Lots of mysteries this season.

Spout Lore had a great planning episode. I'm excited for the "saving Highspear" arc, the Highspear is so cool as a concept. A reverse Tower of Babel, that lets the whole world talk with each other. A literal monument to wizard hubris, which feels destined to fall. However I doubt it will, because, as the players mentioned, it would be really annoying from a storytelling perspective if everyone suddenly spoke different languages. This has actually made me realize I really want a story set shortly after some sort of "fall of the Tower of Babel", where communication is a struggle, but that's just because I think linguistics is cool. Anyways, the buffet talk had me rolling.

What a great week! However, it did not help my queue, which continues to grow instead of get smaller. I'll reach the end of it one day.

[ttinyedits]

Sonogo was born in Zeila, Somalia. He moved here seven years ago.

[linked-history]

Final reference done!! 18 different reference pages with 20+ heroes designed. I'll post a new lineup shortly but you'll notice a few of the heroes have changed from the first line up, Spirit above being one of them. I have a few interaction drawings planned for some of the heroes that I'll be uploading sometime in the future but will continue working on the Zeldas and other characters next. If you'd like to see a specific Zelda let me know.

As usual more information is below the cut

These Drakin are also tied to a power that is typically associated with the color of their scales/dragon features, (i.e. typically red scales would be fire, yellow scales would be lightning, shades of blue may be ice or water, though there are some outliers) For now I will not say exactly what Zeila's magic affinity is, though a hint is that the color of her scales is based off of two items seen earlier in the timeline.

DRAGON DESCENT

Zeila is a descendant of TotK Zelda, one who following her time as the Light Dragon did not return fully Hylian, As a result the dragon essence in her blood passed to any of her descendants and as a result a new sub race of Hylian was created, a few years later as these descendants continued appearing with the dragon characteristics those who were descended from TotK Zelda took to calling themselves Drakin. The dragon essence in these individuals is so strong that it overpowers the DNA of any other and will always show itself in the children regardless of the other partner in any relationship.

Zeila's family while not members of the council are still a noble lineage.

COUNCIL OF HYRULE

After the events of BotW and leading up to the events of TotK Zelda was not only working on rebuilding Hyrule but was also working on rebuilding the governing body, removing the monarchy entirely and instead creating a council using a representative from all the races/major settlements. By Zeila's time this council still governs and works together to ensure all voices are heard.

As well as being the Seer's apprentice Zeila is a student at the Hyrule Institute for Mages and Knights. Where she studies magic along side her friend Rorru. It is through this Institute that she meets Link, a young orphaned male who works for the school in the Stables used by the training Knights. While Link works in the Institute's Stables he is given food and housing as well as some pay.

APPRENTICE TO THE SEER AND STUDENT

Zeila is the current apprentice to the Seer Corrine, who overlooks the timeline and tries to learn from it. Corrine takes information that they learn and shares it to better Hyrule, because of this in the current Hyrule, they have faster land travel in the form of Zonai engines that have been repurposed since TotK and Zonai technology has been rediscovered.

When Zeila first met his they didn't really talk as it was just in passing as Zeila saw him working as she made her way to her next class. In the months since Zeila and Link have bumped into one another on other occasions and Zeila had brought Link to a few of her meetings with Seer Corrine.

During the initial attack on Hyrule Link was killed and Zeila ended up taking the mantle of hero as she pulls the master sword. Though Link remains at Zeila's side as a spiritual companion as they travel meeting the Heroes of the past Link helps Zeila find them and gives hints or "feelings" about these past heroes that he knows from memories he's started gaining from the Hero's Spirit upon his death.

[saxafimedianetwork]

Somaliland By Angus Hamilton

#Somaliland hitherto has paid its own way accomplishing a feat that other #African #Protectorates have failed. #Somali is a born #trader & if we could establish our authority within our own sphere & define our economic-policy by the development of #ports of #Berbera #Bulhar #Zeila

(more…)