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I've been reading Russian literature recently…

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This comic is based on Ikehara Shigeto's Mega Man 5 manga.

It drives me crazy that Capcom never revealed Proto Man's full backstory! I also wish Mega Man could finally learn that they’re brothers! C'mon!

In the manga, unlike the Archie Comics, Dr. Light's reaction to Mega Man's question suggests he did something really terrible. What the hell was that all about?

Next

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Seryozha i Mitya🍷🚬

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1906.09.25🎉

Дмитрий Дмитриевич Шостакович

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Ghostbusters: Frozen Empire (2024) James Acaster as Lars Pinfield

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James Acaster as Lars Pinfield

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James Acaster as Lars Pinfield in GHOSTBUSTERS: FROZEN EMPIRE (2024)

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𝐖𝐨𝐫𝐤𝐢𝐧𝐠 𝐈𝐧 𝐓𝐡𝐞 𝐋𝐚𝐛 𝐖𝐢𝐭𝐡 𝐋𝐚𝐫𝐬 𝐏𝐢𝐧𝐟𝐢𝐞𝐥𝐝 𝐖𝐨𝐮𝐥𝐝 𝐈𝐧𝐜𝐥𝐮𝐝𝐞

↳ notes: lars content yay! as far as i can tell, i'm one of the few to do anything on him, so i hope there's more than ten people out there interested in him

↳ warnings: none

↳ song: she blinded me with science—thomas dolby

masterlist | commissions | carrd

• This guy is a snacker

• Take one look at him. You can't tell me that he doesn't constantly skip out on meals in favor of research, usually just pulling a granola bar or stained tupperware from his desk drawer to eat while he works

• Don't get me wrong, Lars can still devour a good bit of food. Sometimes you like to make fun of him for how much good he'll get on his face in the process

• "You're looking at me weird." He frowned at you one day from behind the rims of his glasses

• "Uh, yeah. Wonder why." You grin with mild surprise, watching as leftover rice and beans from the burrito in his hands stuck to the corners of his mouth like glue. He was quick to wipe it all off, ignoring you as you laughed at him

• Aside from that, Lars usually keeps his workplace pretty clean. It's cluttered, sure, but you don't think you've ever seen him wonder where something went. He just always knew where things were. It was like he had a system in his head, and the more you thought about it, the more you decided he definitely did

• The one time someone had even tried to clean his place up, you watched as he immediately jumped in, convincing them that they were needed elsewhere and sending them off before they could mess with his set-up

• Often times, when it's just the two of you alone in the offsight lab, you'll bounce a tennis ball off the wall while Lars types away, only ever looking up to squint at you when the ball gets to close to his head

• "You should really give that to the possesor. I'm sure it'd appreciate it." He hums to you at one point while spinning around in his chair to reach something. Behind you, you hear the unmistakable sound of a metal chair tapping excitedly on glass, and you make a tsking noise

• "Pretty sure you just want me to stop distracting you with my awesome skills." You boast, attempting to do a trickshot only to smack Lars in the back. He glares at you, and you inch backward with a nervous chuckle

• "You know what, I think I'll give it to the possesor."

• "What a brilliant idea." Lars says monotonely. You were quick to get rid of the ball

• He hums while he works!

• It's not anything discernable. In fact, most of the time he isn't even singing real songs. Just little tunes he'll make up on the spot for himself; often as a way to pass the time and make minute tasks fly by

• You notice it quite a lot, but don't really say anything. It's quite entertaining, if you're being truthful

• "Sittin' and waitin' for food. Sittin' and waitin' for food.." He'd improvised once while waiting yet again for a t.v dinner of his to finish its cycle in the labs shared microwave

• "Wow Lars. Voice of an angel, you have."

• "Stuff it."

• Lars doesn't often need help with his work, there's a reason he landed the job after all, but when he does, you're always the first person he goes to. It's a side effect of having spent so much time with you at work, and even outside of it—if you counted lunch breaks and independent experiments as a non-work environment

• He likes being able to get a fresh set of eyes on whatever's stumping him, and it usually doesn't take long for the two of you to work around whatever was holding him up

• Overall, you couldn't think of a better friend/co-worker to have, and the same applies for Lars. Your relationship will only strengthen as time goes on, even withstanding the bizzar experiences that Garraka eventually brings later that year

• But that's for much later. Right now, the two of you are content to sit in the aquarium-turned-headquarters, watching as the hours ticked by without a care in the world

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Conductors🪄🎼

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Pianists 🎹✨️

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Art Nouveau Styled Composers🌹✨️

(Even if it does not seem to be, I tried my best thou)

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medic gaming

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slightly nicer looking than the diveman one

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With his tombstone made by himself. (based on the mega man 8 manga)

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Music in Our Flag Means Death: Season 2, Episode 5

Incase anyone was curious about the music playing in the scene where Izzy is honing his combat skills surrounded by candles (2 x 05), it’s the beautiful Lied, Ständchen, by Franz Schubert.

In German, Ständchen means serenade. In the simplest terms, this art song is about love and wishing to be loved by one person. Though we only hear the instrumental version of this, it's actually from a song cycle that Schubert composed, with text by German poet, Ludwig Rellstab. Here are the roughly translated words below:

Softly, songs of mine are calling Through the night to you; In the peaceful grove here meet me, Dearest, come to me. Slender whisp'ring trees are rustling In the moonlit night; No betrayal finds a hearing Fear not, dearest, now. Wings of nightingales are beating Oh! Imploring you With the notes of sweetest sighing Urging you to me. They discern the bosom's yearning, Know the pangs of love, Stirring with their silver cadence, Every tender heart. Let your heart now beat with longing Dearest hear me now. Trembling, here for you I'm waiting Come, be with me soon.

Poetry like this presents countless interpretation, especially in the context of the episode and its placement in the scene with Izzy.

This isn’t a theme for Stede and Ed. They already have the Gnossienne no. 5 by Satie and Rêverie by Debussy (as I’ve illustrated last year during season 1). This is Izzy’s lied. His solo. His perspective.

I think in order to understand the power of this particular piece, we need to understand its compositional life and historical occurrence in Schubert's world. It was October of 1828, and Schubert was nearing the end of his days, battling the extremely painful tertiary syphilis, of which he would end up succumbing to in conjunction with bacterial typhoid shortly before the publication of this piece. This song is part of a larger song cycle of works, titled Schwanengesang, or "Swan Song" in German. This song cycle was set to poetry by Ludwig Rellstab and Heinrich Heine, two very prominent German poets in the late classical period. Schubert felt like he was falling fast towards death, but by some sort of display of inner strength, he managed to compose a song cycle, three piano sonatas and a string quintet, all within a half year. That's a feat even the most healthy composers couldn't accomplish. It's sad to know that the end of Schubert's life was accompanied by pain and hallucination, a total loss of faculties. He was 31. Schwanengesang, D957, was published posthumously. Music historians aren't entirely certain either way if Schubert titled it himself, or the editors that published the cycle, but it's interesting to name one's last song cycle for voice and piano "Swan Song", when by definition, a swan song denotes a farewell appearance before 'retiring'. Schubert had to know that his death was imminent, he was progressively terminal due to the tertiary syphilis. This ancient belief that swans would sing a beautiful song before death seems fitting for this music composed by Schubert, given his foot resting at the threshold between life and death. This song cycle brings back so many lovely memories for me. As an opera singer, I've sung this cycle, varied or in its entirety in several recitals during my professional career. Each time it's sung, I'm left with a different appreciation for the compositional structure, the tone painting and the life of the words in the score. There are 14 selections in this cycle and each piece, in my opinion, represents a different facet of life: (Ludwig Rellstab poetry) 1. Liebesbotshaft (Message of love) 2. Krieger's Ahnung (Warriors/Soldier's Foreboding) 3. Frühlingssehnsucht (Longing in Spring time) 4. Ständchen (Serenade, See recording below)

5. Aufenhalt (Resting Place) 6. In Der Ferne (In the distance) 7. Abschied (Farewell) (Heinrich Heide poetry) 8. Der Atlas (The atlas) 9. Ihr Bild (Her Image) 10. Das Fischermädchen (The fisherwoman) 11. Die Stadt (The City) 12. Am Meer (By the Sea) 13. Der Doppelgänger (The double) 14. Die Taubenpost (The pigeon post) Schubert utilized poetry pertaining to young love, appreciation of nature, familiar places, heartbreak, longing and death. Schubert's young life was filled with music. He is probably one of music's most prolific composers, with over 600 secular songs under his belt, and that's just vocal. He also composed orchestral music, opera, symphonies, chamber music and even incidental music. The dude was legendary, and yet his vocal scores represented the human condition. He was simply a humanist, utilizing music as a vehicle for the most human expression: love, life and death. That's a swan song if ever I heard one. His bohemian and adventurous sex life may have gotten the better of him, but what we are left with are these insights into Schubert's heart and mind. Which brings me back to Izzy. Take a look at the score below:

The original key is D minor and historically, that key has always represented sadness, anxiety and deep pain. This singer has to convey this desperation for their loved one. The piece opens with these staccati in the right hand, playing a d minor chord. It's disconnected and pulsing, like a heart beat. From the start of the piece, there's anxiety. When the vocal line begins, you'll notice a string of broken triplets, playing against the meter of the quarter notes in the accompaniment. This can either be interpreted as a more fluid, conversational speech, or Schubert could have used this as a way to show tension between the vocal line and accompaniment, as the vocal line bucks up against the metered piano. The line "Liebchen, komm zu mir", or "Dear, come to me" brings the piece to its relative major key, F Major, which represents a sense of calm. Whenever the singer thinks of their lover, the key changes. "Liebchen, komm zu mir" is also the last lyric played by the violin in this scene with Izzy in the candle circle. Izzy is focused on a solitary candle and the music stops as Stede walks down the stairs, which to me, means that this music represents Izzy's internal monologue. He's saying "Come to me" .....to Ed. And then Stede walks down the stairs, causing the music to halt. It's quite genius actually. It's no surprise that Izzy loves Ed, so that juxtaposition between this love triangle and accompaniment is so well thought out and concise. These last episode installments has shown the audience what a platonic relationship between Izzy and Stede could look like. Izzy teaching Stede swordsman/combat skills is his way of passing the torch, as it were, in acceptance of Stede and Ed. Now we won't know if this is Izzy's swan song, because we haven't heard its full resolution in the context of the show, but I'm curious to see if this piece surfaces again in later episode this season and whether it becomes Izzy's full-fledged theme, or just an enhancement to a particular scene. If you all enjoyed this musical analysis, let me know. And I HIGHLY recommend listening to the entirety of Schwanengesang. It's a masterful song cycle. Thanks for listening.