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a-man-for-hire-and-his-archives · 5 hours

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Trigger warnings: Black Sails (S1)

beanarie‌:

flintrage‌:

A brief list of timestamped trigger warnings in Black Sails: Season 1. The focus is mostly on nudity, sexual assault, abuse, and violence against women. This list also contains summaries of some of the scenes so that people can skip them without feeling like they’ve missed something.

Please note that I may have skipped summaries and missed some brief mentions or short scenes, especially in the last two episodes, which I mostly skimmed through because my attention span was dying.

Episode 1 24:00-25:18 - Het sex scene with sex workers and Silver (with, in my opinion, slightly dubious consent on Silver’s behalf). 45:54-45:57 - Violence against women (sort of). Vane punches Eleanor, but she does punch him first. 49:59-50:52 - Wlw sex scene between Max and Eleanor, female nudity.

Episode 2 02:47-02:57 - Female nudity, non-sexual. 05:09-05:27 - Wlw makeout scene, female nudity. 10:13-10:41 - A sex worker has bruises on her face; Eleanor asks what the fuck happened to her, and the brothel madame is dismissive, saying that the money the worker paid the client is ‘worth a few nicks on the old hull’. 15:00-15:44 - Sex worker (Max) jacks a guy off, though there’s no nudity and it’s thoroughly non-erotic. Silver interrupts. 29:20-31:11 - Violence against women. Vane chokes Max (the camera cuts back and forth between that and Silver watching them).

Episode 3 31:08-32:15 - Female nudity (Vane has two sex workers on either side of him, though they’re just lounging). 39:07-40:30 - Implied violence against women/female nudity/implied past or future sexual assault tw. 45:49-51:40 - Het sex scene (Eleanor and Vane) immediately followed by a GRAPHIC sexual assault warning (Vane’s crew @ Max). Skip this entire part no matter what please it’s viscerally upsetting and triggering.

Episode 4 Note: SKIP THE RECAP. It contains part of the graphic scene from the previous episode and is upsetting. You might want to skip all recaps in season 1 from here on out just in case.

10:25-11:15 - The saddest het sex scene (Flint and Miranda). Consensual, but uncomfortable as it’s clear that neither of them are particularly enjoying themselves; Flint seems like he’s dissociating, and Miranda cries afterwards. 19:42-20:14 - Dubiously consensual het sex scene (Max and a member of Vane’s crew). Non-graphic, and without violence, but given the context it may be uncomfortable anyway. 20:25-21:33 - Sexual assault/violence against women TW (Max again). Skip this part completely, it’s viscerally upsetting. 50:32-53:46 - Implied het sex scene (Vane & Eleanor) dream sequence, followed by Vane hallucinating a past abuser.

Episode 5 22:15-24:41 - Sexual assault aftermath; Max is cleaned up by the brothel madame, who is too rough, so Anne steps in to do it instead. Skip this entirely. 25:47-26:45 - Sexual assault mentions/a guy being gross about Max. Skip this entirely.

Episode 6 25:22-26:19 - Het sex scene (Miranda & Pastor Lambrick). Consensual.

Episode 7 06:08-07:28 - Het sex scene (Anne & Jack) followed by male nudity. 15:33-19:30 - General warning for vaguely implied child abuse and Vane talking with a former abuser. 27:21-31:10 - Again, Vane being around a former abuser, then trying to fight him and losing, then being buried. 53:53-54:42 - Male nudity (sort of). Vane kills his former abuser.

Episode 8 No warnings, though there may be an uncomfortable scene at the end between Max and Eleanor re: Max’s past abuse, I can’t remember.

Please feel free to reblog this list for the sake of people who haven’t seen the show but might want to!

(Also, for those of you who haven’t seen it - yes, there’s a lot of content warnings in season one. Season two and onwards are completely free of sexual violence and much less graphic on the sexual scenes front in general.

Addition: The one exception to the above is Season 4 Episode 6, which contains a non-graphic sexual assault scene at 23:05-23:15)

there is a much less graphic sexual assault in season 4, by a spanish soldier, but someone will have to help me out with the ep and timestamp

Thank you so much for reminding me of that! The post has been updated accordingly.

#black sails #trigger warnings #black sails warning content #timestamp

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a-man-for-hire-and-his-archives · 5 hours

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This document contains general warnings for the whole show, specific warnings for particularly explicit scenes, and timestamps and transcripts meant to allow you to skip potentially triggering scenes without missing out on any relevant plot details. Feel free to save and redistribute.

#black sails #reminder for anyone are new to black sails #timestamp #black sails content warning #tw

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a-man-for-hire-and-his-archives · 6 hours

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From Luke Arnold's instagram story on Vince Locke's art on Essentials!

#black sails #luke arnold #instagram

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a-man-for-hire-and-his-archives · 8 hours

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Luke Arnold, Doc Wyatt talk the teamwork and insanity that defines ‘ESSENTIALS’

The compelling new OGN is funding via Kickstarter.

by Chris Coplan (April 18, 2024)

You may know Luke Arnold as Long John Silver in the Black Sails and/or INXS’ own Michael Hutchence in the Never Tear Us Apart miniseries. Doc Wyatt, meanwhile, is best known for his production work on the iconic Napoleon Dynamite and the animated Rocket and Groot for Marvel. So, what happens when a lauded actor and a TV writer/producer get together? Why a brand-new graphic novel, ESSENTIALS.

For ESSENTIALS, Arnold and Wyatt were brought together in part by The Lab Press, a new publishing outfit that focuses primarily on graphic novels. Together, the pair then collaborated with a veritable smorgasbord of comics artists, including Bill Sienkiewicz (who does the cover), Dani, Jason Howard, Andrea Mutti, and Glenn Fabry. (The book’s colors were provided by Jordie Bellaire, Brad Simpson, and Wesley Wong, with lettering from DC Hopkins of AndWorld Design).

Once fully assembled, this superstar team behind ESSENTIALS set about crafting a story in which “the world you see around you is not real.” More specifically, we follow “disgraced mathematician Harris Pax” as he and Buttons (an “interdimensional being possessing his niece’s favorite toy”) set about smashing the walls of this faux reality. ESSENTIALS asks some big questions — “What matters most in a well-lived life? Is joy more valuable than truth?” — just as much as it’s a rollicking, dimension-hopping adventure story.

ESSENTIALS is currently crowdfunding via Kickstarter, with the campaign having raised $13,000-plus (of a seemingly $1,111 goal) on the way to its May 16 deadline. (Head here to contribute.) To get a better idea of the work that went into ESSENTIALS, we recently got to field questions to both Arnold and Wyatt. The duo spoke about the somewhat involved creative process, the big themes at the book’s heart, working with The Lab Press, and much more.

The talent behind ESSENTIALS. Courtesy of The Lab Press.

AIPT: I’m curious: what’s the collaborative process look like between a TV writer and an actor making a comic book?

Luke Arnold: It’s hard to summarize this process because there are so many stages. We broke most of the story on zoom between Australia and LA. Then, we outlined in pieces, trading them back and forth multiple times, rewriting and recrafting until we were happy. After that, we’d take a chapter each, write them, share them, editing and/or rewriting each other’s work. Then, it would go to the artists, and we’d wait for the first sketches to roll in.

Because the team (Doc, myself, and everyone at The Lab) is spread around the globe, we found that the best place to review artwork was actually in VR. We all got Oculus headsets that allowed us to sit around a table together with the art displayed on a huge board in front of us, marveling over the work and deciding on any notes to send back to the artists.

The next few stages would take place over email, and then when all the art was finished, Doc and I would get back on Zoom to take another look at the script. Once you have those final pages, you can quickly realize that a lot of dialogue feels unnecessary, so we’d go through and make changes before sending everything to the letterer. That was one of my favorite stages, as you have an opportunity to write some parts all over again, inspired by the work of the artists.

Doc Wyatt: Luke’s an actor, but he’s also a novelist. His novels blow me away. I knew Luke first as an actor, and on set, he was talking about these fantasy novels that he wanted to write. But when it actually happened, I was blown away. The Last Smile in Sunder City was Luke’s first book, and it kicked off a series that’s a mashup of the noir detective genre with urban fantasy. Anyone who’s missed it should catch up with it.

As a writer, Luke is intricate. He works in levels and layers, meanings behind meanings, and philosophical underpinnings. It was a really rich and rewarding experience because we’d start out talking about the story we were breaking, but the conversation would drift into all these other, unrelated places… until suddenly it would snap back into story mode, but bringing along all these influences from our seemingly unrelated conversations.

AIPT: What’s the elevator pitch for ESSENTIALS? It seems like there are a lot of big questions churning at the heart of this book.

LA: Our world has collided with another dimension and reality has become untethered. Most humans were killed in the collision, and those that survived are now trapped in their own subjective realities as their beliefs, thoughts, and fears become manifest around them. Harris Pax – the only scientist who foresaw this apocalypse and managed to protect himself – has teamed up with Buttons – a being from the other dimension. Together they must travel into these subjective realities and convince the people inside to give up their illusions and return to the real world.

DW: Honestly, it can sound complicated, but at the end of the day the story is pretty simple. A cosmic catastrophe has killed most human life, with the few survivors unknowingly stuck in their own bubbles of subjective reality. It’s the job of our heroes to pull them out of these private realities before they’re killed by them.

AIPT: Similarly, it seems like this book may be about/interested in simulations and subjective reality and the like. Why are those kinds of massive ideas interesting, and how do you come at them from a new angle?

LA: It’s a cliché now to say that we’ve never been so divided. We started writing this four years ago, and things seem to have only gotten worse. In this age of reactionary politics and algorithms, we really are starting to live in separate realities where even basic facts are up for dispute. But this feeling of disconnection was an existential issue long before the internet. Artists and writers have always explored the pain of isolation, our yearning for interconnection, and the despondency that comes from witnessing the perpetual division of the human race on both an intimate and planetary scale. With ESSENTIALS, we found two heroes, a villain, and a reality-spanning quest that allows us to dig into these concerns in a way that feels fresh and kind of limitless. There are already so many realities we’ve had to cast aside and many more we hope to include as the story continues.

The Jason Howard cover to ESSENTIALS. Courtesy of The Lab Press.

AIPT: What’s it like to be the debut release from Lab Press? Does that pressure help or complicate your process as creators and then also promoters of said creation?

LA: I can really only speak to it from a creative standpoint. It has awarded us a kind of freedom that is rare to find. The Lab and ESSENTIALS were formed at the same time, so the publishers had no preconceptions about what this book needed to be. There were no expectations, either from the reader or the company itself, so the book was able to find its form on its own terms. And being their debut, The Lab was likely more open to our wild ideas, such as jumping between so many artists in the way we do.

DW: For me, sure– it’s a little nerve-wracking to be the first book from a new publisher, because they’re going to be doing all their learning on our book. But that said, we believe in them. They’ve certainly taken a risk on our weird, little, indie book, so it’s only fair we take a risk on them!

AIPT: The book has a slew of talented artists attached, including Dani, Andrea Mutti, and Bill Sienkiewicz. What’s it mean to have such a roster of sheer artistic talent, and do you have any standout moments/pages?

LA: Even though this book has been in development for years, from the artists signing on to sending their pencils, their inks and colors, and now holding the final version, I still can’t really comprehend that we were able to work with artists of this caliber.

This is the first comic I’ve written, and so I was still wondering how all our scripts would come out after being interpreted by the artist. There’s a sequence in chapter two with a collage of a conversation that passes through a bunch of scenarios across a double page spread, and when Jason Howard sent us his pencils of that section, I started to believe that this world Doc and I had dreamed up could actually be realized.

I also have to say that I’m a huge Glenn Fabry fan. We gave him some of our weirdest pages, and his beautifully textured detail is everything we hoped for and more.

DW: The Lab Press had us submit a list of dream artists we’d be dying to work with. We did, thinking–well, they’ll never be able to get these… But they did!!! They didn’t tell me that they’d gotten Bill Sienkiewicz for a cover, who has been a very important artist to me since childhood. Instead they just revealed to me the fully finished cover at a party at New York Comic Con as a big surprise, and I just about lost it. It’s such an amazing cover. And it’s so Bill while still being so ESSENTIALS!

AIPT: Do you have a fave sci-fi book/film/show/etc. that maybe made its way into this project in some way (intentionally or not)?

LA: Doc is a font of sci-fi knowledge, and our original scripts were stuffed full of amazing references. Eventually, we decided to remove most of them before sending the scripts to artists because we didn’t want to cloud their minds with other visuals before we could see what their imaginations offered up. On quick flip though, you could see references to Alien, The Blob, and Night of the Living Dead, but we’ve done our best to use that imagery as a starting block to build something weirder.

AIPT: Why should anyone support the forthcoming Kickstarter for ESSENTIALS?

LA: Because this book is done and it’s incredible. We’re teaming up with Kickstarter because it’s the best way to get the books out to everyone around the world. We’re not asking for support to get it finished or anything like that. Not long after we launch, the book will be out of the printers and in your hands.

DW: We love our weird little story, and we want to tell more of it in the future, but we’ll only get the chance to do that if people read and love this one. We want to get the word out any way we can, so backers will find and support and read the book. It’s strange, it’s heady, and it’s not for everyone, but the people who it’s for– we hope– will really love it!

Source: AIPT Comics

#black sails #luke arnold #doc wyatt #interview #essentials

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a-man-for-hire-and-his-archives · 8 hours

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You can read article here, AIPTcomics

Source: Luke Arnold's twitter

#black sails #luke arnold #twitter #essentials #interview

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a-man-for-hire-and-his-archives · 8 hours

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Treasure

A Dadphael Drabble

Children were awful little beasts. Noisy, chaotic, filthy, Raphael was fairly certain he could not hate them more. But this child, this babe, was completely different. This one was his.

The girl had come into the world quietly, little in the way of crying or screeching, well behaved and orderly from the very beginning. She was small though, too small. Raphael was certain something was wrong but her mother had assured him that this was the correct size for a mortal infant. He didn't like that. An imp could eat her, she was so small. And by the nine hells, if something like that happened, the Blood War would be the least of Avernus’s worries as his fury would be unmatched.

He hadn't held the girl the moment she had been born, instead it was her mother that took her in her arms, still filthy and bloody. The child was cleaned before Raphael held her.

It was strange. Having such a small creature in his arms, one that came from him. He could feel the little girl breathing so gently, could hear her little mortal heart beating behind her fragile ribcage. The thing looked more like a lump than a person but the features he could see on the child resembled her mother more than they resembled him.

It was a tiefling. Not born with horns, thankfully for her mother. The baby had a little tail that coiled around Raphael's hand as he held her for the first time. Seemed she was already aware of her father. She would be incredible when she grew up. He would make sure of it.

As time progressed, Raphael found he liked holding the little girl. If he was in the House of Hope, he had the baby in his arms (much to her mother's annoyance at times.) She did not like her cradle, no matter how perfect he had made sure it was. As soon as anyone put her down for a nap, the tears would start to flow. And they would only stop when she was in the arms of her mother or father. She slept well in her father's arms.

He sat in the archive with one hand on a book and one on her back, feeling it rise and fall as she rested on his chest. The room was silent save for her little breaths and his page turns. If ever she stirred, he would place a kiss on her forehead, and begin to hum a little lullaby. Soothed by his touch and the gentle vibrations, she would go back to sleeping peacefully.

She was the greatest treasure he possessed.

#baldur’s gate 3 #raphael bg3 #raphael #kid fic #always reblog #bg3

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