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klqrambles · 2 years

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FUCK IT THIS IS A WILD GREY APPRECIATION POST

Wild Grey is a Korean musical that opened in June, 2021. It follows the interactions between Oscar Wilde, Lord Alfred “Boise” Douglas, and Robert Ross starting from around when Oscar met Boise to a bit after Oscar’s imprisonment. It’s called Wild Grey though, because it also mixes elements of the Picture of Dorian Gray as they pertain to certain characters.

The actors in the role of Oscar Wilde! They’re 에녹, 정민, and 박민성. 에녹’s Oscar looked at Boise and said “I can fix him” and failed spectacularly. 정민’s Oscar looked at Ross with puppy dog eyes, said “I know what I’m doing. Trust me.”, and proceeded to not know what he was doing. 박민성’s Oscar really has “I’m gonna ruin my life for this guy I met once” *sprints and explodes* energy.

The Lord Alfred “Boise” Douglas actors! They’re 박준휘, 정휘, and 백동현. 박준휘’s Boise has “looks like a cinnamon roll but will kill you” energy. 정휘’s Boise looked at Ross and said “try me, bitch”. 백동현’s Boise will look at Oscar with the most innocent look on his face one second and then sauntered past Ross while brushing up against him just enough so it’s annoying but not enough to be sure it was intentional. (Honestly could see any of these actors playing Dorian Gray in that musical, but especially 박준휘, hence why he’s Dorian’s voice claim in my head ;])

Finally, the Robert Ross actors! They’re 배나라, 홍승안, and 안지환. 배나라’s Ross just wants to protect Oscar at all costs. 홍승안’s Ross is the “this is fine” meme. 안지환’s Ross has “I wanna kill Boise but that would make Oscar sad, so I won’t” energy.

The song most easy to find on yt is Salomé, which is the song where Ross meets Boise for the first time and the three discuss Oscar’s current wip, the play Salomé. It sets up Ross’ dislike of Boise, Oscar’s absolute infatuation, and Boise’s sly personality. It’s also one of the places where tPoDG is referenced, once when Oscar gives Boise a portrait of him, revealing Oscar’s feelings for Boise, and once more at the end when Boise quotes Lord Henry: “The only way to get rid of a temptation, is to yield to it.” Overall, the song’s got a funky beat and dance break and it’s fun to watch Boise and Ross essentially square up.

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Another song I love from this musical is Dirty Blood, which ties in the backstory of Dorian with Boise’s backstory, tying Boise and Dorian together and showing how Boise sees himself in Dorian.

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The framing of the musical is that most of it is a flashback post Oscar’s imprisonment before Boise confronts Ross since Ross tried to publish Oscar’s letters to Boise. The confrontation is sung about in the song You Weren’t There. Ross accuses Boise of being the reason why everything went to shit for Oscar and that he wasn’t at Oscar’s trial when that was all Oscar wanted. Boise argues back that Oscar would understand why he couldn’t be there and that he couldn’t be blamed for what happened when it was Oscar’s decision.

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Overall, the takeaway from the musical most people get is either “Oscar wtf, Boise you bitch, Ross im so sorry” or “Oscar sadge, Boise sadge, Ross sadge, everybody sadge”

Edit: I FORGOT TO MENTION all images are pulled from the Wild Grey official twt acc

#wild grey #와일드그레이 #oscar wilde #lord alfred douglas #robert ross #the picture of dorian gray #im cracked and im crazy and im crying #i can no longer be normal about this musical #personally my favs are 박민성 박준휘 and 안지환 #also look if all of the songs I mention are Boise focused im very normal about him i promise (/s)

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zerachielamora · 3 years

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I think Bloober Team did themselves a disservice by removing most of the occult/supernatural references from the first Layers of Fear. I think I know why they did it - to make the story more realistic and identifiable, but at the same time, they glossed over a significant aspect that ends up linking it to Layers 2, which then confuses a lot of players. Because of this, you miss out on a lot of hints that there's something else going on behind the scenes. The only ways to find out are by watching the Early Access version and digging through the game files. The biggest hint is the death room from the Early Access version. Every time you die in the finished version of the game, you wake up in a drab, almost 'dead' version of the room you died in (without color), and can proceed on. In the Early Access version, if you die, you wake up in the same room every time, surrounded by a ring of candles, with "death is but a layer" written on the wall. It's as if the Painter was being summoned back from the dead. There are a lot of nods to the occult - the demon drawing on the pause screen, the menus having ancient-looking text backgrounds, the Lovecraftian nod in the Dorian Gray book, the Rat Queen portrait, 'as above so below' written on the floor, and the writing of the last piece of the Magnum Opus mentions a grimoire - but you'd never notice this because the only time you can see the writing is either the Loop Ending or Inheritance, and in both instances, the writing has been repeated so many times it's illegible. Without these things, it means that the sudden overt occult references in Layers of Fear 2 seem wildly out of place. Then players begin to wonder...where did this come from? Wasn't this about individual artists' turmoil and their struggle to create a great work? When did it become about ancient gods toying with them? Well the answer had been back in the first game, it was just so subtle and toned down to the degree that it doesn't even register. Which is a shame, because I'd love to know how the Painter got in contact with the Rat Queen, and what the significance and meaning is behind the mysterious objects and their dialogue. And who wrote the note referencing the ancient beings?? So many questions. I can only hope Bloober eventually answers them.

#lof ramblings #layers of fear

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ashintheairlikesnow · 4 years

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chris walking in on antoni drawing trees and watching mesmerised. chris promising to keep it a secret, he just wants to watch and he’s very happy when he sees him draw a bird on one of the branches🥺

Anon, we have a problem. I tried to write your prompt but Antoni is not in the mood for happy so I hope you love angst!

Tagging @astrobly, @finder-of-rings, and @burtlederp who have asked to be tagged in all my writing

CW: Scarring discussion, referenced past burns, vaguely referenced noncon, vaguely referenced torture, referenced self-injury (just a fucky headspace)

He hides the sketchbooks. He buys them at a little art store he knows no one else he knows will go to, with the bit of money he gets as a stipend for his new identity as Jake’s official employee. He curls up in the corner of the room he has all to himself now, fills them from front to back, and then stacks them inside a box he hides under three other boxes in the very back of his closet.

As soon as he finishes one sketchbook, he buys a new blank one. Something in him stirs at the sight of empty pages that need to be filled, covered from corner to corner in words and pictures. He draws eyes, over and over and over again. Eyes like his own but different. He draws hands, clenched in fists or carefully relaxed, with some dark liquid dripping down.

He draws Chris, the wisps of his longer hair, the smile that lights his face. The drawings keep changing, though, the hair gets shorter and sort of curly like Antoni’s or the eyes start to tilt up just slightly at each end, feline almost. He tears those drawings out and throws them away.

He keeps drawing his own face, over and over and over again. He draws arms and covers them with burn scars and then throws those drawings away, too, when he starts to itch under his clothes, to itch and ache.

The first books are strange - his hand had trembled so badly. He’d drawn Mr. Davies, mostly, and he’d had to stop, headaches came and went like thunderclaps that wrecked and ruined his mind for days on end, but the more he drew - the further he pushed himself - the more things he didn’t recall came back to him as muscle memory instead.

The eyes that looked so cold and unforgiving became other eyes that were warmer.

He must have been someone who drew, he must have, because too much came back too quickly for it to be otherwise. But... he never drew, with Mr. Davies - or he did but only in secret spaces, in tiny crumpled-up notepad papers that had Mr. Davies’s to-do lists he’d finished on the other side, carefully thrown out as soon as he’d finished the picture that had been locked in his thoughts.

Mr. Davies never found them, he thinks - Antoni often wonders what would have happened if he had. Would he have been happy? Would that have been enough, if he could have kept Antoni as a painter or something instead?

Antoni would have painted instead of begging, if he’d known it was an option. He could have drawn ‘please’ in a thousand ways that would be more effective than speaking the word had been.

Begging hadn’t been good enough, but maybe he had begged the wrong way.

That thought, though, made him think of the woman he had left behind to suffer, and twisted his stomach and heart in cold guilty knots, so he tried to push that away, as far and as deep as it could go.

Lately, he finds himself drawing trees.

Sticks with leaves that become branches that become trunks that root deep into the earth. Leaves that point at the ends or are gently rounded, the veins that show through the undersides like his own bluish-purple through pale skin at his wrists, except on the left side where one burn had been pushed so deeply that he can’t see the vein beneath the skin any longer there.

He draws leaves with burns, holes straight through them with charred black in a circle around it, the veins that disappear into the place where the fire ruined them.

He left her to burn in his place.

The FedEx man had rung the doorbell and every other time Antoni had obeyed the order to wait until he left and then take the package inside, but this one time - the house was silent, Mr. Davies was out and the woman who suffered alongside him was sleeping in Mr. Davies’s bed, recovering from whatever had been done the night before.

Antoni - his name wasn’t Antoni, yet, but still he likes to think that this was the moment Antoni was born - opened the door, looked the surprised man in the purple-and-black uniform in the face, and said, “Will you take me in your truck?”

The FedEx guy had breathed out, all at once, a sudden harsh exhale.

Then he said yes.

Antoni walked away and left the woman there to be punished for his escape, and he draws her, too, sometimes. He draws her face, the sadness in her eyes, the waves in her hair.

Then, when he has finished drawing her, he draws himself, and he lays marks on his neck and his cheeks that aren’t there in real life, he digs in with graphite the scars he deserves for what he did.

A scar here and the burn there, right on his face for everyone to see.

Jake would know, then, that Antoni is the kind to walk away and let others be hurt for his own need to run. Chris would know that Antoni cannot care for anyone, because he cares too much about himself. Natalie would understand that Antoni has used her as a stepping stone to build a life but he’s too selfish to help someone else when it matters-

He draws himself like Dorian Gray’s portrait, he lays in all his sins and the wrongs he has done. He writes them on his skin in the drawings, tiny little words, abandonment, selfishness.

Maybe in the drawings, he is begging for forgiveness in a different way.

But begging is still not enough.

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shadowofmoths · 5 years

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TELL ME ABT THE HAUNTED MANSION

HELLO so right now i am obsessively watching haunted mansion youtube videos even tho i dont think theres anything new i can learn so HERE ARE SOME QUICK FACTS: (under a cut for hyperfixations rambling)

-the disneyland and disney world haunted mansions dont have a cohesive theme or storyline because haunted mansion opened after walt disney died so they didn’t really have a head on the project, so head imagineers marc davis and claude coats disagreed on whether it should be Big Spooky (claude) or Ghost Goofs (marc davis)

-it was originally gonna be like…the mansion of a pirate tho and then you’d meet a pirate ghost? and then they changed the pirate ghost to a headless horseman…but they weren’t able to get the effects quite right so that got scrapped because of that and also because they changed the layout of the mansion from being a walk-through museum sort of deal to be an actual ride that you can go on

-the disneyland paris version of the haunted mansion (called phantom manor) DOES have a theme tho! and its a theme that connects to some fan theories about what the disney world/disneyland mansions backstories could be. that mansion follows the daughter of like…a rich guy who bought some land to build a railroad on, but the land was cursed, and so Spooky Stuff happened, and also when the daughter was going to get married the Spooky Stuff killed her groom so she couldnt get married and now she haunts the house.

-the tokyo disney haunted mansion is basically exactly the same as the disney world version, but the hong kong disneyland version is very different because of different cultural connotations of ghosts/related spooky things. its much more lighthearted and cute, and you just follow this old explorer guy’s pet monkey through his mansion, and the monkey like…touches some cursed things and wreaks a little havoc but in a very cute way.

-while the US versions of the ride have no storyline, fans have basically written one for them. based on one of the tombstones outside the ride that talks about “master gracey,” fans have decided that the house belongs to someone named gracey. a lot of times ppl say that his first name is dorian, referencing dorian gray, because there’s a portrait of a guy who looks pretty fancy but the portrait ages and becomes a corpse as you walk past it. so we get master dorian gracey as some kind of character, and people suggest that the ghost bride in the attic was supposed to be gracey’s bride. and then when they changed the sad ghost bride to an axe-murdery ghost bride, i think the theory became either that they were different brides (sad ghost bride gets called “emily” a lot, but axe bride is canonically named constance hatchaway) or that axe bride murdered gracey in order to get his money. buT because everything is so ambiguous, i think most die hard haunted mansion fans who want a story basically come up with their own personal storyline based on the few fan-theories and canon details, and i think that thats very good and wholesome.

AND thats it thank u for this ask ahhhhhhh

#asks #haunted mansion #Here Are My Facts

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jonathanlejonhjarta · 4 years

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Kill Your Darlings, Richard Papen & The Picture of Dorian Gray? 😊

thank you, love!! ;v;

picture of dorian gray: what are you most proud of?my friends and mutuals and everything they do!! i have so many people around me who do incredible things and it fills my heart with an enormous pride and joy every single day of my life!

but also i did a pretty neat cross stitch portrait of a character i like so i’m gonna mention that too. and the facts that i 1) haven’t killed myself and 2) graduated high school with pretty good grades, that is also something to be proud of! :--)

kill your darlings: what is your personal platitude?i gotta admit, i had never hear the word platitude before this ask, so if i have understood the question wrong, i’m sorry! but things i say that doesn’t really mean anything when i say them are things like “it’ll get better”. which is weird to admit, because things do get better, but i don’t know if i believe it when i say it. but i will continue to say it and i will force myself to believe it, because i can’t give up. we can’t give up. it will work out, ok?

to give you a less deep and personal answer: “it’s the bitch of a living” is something i say when something goes wrong. doesn’t really mean anything, it is just a saying. it’s my way of saying “huh that sucks” but by referencing the musical spring awakening :^)

richard papen: what does ‘home’ mean to you?oh. that’s a very difficult question. i think home to me is the most beautiful thing in the world, because it is a feeling, and a feeling i rarely actually feel. being at home is being at peace. being at peace is caused by many different things; people, situations, sensations, geographical places, you name it. home is safe and calm. it is the feeling of a calm june evening by my best friend’s side at södermalm in stockholm. we re walking hand in hand and just listening to it all. when we get home we will sleep in the same bed, and my anxiety is nowhere to be seen.

it is the feeling of sitting in my room and hearing the chickens roaming around in the garden outside. i can hear my mother being outside to, planting something in her garden. my dad is downstairs, moving around. i know it is him because i recognise his heavy foot steps. i can hear the click-clack of one of our cats when his claws hits the wooden floor as he walks into the bathroom to drink some water, and the turning of book pages from my younger brother in the room beside mine. the radiators are making sounds as the hot water is pumped around in them, and my mother’s special silly voice as our other cat join her outside.

it is the feeling of going home from the biggest convention in sweden after a long day where you have seen so many people; cosplays, styles, meetings between, and you are utterly exhausted, and so happy that you can just bicycle/take the bus home to your aunt who you love very much. it is 10pm in late july and after a super busy, but fun day, it is just you and the town of linköping, until you arrive at your aunt’s apartment.

that’s home.

ask game!!

#the1975bi

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nofomoartworld · 7 years

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Art F City: We Went To SPRING/BREAK: Who Let the Dogs Out?

This cut-out from Allison Zuckerman gets a nod for many reasons, but primarily because everyone agrees it looks like AFC editor Michael Anthony Farley, AKA Ellen Degenerate.

What’s on View: Two floors crammed full of art shows assembled by 150 independent curators and responding to the theme of Black Mirror. Said theme, chosen by SPRING/BREAK organizers Andrew Gori and Ambre Kelly, is supposed to be a unifying force, and refers to tools used by old masters for landscape painting and portraiture. What we see, though, is a vast array of approaches ranging from formal painting to DIY barbershops. Some directly respond to theme, others have little to nothing to do with it. Mirrors are everywhere.

Molly: SPRING/BREAK is famous for activating and reframing historic spaces. It’s new home in Conde Nast’s former office building in Times Square is the perfect backdrop for this year’s theme: “Black Mirror.” Claude Glass (or black mirrors) were devices used by Old Masters to abstract reality and isolate subjects in a more pleasing manner. One of the most interesting parts of the fair was seeing how every booth reframed the view of Times Square, transforming a block of the city I usually associate with anxiety inducing amounts of tourists posing with Hello Kitties and Spidermen into various picturesque landscapes. That being said, the former office space was so jam-packed that while the coveted “offices with a view” presented a multitude of compelling shows I felt so drained by the end I couldn’t give them proper attention. I love the notion of reframing a vacant space into a platform for contemporary art but the cubicle spaces didn’t feel abstracted enough to transport me anywhere and I felt overwhelmed by the amount of booths crammed into the space.

Harrison: From the organizers’ own descriptions on thesite, they’re relying heavily on an Oscar Wilde narrative, asking the viewer first, “How does this multiplication of the self [through a black mirror] impact the expressive artifact?” Dorian Gray is pulled into view both through question and direct reference. This year’s suggested readings also include Leigh Bowery—overall introducing an evaluation of personhood through physical investigation and individually created mythologies.

It showed. There were mirrors everywhere and self-referencing or self-obliterating works in many of the booths—which were very densely packed in the space. Honestly each floor is at least a fair’s worth of art, so be ready to map your way through the fair with snacks and water packed.

The Pursuit of It

Curated by Nicole Grammatical and Christina Panicolaou

Robin F. Williams

Molly: The bustle of Times Square makes getting into the fair a bit of an ordeal, so I was relieved that one of the first rooms we visited makes you forget about all that. The view of a Manhattan skyline sunset melds perfectly into the hyper femme dreamland of this space. Curated around the idea of a dollhouse, the show gives the artist’s room to play with the ideas of femininity and the demarcation of object and subject—very fitting for the Black Mirror theme.

Robin F. Williams’ painting of a nude woman gazing out a window—on which she has drawn tally marks, juvenile stars, and hearts—was a perfect melancholy opening for the show, setting a tone of beautiful frustration and caged desire.

Signe Pierce’s video, projected onto the window at sunset, seemed perfectly at home, a glimpse into the violent nature of the gorgeous view below. In the video, Pierce poses in a unitard, snapping selfies, while we catch distorted glimpses of tourists’ reactions to her body in public space.

Stills from Signe Pierce’s video

Harrison: This booth is an immersion to your favorite dreamgirl room from your favorite princess fantasy. It’s high-femme. It’s powerful and aggressive in its softness, and a forward display of self-designed femininity. Each artist fulfilled the curatorial goal of imaging a “choose-your-own-adventure” style womanhood, from plushy embroidered cacti (Hein Koh) to a La Danse reference for and by queer women of color (Hiba Schnabhaz.)

LEAH SCHRAGER: @OnaArtist

Curated by Kristen Sancken

Harrison: Leah Schrager’s work plays heavily with the boundaries of what social media sites deem appropriate for their users to post. Hypersexualized selfies are obstructed by banal images of mid-luxury items or lo-fi glitchwork, just covering enough for her image to be safe for the public. Each image is part of a larger narrative, informing how the viewer consumes her mythology. Schrager works over social media—narrating her own life to suit a celebrity project—and is fully succeeding with a cult following, music releases, and of course exhibitions.

Leah Schrager

Molly: Leah Schrager created her “Ona” (short for online persona) account in the hopes of becoming a social media star and I am definitely one of her 471k fans. The art world often has a puritanical stance on women using their bodies in art and I’ve always appreciated Shrager unabashedly and thoughtfully shoving her sexuality right back in it’s face. This installation featured images of Shrager’s body being overtaken by objects like glitter and chandeliers, playing with the relationship between objects and social media brands.

Ben Sisto, “The Museum of Who Let Dogs Out Out?”

Curated by Jac Lahav

Molly: There is always a booth I walk in and think “I have a crush on this artist” and Ben Sisto’s was it this year. This room featured every piece of merchandise featuring the Baha Men song “Who Let the Dogs Out?” artist Ben Sisto has been able to get his hands on. It was like the ultimate fuck boy fantasy bedroom. Of course it’s the booth I want to marry. There is even a puppy that walks while singing “Who Let the Dogs Out?” We reached this room about 75% into the fair and the humorous collection of stuffed dogs and novelty tees gave me an energy spike I desperately needed. I’m also going to have the Baha Men stuck in my head for days.

HARRISON: It’s genius. Ben Sisto spent 7 plus years of his life researching “Who Let the Dogs Out?” from the song itself back through any and all musical references or influences that allowed the song to exist. The collection includes toys, music, collectors items, and an incredibly thorough explanation to every piece involved. I laughed throughout the space — this level of intense obsession and research on a single subject is my everything.

TAKE US LYING DOWN

Lisa Levy and Paul Gagner

Molly: Spring Break’s office space lended itself perfectly to Lisa Levy and Paul Gagner’s faux therapy office, reception desk and all. While waiting for a therapy session participants are invited to view books written by the fictional Dr. Howard Mosely, M.D., including titles such as A Beginner’s Guide to Home Lobotomy, Coping With Imaginary Foes, and DIY Coffins. Inside the office Lisa Levy gives public therapy sessions in her “office” that includes wall works with statements such as “WOMEN! Lower your expectations of men,” “I don’t know who you are but I need your approval” and various other remarks many of us have experienced our therapist yelling at us. As someone who annoys her therapist weekly, I found the installation charming and relatable. The room felt like an installation I would want to make specifically to troll my own therapist.

ELIZABETH BICK: THE REAL SIN WOULD BE NEVER EXPERIENCING IT

Curated by C. Finley

HARRISON: Elizabeth Bick is a street photography enthusiast, a pastime which introduced her to a stranger on the train. She and this older woman ended up sharing a passion for dance, and collaborated on a series of photos that offer us a glimpse into her life—through illness and hardship, all performed for Bick’s lens. Both Bick and her subject were dancers for years, and their communal understanding of body and movement is evident. Each photograph is incredibly emotive yet quiet and alone, showcasing a performer whose audience is regularly absent.

GUY RICHARDS SMIT

Curated by Carol Bove

HARRISON: Smit’s series of skull portraits are arranged like a periodic table of descriptors paired with differentiated, but obviously identifiable, skulls. Skull descriptions included words, in all caps, like, “COLLECTOR”, “EASILY SATISFIED”, “BOY CRAZY” and so forth. It’s simple, intelligent, and funny, while also serving as a reminder of mortality. Also Molly and I fit most of the adjectives so we left laughing and directly attacked.

Molly: I felt personally attacked by this booth. I need the large skull with the words “BOY CRAZY” hung over my bed as both a memento mori and a reminder that “actually no, you do not need to send that drunk text.”

SPECIAL PROJECT: GATEWAY by Leah Piepgras

Curated by Grin

HARRISON: The booth by Providence-based artist run gallery Grin provided the antidote to spiritual and physical fair fatigue. The space is filled with mirrored sculptures lit so the reflected light is soothing and provides blue refraction directly behind the works. The ceiling pieces rotate on their own, while the artist invites viewers to spin the wall works (gently) to create a prayer wheel. I recommend recuperating here.

Molly: Normally if someone told me to “spin a glittery wheel while saying a prayer with good thoughts” my eyes would not be able to roll hard enough but this space was so beautiful I was completely invested. The installation completely transported me and is a perfect room to take a break when art fair fatigue is setting in.

from Art F City http://ift.tt/2lEP0I2 via IFTTT

#IFTTT #Art F City

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