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trikaranos · 3 months

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TRIKARANOS CHAPTER I: S·T·T·L

TRIKARANOS is a dramatized narrative based on ancient events following Crassus (and Pompey and Caesar) through the years 87-48 BCE. Intended for an adult audience.

⭐ Trikaranos will always be free to read. In the near future, you’ll have the option to support this comic & my ability to spend time making it (I Am Extremely Fucking Broke And Have Bills To Pay etc etc) through Patreon! currently, I have a tip jar!

⭐ There is no set update schedule (chapters vary in length and will be posted as I finish working on them)

⭐ alternative places to read it (coming soon!)

CREDITS all additional art used are in the public domain, and the specific images used are open access, etc

🍊the first collage panel is combination of: Plate 113: Greeks Battling the Trojans (from Ovid's Metamorphoses), Antonio Tempesta / The Trojans pulling the wooden horse into the city, Giulio Bonasone (after Francesco Primaticcio) / Terracotta hydria displaying Achilles waiting to ambush Triolos and Polyxena 🍊the second collage panel is: The Lictors bringing Brutus the bodies of his Sons, Jacques Louis David / the paint over of Brutus executing is own sons is my own work based on the composition of this relief of Brutus and condemning his sons to death. 🍊I also used my own art: a panel from the Prologue, and my own illustration of Brutus with the bodies of his sons

📖 PREVIOUS CHAPTER | START HERE | ToC (under construction!)

UNDER THE CUT creator’s commentary, ancient citations, whatever else seems relevant. ideally, this is optional! you shouldn’t need the citations for it to make sense as it unfolds since it’s a comic and a story first and foremost, but it’s here if you’re curious about something or want to see where the inspiration is coming from!

I'm so fucking normal about Crassus and his family (<<< this is a lie)

Marcus Crassus was the son of a man who had been censor and had enjoyed a triumph; but he was reared in a small house with two brothers. His brothers were married while their parents were still alive, and all shared the same table, which seems to have been the chief reason why Crassus was temperate and moderate in his manner of life. When one of his brothers died, Crassus took the widow to wife, and had his children by her, and in these relations also he lived as well-ordered a life as any Roman.

Plutarch, Crassus

like, it actively fucks me up that this is something that's survived about him for over 2,000 years. they all ate together at the same table. Jesus Christ.

so! Crassus' dad! Publius Licinius Crassus (consul 97) fought on the side of Cn. Octavius (consul 87) in the Bellum Octavianum, and it didn't go great for him.

Crassus: A Political Biography, B.A. Marshall

also. currently, if you look Publius Licinius Crassus up on wikipedia for an overview, his page lists his son (and also my main character for this comic) with the cognomen Dives, which is in-fucking-correct.

Marcus Crassus and the Late Roman Republic, Allen Mason Ward

and to circle back to houses and meals shared with family, some citations that made me feel some kind of way when I read them

Marcus Crassus and the Late Roman Republic, Allen Mason Ward

finally, there is discourse or whatever on the placement of the sons of Publius Licinius Crassus. Crassus is the baby brother here simply because I'm writing this story and I get to pick the themes, but also because no one has provided a solid enough argument for him being the second eldest son that I'm willing to buy into with enthusiasm, and I'm more inclined towards G. Sampson's conclusion on the matter.

Defeat of Rome: Crassus, Carrhae, and the Invasion of the East, Gareth C. Sampson

and while I'm just kind of talking about stuff that I read that I enjoyed, this article by Martin Stone lives in my head rent free

A Year of One's Own: Dating the Praetorship of Marcus Crassus, Martin Stone

#trikaranos the komik #hehghghh HELLO i'm back. oof. hgh #if i think too much about them as a family i take critical damage to my hit points

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mostlysignssomeportents · 10 months

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Conservatives are fringe outliers - and leftists could learn from them

The Republican Party, a coalition between Big Business farmers and turkeys who’ll vote for Christmas (Red Scare obsessed cowards, apocalyptic white nationalists, religious fanatics, etc) has fallen to its bizarre, violent, noisy radical wing, who are obsessed with policies that are completely irrelevant to the majority of Americans.

As Oliver Willis writes, the views of the radical right — which are also the policies of the GOP — are wildly out of step with the US political view:

https://www.oliverexplains.com/p/conservatives-arent-like-normal-americans

The press likes to frame American politics as “narrowly divided,” but the reality is that Republicans’ electoral victories are due to voter suppression and antimajoritarian institutions (the Senate and Electoral College, etc), not popularity. Democrats consistently outperform the GOP in national races. Dems won majorities in 1992/6, and beat the GOP in 2000, 2008, 2012, 2016 and 2020. The only presidential race the GOP won on popular votes since 1988 was 2004, when GW Bush eked out a plurality (not a majority).

But, as Willis says, Dems “act like it is 1984 and that they are outliers in a nation of Reagan voters,” echoing a stilted media narrative. The GOP’s platform just isn’t popular. Take the groomer panic: 71% of Americans approve of same-sex marriage. The people losing their shit about queer people are a strange, tiny minority.

Every one of the GOP’s tentpole issues is wildly unpopular: expanding access to assault rifles, banning immigration, lowering taxes on the rich, cutting social programs, forcing pregnant people to bear unwanted children, etc. This is true all the way up to the GOP’s coalescing support for Trump as their 2024 candidate. Trump has lost every popular vote he’s ever stood for, and owes his term in the Oval Office to the antimajoritarian Electoral College system, gerrymandering, and massive voter suppression.

Willis correctly points out that Dem leaders are basically “normal” center-right politicians, not radicals. And, unlike their GOP counterparts, politicians like Clinton, Obama and Biden don’t hide their disdain for the radical wing of their party. Even never-Trumper Republicans are afraid of their base. Romney declared himself “severely conservative” and McCain “put scare quotes around ‘health of the mother’ provisions for abortion rights.”

The GOP fringe imposes incredible discipline on their leaders. Take all the nonsense about “woke capitalism”: on the one hand, it’s absurd to call union-busting, tax-dodging, worker-screwing companies “woke” (even if they sell Pride flags for a couple of weeks every year).

But on the other hand? The GOP leadership have actually declared war on the biggest corporations in America, to the point that the WSJ says that “Republicans and Big Business broke up”:

https://www.wsj.com/articles/republicans-corporations-donations-pacs-9b5b202b

But America is a two-party system and there are plenty of people who’ll pull the lever for any Republican. This means that when the GOP comes under the control of its swivel-eyed loon wing, the swivel-eyed loons wield power far beyond the number of people who agree with them.

There’s an important lesson there for Dems, whose establishment is volubly proud of its independence from its voters. The Biden administration is a weirdly perfect illustration of this “independence.” The Biden admin is a kind of referee, doling out policies and appointments to its competing wings, without any coherence or consistency.

That’s how you get incredible appointments like Lina Khan at the FTC and Jonathan Kanter at the DoJ Antitrust Division and Rohit Chopra at the Consumer Finance Protection Bureat — the progressive wing of the party bargained for these key appointments and then played their cards very well, getting incredible, hard-charging, hyper-competent fighters in those roles.

Likewise, Jared Bernstein, finally confirmed as Council of Economic Advisers chair after an interminable wrangle:

https://prospect.org/blogs-and-newsletters/tap/2023-06-16-team-biden/

And Julie Su, acting labor secretary, who just delivered a six-year contract to west coast dockworkers with 8–10% raises in the first year, paid retroactively for the year they worked without a contract:

https://www.whitehouse.gov/briefing-room/statements-releases/2023/06/14/statement-from-president-biden-on-labor-agreement-at-west-coast-ports/

But the Biden admin’s unwillingness to side with one wing of the party also produces catastrophic failures, like the martyrdom of Gigi Sohn, who was subjected to years of vicious personal attacks while awaiting confirmation to the FCC, undefended by the Biden admin, left to twist in the wind until she gave it up as a bad job:

https://doctorow.medium.com/culture-war-bullshit-stole-your-broadband-4ce1ffb16dc5

It’s how we get key roles filled by do-nothing seatwarmers like Pete Buttigieg, who has the same sweeping powers that Lina Khan is wielding so deftly at the FTC, but who lacks either the will or the skill to wield those same powers at the Department of Transport:

https://pluralistic.net/2023/02/11/dinah-wont-you-blow/#ecp

By refusing to stand for anything except a fair division of powers among different Democratic Party blocs, the Biden admin ends up undercutting itself. Take right to repair, a centerpiece of the administration’s agenda, subject of a historic executive order and FTC regulation:

https://pluralistic.net/2022/10/18/administrative-competence/#i-know-stuff

Right to Repair fights have been carried out at the state level for years, with the biggest victory coming in Massachusetts, where an automotive R2R ballot initiative won overwhelming support in 2020:

https://pluralistic.net/2020/11/13/said-no-one-ever/#r2r

But despite the massive support for automotive right to repair in the Bay State, Big Car has managed to delay the implementation of the new law for years, tying up the state in expensive, time-consuming litigation:

https://pluralistic.net/2021/05/26/nixing-the-fix/#r2r

But eventually, even the most expensive delaying tactic fails. Car manufacturers were set to come under the state right to repair rule this month, but they got a last minute reprieve, from Biden’s own National Highway Traffic Safety Administration, who sent urgent letters to every major car manufacturer, telling them to ignore the Massachusetts repair law:

https://www.vice.com/en/article/m7bbkv/biden-administration-tells-car-companies-to-ignore-right-to-repair-law-people-overwhelmingly-voted-for

The NHTSA repeats the car lobby’s own scare stories about “cybersecurity” that they blitzed to Massachusetts voters in the runup to the ballot initiative:

https://pluralistic.net/2020/09/03/rip-david-graeber/#rolling-surveillance-platforms

The idea that cybersecurity is best maintained by letting powerful corporations gouge you on service and parts is belied by independent experts, like SecuRepairs, who do important work countering the FUD thrown off by the industry (and parroted by Biden’s NHTSA):

https://securepairs.org/

Independent security experts are clear that letting owners of high-tech devices decide who fixes them, what software they run, etc, makes us safer:

https://www.schneier.com/essays/archives/2022/01/letter-to-the-us-senate-judiciary-committee-on-app-stores.html

But here we are: the Biden admin is sabotaging the Biden admin, because the Biden admin isn’t an administration, it’s a system for ensuring proportional representation of different parts of the Democratic Party coalition.

This isn’t just bad for policy, it’s bad politics, too. It presumes that if some Democratic voters want pizza, and others want hamburgers, that you can please everyone by serving up pizzaburgers. No one wants a pizzaburger:

https://pluralistic.net/2022/10/23/narrative-warfare/#giridharadas

The failure to deliver a coherent, muscular vision for a climate-ready, anti-Gilded Age America has left the Democrats vulnerable. Because while the radical proposals of the GOP fringe may not enjoy much support, there are large majorities of Americans who have lost faith in the status quo and are totally uninterested in the Pizzaburger Party.

Nowhere is this better explained than in Naomi Klein’s superb long-form article on RFK Jr’s presidential bid in The Guardian:

https://www.theguardian.com/commentisfree/2023/jun/14/ignoring-robert-f-kennedy-jr-not-an-option

Don’t get me wrong, RFK Jr is a Very Bad Politician, for all the reasons that Klein lays out. He’s an anti-vaxxer, a conspiracist, and his support for ending American military aggression, defending human rights, and addressing the climate emergency is laughably thin.

But as Klein points out, RFK Jr is not peddling pizzaburgers. He is tapping into a legitimate rage:

a great many voters are hurting and rightfully angry: about powerful corporations controlling their democracy and profiting off disease and poverty. About endless wars draining national coffers and maiming their kids. About stagnating wages and soaring costs. This is the world — inflamed on every level — that the two-party duopoly has knowingly created.

RFK Jr is campaigning against “the corrupt merger between state and corporate power,” against drug monopolies setting our national health agenda, and polluters capturing environmental regulators.

As Klein says, despite RFK Jr’s willing to say the unsayable, and tap into the yearning among the majority of American voters for something different, he’s not running a campaign rooted in finally telling the American public “the truth.” Rather, “public discourse filled with unsayable and unspeakable subjects is fertile territory for all manner of hucksters positioning themselves as uniquely courageous truth tellers.”

We’ve been here before. Remember Trump campaigning against a “rigged system” and promising to “make America great again?” Remember Clinton’s rejoinder that “America was already great?” It’s hard to imagine a worse response to legitimate outrage — over corporate capture, declining wages and living conditions; and spiraling health, education and shelter costs.

Sure, it was obvious that Trump was a beneficiary of the rigged system, and that he would rig it further, but at least he admitted it was rigged, not “already great.”

The Democratic Party is not in thrall to labor unions, or racial equality activists, or people who care about gender justice or the climate emergency. Unlike the GOP, the Dem establishment has figured out how to keep a grip on power within their own party — at the expense of exercising power in America, even when they hold office.

But unlike culture war nonsense, shared prosperity, fairness, care, and sound environmental policies are very popular in America. Some people have been poisoned against politics altogether and sunk into nihilism, while others have been duped into thinking that America can’t afford to look after its people.

In this regard, winning the American electorate is a macrocosm for the way labor activists win union majorities in the workplaces they organize. In her memoir A Collective Bargain, Jane McAlevey describes how union organizers contend with everything that progressive politicians must overcome. A union drive takes place in the teeth of unfair laws, on a tilted playing field that allows bosses to gerrymander some workers’ votes and suppress others’ altogether. These bosses have far more resources than the workers, and they spend millions on disinformation campaigns, forcing workers to attend long propaganda sessions on pain of dismissal.

https://doctorow.medium.com/a-collective-bargain-a48925f944fe

But despite all this, labor organizers win union elections and strike votes, and they do so with stupendous majorities — 95% or higher. This is how the most important labor victories of our day were won: the 2019 LA teachers’ strike won everything. Not just higher wages, but consellors in schools, mandatory greenspace for every school in LA, an end to ICE shakedowns of immigrant parents at the school-gate, and immigration law help for students and their families. What’s more, the teachers used their unity, their connection to the community, and their numbers to get out the vote in the next election, winning the marginal seats that delivered 2020’s Democratic Congressional majority.

As I wrote in my review of MacAlevey’s book:

For McAlevey, saving America is just a scaled up version of the union organizer’s day-job. First, we fix the corrupt union, firing its sellout leaders and replacing them with fighters. Then, we organize supermajorities, person-to-person, in a methodical, organized fashion. Then we win votes, using those supermajorities to overpower the dirty tricks that rig the elections against us. Then we stay activated, because winning the vote is just the start of the fight.

It’s a far cry from the Democratic Party consultant’s “data-driven” microtargeting strategy based on eking out tiny, fragile majorities with Facebook ads. That’s a strategy that fails in the face of even a small and disorganized voter-suppression campaign — it it’s doomed in today’s all-out assault on fair elections.

What’s more, the consultants’ microtargeting strategy treats people as if the only thing they have to contribute is casting a ballot every couple years. A sleeping electorate will never win the fights that matter — the fight to save our planet, and to abolish billionaires.

If only the Democratic Party was as scared of its base as the Republicans are of their own.

If you’d like an essay-formatted version of this post to read or share, here’s a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/06/16/that-boy-aint-right/#dinos-rinos-and-dunnos

[Image ID: The title page of Richard Hofstadter's 'Paranoid Style in American Politics' from the November, 1964 issue of Harper's Magazine. A John Birch Society pin reading 'This is REPUBLIC not a DEMOCRACY: let's keep it that way' sits atop the page, obscuring the introductory paragraph.]

#pluralistic #tgop #politics #centrism #centrism kills #qgop #democrats in disarray #trumpism #conservatives #robert f kennedy #Massachusetts #climate emergency #naomi klein #oliver willis #right to repair #pizzaburgers

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flawseer · 5 months

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Foeslayer's Lament

The following is an alternative retelling of the final scene from Wings of Fire: Winter Turning, based on my own feelings and thoughts while reading the book.

I vividly remember getting to this part in the book. I listened to the explanation that an animus curse was keeping Foeslayer trapped in the Diamond Trial cavern and a lightbulb went on in my head.

"Oh, the curse is probably phrased in a way to specifically target Foeslayer, and Winter has an item on him right now that can obscure a person's identity," I thought with glee, "the author deliberately set that up as a Checkov's Gun, this is so brilliant! I can't believe how well this all fits together, oh my god!"

Then that never happened. Really, the Pyrite necklace never comes up again; Winter probably still has it on him today, forgotten in his pouch thingy. It felt a bit deflating.

I thus spent the better part of the last two weeks writing and illustrating this comic because I wanted to see how that scene would play out with the Checkov's Gun triggered. I think it still largely hits the same beats as the original narrative and ends in roughly the same place.

It's very possible this is all very silly and my perception of a smoking gun in the narrative is a huge delusion. Whatever it may be though, I hope you'll find this entertaining, or at least interesting as a thought experiment.

#wings of fire #wof #dragon #digital art #wof art #flawseer art #wof headcanon #wof nightwing #wof icewing #wof skywing #wof winter #wof foeslayer #wof pyrite #winter turning #flawseer story

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txttletale · 1 year

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h… how is any of that racist

assuming that you mean my posts about the 5e monster manual entry for orcs and how insanely racist it is--by happy coincidence i have a bunch of sources about this strewn haphazardly across my browser so i'm happy to answer this.

so we will start with this. the words 'tribe' and 'chief' are deeply, deeply racialised. they have been used throughout colonial (and well into modern and present-day!) history to describe groups of indigenous peoples across the world—with implications of 'primitive' people and societies within the Western myth of linear societal progress. europeans have nations and kings--africans and native americans have tribes and chiefs. the 'tribe' is not a neutral concept--it is a concept that was constructed by europeans in positions of global military domination over a century to justify a narrative about the linear progress of civilization to justify domination [1][2]. of course, it's not just the use of the words 'tribe' or 'chief' but their deployment here in the context of what is obviously supposed to be a 'primitive' method of of government--the 'orcish tribe' is inherently violence, a 'savage' society entirely built on "bloodlust" and "fear"

regis stella puts it much better than i could in this account of an early 20th-century travel memoir in Imagining the Other: The Representation of the Papua New Guinean Subject

while we're on this point i figure i'll add all the other language around 'savagery', 'inherent bloodlust' and so on in the monster manual here to further illustrate my point: it's all quite rote and repeats itself a lot.

now, wait, waiiiit, wait a second. wait a moment. hold up what was that last thing

oh thats not good. having to explain why this is racist feels a little like having to explain why its bad to hit people with hammers but i'll do it anyway: the comparison of real-life 'tribes' of people to insects, vermin, and pestilences is a very real element of genocidal rhetoric--from the holocaust [3] to the rwandan genocide [4]. what is the implied correct societal responose to a tribe that is 'like a plague?'

finally, this is the part that made me say "holy fucking shit this is in the 5th edition monster manual?" because it is pure undiluted gygaxian eugenics shit. first of all, the narrative of the ever-swelling horde, the indigenous or Asian people as an undiffernetiated mass of amorphous Other, is an old one and one that's been used to devalue the lives of people of colour and justify violence against 'the horde'. but the part that's absolutely jaw-dropping is the use of the tropes of reproductive racism--the narrative of Black and indigenous hyperfecundity is also an established racist trope, one which was instrumental in the forced sterilisation of Black and Native women in the USA [5] and now manifests itself in the "great replacement" demographic anxieties of modern racism [6] -- think of White Genocide conspiracy theories and the 14 Words. and of course that is to say nothing of the fact that is made very clear and reiterated (and mechanicised in the form of the Half-Orc player race!) that WotC wants to be very clear about how much orcs "readily crossbreed with other races". this is miscegenation anxiety, plain and simple--somethign else stella talks about.

so yeah! hopefully nobody will ever ask me this fucking question again! (this is just across two fucking pages of the monster manual by the way don’t get me started on the shit that’s in the other books! god forbid i even think about campaign modules!!)

#ask #ttrpg #dnd #orc discourse

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talesofliia · 3 months

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If Byler isn't endgame, then why…

1. Why do they consistently emphasize the unique nature of Will and Mike's friendship within the party? Why highlight their deep bond and illustrate their special connection?

2. Why does Mike gaze at Will with expressions of fondness, affection, admiration, and longing? Not to mention the times he seemingly focuses on Will's lips…

3. Why do they exhibit strange behavior around each other in s4? If they're merely friends, why the nervousness and awkwardness? Their dynamic sharply contrasts with the rest of the party.

4. Why does Mike feel compelled to insist that "they're just friends" to Will if it's an obvious fact? Could it be that Mike senses something more in their relationship?

5. Why are some of their scenes so romantically coded? If you consider it typical best-friend behavior, try swapping Mike with, say, Dustin or Lucas. Byler's scenes, particularly in seasons 2 & 4, are remarkably moving and heart-felt.

6. Why do they share intimate moments they wouldn't with other friends? And say things that sound rather romantic, like "Crazy together," "Hawkins hasn't been the same without you," "I felt like I lost you," "You're the heart"…

7. Why are some of their scenes so intimate that when interrupted by other characters, Will and Mike look as if they were caught doing something "inappropriate"?

8. Why do many of their scenes include "tender, emotional music playing," reminiscent of scenes with other ST couples?

9. Why are Will and Mike consistently paired up and paralleled with other canon couples? And sometimes with gay characters from other films/shows? I recommend checking out this thread as well.

10. Why do Netflix and the ST cast & crew talk about Byler so extensively? Here's a great thread with all their mentions.

11. Why are there numerous queer references surrounding Mike and his relationship with Will? If unclear, you can check out this channel.

12. Why does it seem like Mike and El's romantic relationship is reaching its logical end? If they were intended to be endgame, why did Mike struggle to say he loved her until he felt forced to? And why didn't we get a passionate Mileven scene after his "love confession"?

13. Why was Will present in almost all Mileven scenes in s4? And why was he the one attempting to piece together the broken elements of Mike and El's relationship?

14. Why make Will fall in love with Mike (canonically!) and illustrate the depth of his love for Mike, only to reveal that Will's feelings are unrequited? This character has already endured so much. In the context of a fictional story, it makes sense for such a good character to have a well-deserved happy ending (including being with Mike).

15. And finally: why invest so much in the beginning, highlighting the unique bond between Will and Mike, creating tension with romantic undertones, only to leave it unresolved and without the exploration it seemed to promise?

I want to clarify that I'm not claiming Byler is a definite endgame. I'm fully aware of the unpredictability of ST. However, it seems like a narrative gap if Will and Mike's relationship doesn't find its logical conclusion, which, in my view, is them being romantically together.

#byler #byler tumblr #byler is canon #will byers x mike wheeler #will x mike #will and mike #will byers #mike wheeler #stranger things

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owlhousetarot · 1 year

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Wheel of Fortune: Cycles of Violence and Trauma

Upright: Cycles, change, destiny, life cycles, turning point, fortune, karma, external forces at play, breaking negative cycles

Reversed: Lack of control, bad luck, resisting change, clinging to control, upheaval, setbacks

The Wheel of Fortune card is an important one in this deck: The Owl House’s narrative is all about cycles of violence and trauma, how they’re perpetuated, and how they can be broken. These cycles include Luz inheriting Camila’s struggles with conformity and acceptance, Lilith mirroring Philip’s attempts to force a sibling to conform to their ideals supposedly for their own good, the Collector perpetuating his species’ tendencies to subjugate entire worlds, and of course the most blatant example: the Grimwalker cycle.

The Wheel card reminds you that the world is in a state of constant change, most of which is unavoidable and entirely outside our control. Hollow Mind is a rude awakening for Hunter, as he learns how little control he truly has over his life. We the audience learn that in creating Hunter and all the Grimwalkers, Philip has been attempting to re-create the relationship he had with Caleb, but better; Caleb’s decision to leave the human realm and love a witch completely upended his entire worldview, and he is clinging to an image of the past that will never truly come back. The Wheel can also represent a critical turning point in your life; Hollow Mind is the moment that finally causes Hunter to break away from Belos’ abuse, becoming the first Grimwalker to break the cycle and survive.

The Wheel’s theme of the inevitability of change is mirrored in the conflicting ideals of the Collectors and Titans; Collectors preserve and objectify living beings so they will “never fade,” while the nature of the Titans is to embrace death and change as natural and necessary. Life itself springs forth from the decay of the Boiling Isles, illustrating the cyclical but ever-changing nature of life. In season 3, the Collector has the Isles trapped in a stagnant fantasy land much like the one Luz was expecting to encounter in episode 1, likely because the trauma of losing his baby Titan friends and being imprisoned for thousands of years makes him crave control over his surroundings. Like Luz had to temper her expectations and accept the Isles for how they were, he must let go of the illusion of control and allow the world around him to change in order to break that cycle of trauma, lest he end up trapped in it like Belos.

< Previous Card: The Hermit

> Next Card: Justice

#the owl house #toh tarot #major arcana #wheel of fortune #hunter toh #luz noceda #caleb wittebane #philip wittebane #eda clawthorne #lilith clawthorne #the collector #evelyn clawthorne #hollow mind

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colleendoran · 1 year

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Neil Gaiman's CHIVALRY: From Illuminated Manuscripts to Comics

One of the many reasons I wanted to adapt Neil Gaiman's Chivalry into graphic novel form was to create a comic as a bridge and commentary re: comics and illuminated manuscripts.

We're often told that the first comic book was Action Comics #1 featuring Superman, a collection of Superman comic strips that morphed into comic books as an art form.

Sequential art predates Action Comics #1.

Action Comics popularized sequential art book storytelling that had already appeared in other forms in fits and starts throughout history. Comic books didn't take off as a popular medium for several reasons, not least of which was the necessary printing process hadn't been invented yet and it's hard to popularize - and commercialize - something most people can never see.

You find sequential art in cave paintings and in Egyptian hieroglyphics. I've read that comics (manga) were invented by the Japanese in 12th century scrolls.

And sequential art appears over and over again in Western art going back well over 1000 years, and in book form at least 1100 years ago.

The most obvious example of early sequential art in Western art - as a complete narrative in sequence - is the Bayeux Tapestry.

At 230 feet long, this embroidered length of cloth was likely commissioned around the year 1070 by Bishop Odo, brother of William the Conqueror. It depicts the Battle of Hastings in 1066 and the invasion of England by the Normans. (The tapestry was made in England, not in France, but it is called the Bayeux tapestry because that's where it is now.)

Imagine what a task it was to embroider this thing. Whew. And you thought it was hard learning Photoshop.

This work of art is important in the history of sequential narrative, but the Norman invasion is also important to the legend of King Arthur - and another important English legend - for reasons we'll get into later.

It's complicated.

All this is why you see this art in the background of this page of Chivalry.

Using the Romanesque art style of the tapestry in panel 1, I've added the Latin phrase "Rex Quondom, Rexque Futurus" - "The Once and Future King", the final words of Sir Thomas Malory's Le Morte d'Arthur as inscribed on King Arthur's tomb, and the title of T.H. White's famous Arthurian novel. (EDIT) and it has been kindly pointed out to me that QUONDOM should be QUONDAM, which is hilarious and annoying and this is how history gets rewritten by accident.

My original intention was to draw this Bayeux Tapestry scene out and juxtapose it with shots of Galaad interacting with the children, but the two page sequence I imagined didn't really work as well in reality as it did in my head.

Foremost among my concerns was that the tapestry reference might be too obscure for most readers. I wanted to weave the visual meta-text of Chivalry into the story (For further reading on this project and my use of visual meta-text, symbolism, and history in Neil Gaiman's Chivalry, go HERE. And HERE. And HERE. And Yet again HERE.) in such a way as it would enhance the experience for people who "got" the visual meaning, while not dragging things down for people who didn't. So I cut this scene down to one panel.

The tapestry is a complete, long form comic strip created over 1100 years before some people claim comics were invented. So, I loved being able to reference it here.

But even more interesting to me are the sequential art sequences that appear in illuminated manuscripts - comics in book form.

I once got into a rather vicious argument with an academic who insisted illuminated manuscripts were comics. I said no. She said yes. Then she insulted the lowly comic artist and blocked me on Facebook.

Whatever.

My point was not that you can't find sequential art in illuminated manuscripts. My point is that an illustrated book isn't de facto a comic. Most illuminated manuscripts are illustrated books. Some illuminated manuscripts contain sequential art.

Just because opera is music, that doesn't mean all music is opera.

Just because comics books are books that doesn't mean all books are comic books.

And just because some illuminated manuscripts contain sequential art, that doesn't mean all illuminated manuscripts are sequential art.

But one is.

Let me show you it.

One of the earliest examples of an illuminated manuscript with comic art is The Bible d'Etienne Harding which you can see in this really bad jpg here, sorry, best I could find.

Created around the year 1109, property of a French Cistercian monk, it combines sequences like this with pages of text and illustration.

Not a comic book IMHO, but an illuminated manuscript with sequences of text, illustration and sequential narrative.

It's no more a "comic book" than a newspaper is for having text, illustration, and comic strips in it.

IMHO, academic lady.

And here's a look at the Old English Hexateuch (hexateuch refers to the first 6 books of the Bible) which I think is far more visually complex and interesting work, and comes much closer to the illuminated manuscript as comic, but still intersperses large sequences of text and illustration with sequential storytelling sequences. So I don't consider it a comic, but a book with sequential work in it.

Now this work below is a different matter. This is from the Holkham Bible Picture Book, circa about 1330.

This thing is genius. It measures a little larger than a modern comic, around 8"x11", and almost every page of it is like this spread here. 231 pages of beautifully rendered art, with repeated use of banderoles - "speech scrolls" (basically word balloons) - and captions, and (mostly) real sequential art. I've never seen anything else that comes even close to it, and by all accounts, neither has anyone else.

It may not be a modern comic book - but it's a comic book as far as I can tell. I don't think there's any other illuminated manuscript that is as complete, sophisticated, and innovative a sequential storytelling work.

If this were printed and seen by more people, the comic book medium would have taken off centuries earlier, IMHO. But it wasn't. It was tucked away in a monastery somewhere and few people ever saw it. It ended up being forgotten for centuries until it popped up again around 1816 when a banker sold it to an avid book collector, Thomas Coke, Earl of Leicester, who inherited Holkham Hall and its library and set about restoring and expanding it.

The banker wrote, “a very curious MS. just brought here from the Continent. . . which I think one of the greatest curiosities I ever saw”.

Sequential art got invented over and over and over by one artist after another until one day centuries later, some teenaged boys found their newspaper strips gathered together in a cheap format, and suddenly comic books were popular and like new.

And then a lot of people who didn't seem to realize that books had had pictures in them for centuries got all up in arms about the harms of books with pictures in them.

I think it's funny that it is called the Holkham Bible Picture Book. There really was no "comic" art language when this work was created or when academics began to catalogue this sort of thing. Will they change the name now?

Who can say.

Anyway, another Holkham Bible Picture Book reference for you.

Look familiar?

I referenced it in this scene in Chivalry.

One of the fun things about the Holkham is that it opens with a discussion between a friar who has commissioned the work and the artist. The friar admonishes the artist to do a good job on the project because it will be shown to important people. And the artist responds, "Indeed, I certainly will and, if God lets me live, never will you see another such book."

He wasn't kidding.

You can see the entire manuscript HERE.

Sponsored by my Patreon. Thank you.

#chivalry #neilgaiman #neil gaiman #darkhorsecomics #dark horse comics #illuminated manuscript #medieval art #medieval manuscripts #watercolor #watercolor art #king arthur #arthuriana #arthurian legend #sir galahad

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cochineal-leviat · 5 months

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Sweet Dreams, Stardust

Okay, so I have a lot of feelings about In Stars and Time. But let me say first, wow, this game irreversibly changed my brain network. For anyone who is considering buying this game, please do. I don't think I've had a story touch my heart and mind like this for a long time. And that goes without mentioning the stunning visuals and entertaining battle system. (Be careful, though, because this game handles heavy topics regarding mental health)

If you're still hung up on buying it but are curious, there is a free demo on Steam if you like to try.

Thank you, @insertdisc5, for this gem of a game. I will be turning it around in my head like a microwaveable gourmet meal for months to come.

Technically the illustration has no spoilers (unless you count Siffrin having a good nap as a spoiler). But I will be going into heavy spoiler territory under the keep reading since I need to get my thoughts on this game off my chest.

And a monochrome version because you know me, I can't help myself. Even in black and white art pieces, I will put in some colour.

And a very tiny Loop

Initially, I was going to do a piece with a theatre stage and the cast (Siffrin, Mirabelle, Isabeau, Odile, Bonnie and the head house maiden) taking a bow and finally leaving the spectacle to a life not controlled by a script and Wish Craft. But it was more fitting to put my feelings into creating a peaceful scene. Like, oof, I needed this very badly. I used sepia to make the painting warmer and added some more details like headcanons. The stars/colours might be remnants of Siffrin's transformation. Or maybe they were always there, but he never paid attention to it. Who knows.

I'm going to keep this brief. Otherwise, this post will take way too long.

I adore Siff's character. It's perfect for a game and narrative such as this. I saw a post not long ago on Tumblr going into depth about how their role as the rogue and not the hero works so well, so I won't linger on it for long. But how they would rather listen and fade into the background perfectly aligns with the player's experience of being the silent observer. (And the nodding off that changes into zoning out. It took me way too long to realise that small but essential narrative change) Oh, and the portrait change! It flew over my head until I was staring at the game menu. I was so confident Siffrin had a mischievous grin and not a frown. I always feel slightly surprised when the party asks for Siff's opinion or mentions that they have been too quiet. I felt Siffrin's excitement like my own when he got excited at finding clues to end the nightmare they were in. So I knew it would end up falling on their face because they were too excited. I just had this bad gut feeling the whole time during Act 4.

And oh boy, speaking off acts. I thought it would have been the standard 3. Boy, I was wrong. Whenever I felt I was nearing the end, I was thrown back at the start with more mysteries than answers. It made exploring the game intriguing since there is almost no information about it online (at the time of writing this post). There is the Discord, but I didn't know about it until I finished it.

This game has a lot of secrets, and I had a lot of fun uncovering them. The looping mechanic works so well in discovering little details and further leads. (even though my stubborn arse kept trying to do everything in the least amount of loops as possible. I thought the ending would be different if I exceeded a 100. My final number is 59. I am still not sure if I should be mad about it not being a rounded number like 60 or that I went over the 50 threshold)

However, it is a good thing that only some mysteries were solved. Like, what's up with colours in this world? Everyone sees in black and white, and the idea of shades and colours is only spoken of in scientific studies. They do exist and are not a part of the disaster that happened to Siffrin and their land. But there is definitely something mysterious about it. I adore how the dialogue reflects this, as the characters do not speak of shades or colours. Isabeau expresses surprise to see a streak of red colouring the sky in Act 6. It makes you think about how colour is perceived and how you describe it. (The lore inside this game is immaculate. I eat this shit up)

We never find out the name of the country north of Vanguard or what it was like. We can only infer that the beaches had black sand, with shells that shine like stars, high-reaching mountains, forests and plains. Which is vague and yet intriguing enough to make you wonder. It connected me to Siff and King because I also wanted to know. I was desperate to know. I needed to know. But in the end, we never will know because that is not the story's point. Siffrin even says in the game, that King should let go because he is hurting everyone and everything, including himself, in his desperation to preserve Vanguard. This is all the more ironic when Siff accidentally does the same with his family and the loops. I might gush more about what the country might be like and their technology in another post. This game makes me want to theorise. This is the first time I've wanted to write and post theories. ISAT fucked me up good.

Which, by the way, was genius. Siffrin and King are mirrors of each other. Siff does not have King's disastrous ambition, but their love/obsession will be the downfall of both of them. They have more than being each other's countrymen in common, and I imagine Siff despises that.

I love the fact King's question to Siffrin before the showdown was/could never be answered. Usually, in a game such as this, you must figure out how to solve everything, especially for the big bad. But that was never the goal. King is a delusional monster who will not stop before achieving his dream. He will raze everything to the ground and hurt many people because he must succeed. It is what he desires. Nay, the universe wills it. What a witless excuse that can easily be made into someone's truth. Especially to somebody who is driven mad with grief.

How King's character's done is so excellent. Because, at first, I wasn't scared of him at all. He was just the big bad, and I felt nothing much but the glory of victory when Siffrin outsmarted him by looping and making sure Mirabelle learned the shield spell that would protect the party from freezing in time. But each time you fight him, you get more frustrated until Siff figures that talking to him might be fruitful. It does, but unfortunately, you and Siffrin leave yourself emotionally and mentally vulnerable. King stops being a one-dimensional villain and changes into an actual person. Someone you can sympathise with and possibly mend peace with without fighting. You and Siffrin opened his heart for a kindred spirit and got hurt.

King stopped being a monster and became human. And while monsters are wretched, humans have intent behind their cruelty. I felt so betrayed, so angry, but most of all - terrified. I felt it when Siffrin spiralled when fighting King again after their actions caused such a catastrophic turn of events for Bonnie. Every time after that, the fight with King felt tense and nerve-wracking in a dreadful way. Because even victory could not soothe the dread I felt. (The track 'It's finally over" will forever haunt me. I already feel anxious whenever it cycles to that when I listen to the playlist)

He was not, however, the final villain, even though everything that happened was King's fault. You were always your greatest enemy (or Siffrin in this case, since you are supposed to be Siffrin). I never could have guessed that the whole reason why Siffrin could not escape the loops was because Siff accidentally wished to never let go of their friends. This reminds me of Modaka Magica, where (spoilers for the OG anime) Homura goes back in time so much that the universe ties itself around Modoka, making her a waiting egg whose wish and magic will be massive when she becomes a magical girl. The one thing Homura was trying to prevent.

(Siffrin and Homura are identical in that sense. Shy characters who are loyal to a fault but are rendered into something cold, bitter and cutting by their traumatic experiences. Only Siff has people who care about them and would do anything to save him, too, whereas Homura never lets go, making the world a worse place to live in. Yes, I did go into doomed Yuri. That anime lived in my mind rent-free in my mind for years)

The Head House-maiden not being the villain was also a great touch. I am used to the apparent antagonist turning out not to be the big bad and the trusted, friendly character ending up being the evil one. Twist villains no longer work when everyone expects them to be villains.

That was my biggest theory as I played. The second biggest being that Loop is someone who enjoys Siffrin's suffering. I am so glad that was also not the case. They are apathetic but not cruel. Never intentionally, anyway. They were like the player, urging Siffrin to go deeper into the mystery to solve it. Ultimately, I chose and made cold and cruel decisions simply because I wanted to see what would happen. So yeah, I warmed up to this cosmic star thing as the game went on and even started trusting them. Act 5 really is a punch in the gut. I am so sorry, Loop. Thank you for coming through in the end.

Oh man, this is so long, and I haven't even gone into the main cast. I will leave that for another post. They are such great characters, as are the people of Dormant and the House. (Don't think I don't see the wordplay in this game. Very clever)

Going into this game completely blind was the best experience I could have had. I felt anxious, happy and scared so severely that my neurons were rearranged. I don't know if there are more endings (aside from the obvious action of attacking Odile in the True(?) ending of the game), but I am taking a break from it to make art and write for this game before I dive back into despair-o-land.

Anywho, thank you for coming this far and reading my ramblings. Have a fantastic day or evening further! o(*'▽`*)ブ

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haphazardlyannotated · 1 year

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Steven Universe told from the perspective of other characters

Garnet: A story of gay empowerment from start to finish. As a book it would be titled either Made of Love or Stronger Than You and feature Garnet's gauntlets with her wedding rings on them as cover art.

Amethyst: A seemingly wacky coming of age story that drops the most heartfelt moments when your guard is down. The cover resembles kids' detective stories, the kind where the whole gang is looking around for clues to the mystery.

Pearl: Everything up to Rose's death is an ancient literary classic titled The Ballad of Rose Quartz, illustrated with intricate inkbrush paintings. Steven Universe season one to three is the kind of introspective life after tragedy novel you pick up to look sophisticated reading. It's probably titled Without Her or something similiar. I don't have a title for season four and onwards, but the blurb is "it's not easy to manage twenty girlfriends, two life partners, a son and a dark past at the same time!" It's much more lighthearted than the previous two, but still prone to punching you in the emotions with little warning.

Connie: A magical adventure series just like the Unfamiliar Familiar! It centers Steven the magical boy with his best friend and eventual love interest Connie as the female lead. The tone gets a little darker after the first book/season, but less so than the original Steven Universe (let alone Steven Universe Future).

Greg: First a coming of age story, but unlike Amethyst this one is about breaking away from toxic people in your life. This story gets its happy ending when Greg finally finds someone he can be himself with in Rose. The time until Rose's death is a romantic comedy titled My Girlfriend, her Girlfriend and Me and conists mostly of shenanigans. After Rose's death and Steven's birth, it turns into something more bittersweet centering Greg's worries about being an adequate father to his magical son.

Peridot: It's titled How I learned to stop worrying and join the Rebellion and is easily the most lighthearted installment here. Our dorky protagonist is very obviously a somewhat unreliable narrator, but in a funny way. She encounters a few struggles, but they are quickly overcome with the power of friendship.

Lapis: This is just multiple whump fics. They're in a collection titled Bad Things Happen Roulette. Steven Universe the Movie is a pretty standard fantasy adventure with a group of powerful heroes though, and Steven Universe Future is the fluff fic with a smidge of angst you'd read as a pick me up after Bad Things Happen Roulette.

Bismuth: The war is a good vs evil sci-fi story with lots of social commentary. The Diamonds are definitely irredeemable here. I don't know what to do with the few episodes of the original Steven Universe she was in, but the movie is an empowerment narrative against systemic oppression titled Still Standing, or something in that style. Steven Universe Future however is a romantic comedy.

Rose: This is just a straight (well, bi) up tragedy. Our protagonist desperately tries to recover from her childhood trauma and be a good person, but is ultimately unable to escape the prison of her own mind. The book wins several literature prizes, but very few people actually read it because it's just too depressing.

#su #steven universe #su garnet #su amethyst #su pearl #connie maheswaran #su peridot #su lapis #su bismuth #su rose quartz #garnet #amethyst #pearl #peridot #lapis #bismuth #rose quartz

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firstkanaphans · 6 months

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Is Only Friends Slut-Shaming Boston?

I’m going to be real honest here. When this idea first started making the rounds, I just thought it was a bad take, but then so many people were saying it that I started to wonder if I had missed something. So, I rewatched the finale and now can confidently say…it’s a bad take.

Do I think the narrative is punishing Boston? Abso-fucking-lutely! But is it because he’s a slut? No, of course not. (All of these assholes are sluts!) Boston is being punished because he slept with his best friend’s boyfriend. And—hot take—but I don’t think that’s an unfair reason for the narrative to punish someone. Even sluts need to have boundaries sometimes.

The first major complaint I’ve seen is that the narrative is slut-shaming Boston by making him the only character who ends up alone (which is categorically untrue because Nick also ends up alone, but that is neither here nor there.) This story only had two possible endings: either Boston ended up alone or he ended up with Nick. And I think, if given the choice, this is the ending Boston would have chosen for himself. This isn’t a sad ending for him. He’s unhappy being in a monogamous relationship. This is what he wants.

This is also just a ridiculous argument altogether because if you think Only Friends is slut-shaming its characters, the last thing you should want is for one of your sluts to suddenly decide not to be a slut because of the healing power of love. I would argue that forcing a polyamorous man into a monogamous relationship would be even more sex negative than what happened in canon.

And for those saying polyamory should have been considered, I would just like to remind you that there are two people in Boston and Nick’s relationship and they both deserve a say. That is, very literally, what ethical non-monogamy is. It has to be consensual.

From day one, Nick has wanted to be in a monogamous relationship with Boston. That’s what their arc is all about. And when they finally get together in episode eleven, Boston makes it explicitly clear that monogamy is one of the terms he’s offering. So while I think it’s perfectly valid for Boston to want a polyamorous relationship, I don’t think it’s fair to expect Nick to just accept that when he was promised differently. The central conflict here is not Boston’s promiscuousness. It’s that Nick wants a monogamous relationship and Boston doesn’t. And that’s okay! Boston is free to live his “fun and sassy” life as Nick calls it (with no judgment whatsoever), but Nick is also free to live his.

People have been dragging Sand for telling Nick not to “lower his bar” for Boston, insinuating that this is slut-shaming language, but I actually think the conversation between him and Nick perfectly illustrates why this whole situation with Boston is not slut-shaming. Sand spells it out clearly: “People have different ideas about this,” i.e. “You and Boston have different ideas about this. He wants one thing, you want another. Don’t change for him.” He never suggests that Boston’s way of living is bad, he is simply saying that it’s not compatible with Nick’s.

The only argument I have heard in favor of Only Friends slut-shaming its characters that I feel holds any water is that Boston never received a proper apology for any of the horrible things that were done to him—but then again, neither did Top. Now this could certainly be because Top is a slut, too, and therefore doesn't deserve apologies, but I think it’s far more likely that the directors were simply running out of available screen time.

Boston ends the series having re-kindled his friendship with Ray and Chuem. He has moved to New York to live out his dream. He is single—which is what he wants. I don’t think this is a bad ending for him. Boston’s biggest slut-shamer has always been Mew and him sleeping with Top only reinforced that idea. If you think the narrative is slut-shaming Boston, I think you’re only seeing things from Mew’s perspective. Mew is slut-shaming Boston. Mew is punishing Boston. The narrative remains neutral.

TL;DR: No. Boston is a slut and he is being shamed, but the two are unrelated.

#only friends the series #bostonnick

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justlikeeddie · 4 months

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all of layton and nikita's strictly dances ranked CORRECTLY by ME

14. Samba, Week 1

unfair to have to rank this one really because nobody really knows what they’re doing in week 1. FASCINATING to go back and watch this though. obvs this is strong in the context of a first week dance! but knowing where they’re going to go from here… this is the one and only time you can see that nikita is dancing layton through the steps and keeping him afloat. they’re not yet a PARTNERSHIP here. they don’t KNOW each other!!! anyway good luck to these boys with navigating what they are going to experience over the next three months <3

13. American Smooth, Week 10

the infamous bottom-two dance. a result which i believe was undeserved!!! but the american smooth IS the most boring category on strictly unfortunately, so it’s a humble placing for this one. i did not love their outfits, for once! why don’t they go together. why does nikita look like peter pan. however, obviously i liked it when they both picked each other up and did a little skip in the air. also enjoyed how much craig enjoyed being bammed up by the ending.

12. Rumba, Week 12

controversial to place this so low in the ranking perhaps?? obviously this was a complex routine that they performed beautifully AND was very tender and intimate. but the rumba is the second most boring dance on strictly after the american smooth i’m afraid I’M SORRY. however, points awarded for nikita saying afterwards that dancing this felt like the rest of the world fell away and they were the only two people in existence. girl what

11. Salsa, Week 5

a great dance! fun! good vibes! their first lift! followed by a bit that i like where nikita has to sort of kick layton upright again. loses points ONLY for being perhaps their least homoerotic dance, which one of them, i guess, has to be.

10. Tango, Week 6

all the ingredients for greatness are here. TANGO. HALLOWEEN. layton is in high goth drag. nikita looks a bit like paul gross as geoffrey tennant as hamlet in the flashback sections of slings and arrows s1. but weirdly i don’t think this dance quite lives up to the level of drama i expected from it. having just rewatched it i think it’s because they’re ACTING like it’s a MELODRAMA, and it FEELS like they’re acting, as opposed to the way they usually totally inhabit the narrative of a dance. however. the switch from this vibe into the denouement - the BACKFLIP (fuck!!!) - and then the breathy, drawn-out final moment, which they suddenly ARE inhabiting, braced over each other and staring into each other’s eyes like they are ON GOD going to fuck in the middle of the dancefloor, is astonishing. once again i am asking the bbc if this is what they thought they were going to air

9. Cha-cha-cha, Week 4

okay. we are entering the section of the list where everything from here on down pretty much makes me feral. layton is everything in that jumpsuit. the THROW into the SPLITS. the raw sexual dynamism somehow contained within nikita taking layton’s coat for him. unbearable.

8. Charleston, Week 12

off the charts crazy. how can people move like this. they CARTWHEELED across the STAGE for what felt like YEARS. points only deducted for the fact that when nikita cried in the interview afterwards because he loved layton so much he had to do it in this extremely silly outfit.

7. Quickstep, Week 2

they danced the equivalent of a gay leyendecker illustration in week 2. IN WEEK 2 THEY DID THIS. they’re having so much FUN here. and to follow up on the week 1 ranking, the transformation from them feeling like a professional and a celeb to two people actually dancing together happens SO fast. it’s only a week later, but already something’s changed; layton’s totally at home in the routine and nikita’s REALLY enjoying it. it’s just so nice and i love them so much :’) also the quickstep is one of my favourite strictly dances because it’s inherently funny watching grown adults run full-pelt around a room and occasionally do a little skip. perfect 90 seconds of television.

6. Viennese Waltz, Week 3

ok so this is actually one of their lowest scoring dances on the show. but NOT according to my ranking. this ought to feel as faux-dramatic as the vampire tango but it doesn’t. something is HAPPENING between them in this dance and it’s real. i could write paragraphs about the eternities contained within the long, long seconds of them holding each other after it’s over, which goes on for long enough that the editor just has to like. give up and cut away from them. i’ve been linking to the bbc’s youtube clips throughout this post, but if you have access to iplayer i strongly recommend you watch this dance as aired (i have linked to the timestamp for your convenience) in order to see the full effect of this ending. there’s something about the combination of… the sincerity of the dance. the gender of it all. the refusal to break character. nikita’s slightly baffled-looking parents in the audience lending whatever the fuck is going on here a bizarre frisson. i’m completely obsessed with it

5. Jive, Week 7

the first thirty seconds of this dance genuinely make me feel like i’m coming up. overwhelming transition from the sexy sexy opening section (why are they dressed as little sailor boys? why are they touching like that?) into the supercharged beat of the side-by-side. people pay good money to feel like this. as has been pointed out, the jive is not a traditionally racy dance, and my question to nikita as choreographer is: why

4. Showdance, Week 13

cunt. cunt. cunt. cunt. the absolute fucking serve of the matching slutty magician elbow-length gloves. nikita dropping his hat while layton executes everything perfectly. obviously in the finale, homophobia won <3 but my god. they ATE. no notes.

3. Paso Doble, Week 11

i have said this before. but dancing to BACKSTAGE ROMANCE. in a show where i (facetiously) believe they may be experiencing a BACKSTAGE ROMANCE. seems illegal. anyway. this dance is insane. almost worth them being in the bottom two in week 10 in order for them to produce the unbridled energy of this comeback. as a category the paso doble has similarly melodramatic energy to the tango, but this performance is so unlike the slightly campy vampire number; they’re IN it, they’re living and feeling and breathing every moment. something about the mood of this dance, the power dynamics of it, nikita on the floor looking up at layton in awe as he emerges at his absolute fucking fiercest - happening in THIS week, rising above the stress of relegation and the overwhelming tide of online hate, is, like, pretty incredible, tbh. also the series of searingly erotic snapshot poses at the beginning of this routine are among the worst things i have been subjected to on this show, and as you may be gathering from this list, this is a crowded category.

2. Argentine Tango, Week 8

god it was a TOUGH GODDAMN CALL on these top two places. and tbh i think this is actually, truly, their best dance. the sheer SKILL here… whatever the move is where layton has to jump in the air and kick his little leggies around… stunning. i don’t really have a comical paragraph to write about this because i genuinely think it’s an incredible piece of dance and there’s not much more to add to that. however, extra points for the truly unhinged decision to do some dom nikita roleplay at the end? again, please watch this one on iplayer to experience the full unedited effect.

1. Couple’s Choice, Week 9

as i say. probably, technically, the argentine tango is better. but if i think about any element of this routine, i immediately black out. i cannot stress enough that he is standing on his back. he is STANDING. on his BACK. nikita choreographed this dance and he was like. i want you to stand on my back. PLEASE don’t worry about it. watching this routine is like looking into the sun. if i saw two men doing this in the club i would have to politely turn away to respect their privacy. also sorry to do this for a final time but i also need you to watch this one on iplayer because nikita stays on that pole at the end for so much longer than you are expecting and then does something sooooo unnecessary. this dance should be expunged from the internet so that i never have to contemplate it again.

#strictly come dancing #scd #if u knew how long i have spent thinking about this. you would say. don't you have a full-time job? and i would say PLEASE leave me alone

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