#ANYWAYS I hope fellow Bruno enjoyers like this :''''')))

[juleslair]

Bruno Week 2024

Day 1: Sway

Kicking off with the first day of BrunoWeek2024 :)

[stacks-reviews]

New Releases 11/14/17

‘Happy New Release Day! Today brings a few new manga and a graphic novel, along with a couple of new shows/movies, and even a new video game from Nintendo.

In Books  --Fairy Tail Volume 62 by Hiro Mashima “During the chaos of war,the demon Acnologia slinks his way into the ranks. As Erza, Wendy, and Gajeel prepare to face their hardest battle yet, a strange woman shows up to lift their spirits! The woman knows the secret to sealing Acnologia away, but will the gang be able to execute her orders! Meanwhile, brothers Natsu and Zeref go head-to-head, with their lives on the line! The fate of the world sinks further into peril when Zeref reveals his ultimate mission: Neo Eclipse!”

I can’t believe this series is almost over (at least in the US). Just one more volume remains. I think I’m going to wait to pick this one up until volume 63 comes out so I can get them together. The last volume I read was somewhere in the early 50′s, I think. I started rereading the series but paused midway through volume 8 and will continue from there once the last volume is released.

--Forbidden Scrollery Volume 1 by Moe Harukawa “Where else would a girl with the power to translate any tome she sets in her lap reside except a library? Sure, some books may be more dangerous than others, but that's far from discouragement for a true bibliophile like Kosuzu Motoori!”

Books that are dangerous. That may or may not magical in some form. With artwork that reminds me of Cardcator Sakura. Sign me up. I really would like to try this series cause as I’ve mentioned before I’m a sucker for books that have books being a form of power in worlds. I did flip through some of this volume when it arrived early at my work. And it looks promising.

--Frau Faust Volume 2 by Kore Yamazaki “After narrowly escaping a battle with Lorenzo, Johanna falls unconscious. In her wounded state, the century-old memories of her first encounter with Mephistopheles run through her head. In these memories are answers Marion is beginning to understand: what is the nature of his master’s immortality, and how is her curse inextricably tied to the body of her demon? Faust, Marion, and Nico’s immediate aim is to find Mephisto’s right leg, a mission that becomes more urgent when evidence of a young girl using demonic power comes to light. To find the next piece of her precious demon, Johanna may even need to form a tenuous deal with Lorenzo...”

From the creator of The Ancient Magus’ Bride comes Frau Faust. I enjoyed the first volume of this series which included a cute short about a museum that houses invisible exhibits. I would like to see Yamazaki explore that short more in the future. The first volume follows Johanna as she tries to find the missing pieces of the demon Mephisto held captive by the church. Along the way she gains an apprentice named Marion and they meet up with Nico, Johanna’s daughter.

My favorite part of volume 2 was learning about how Johanna meet Mephisto.

--Rose Volume 1 by Meredith Finch, illustrated by Ig Guara “A classic fantasy tale about a girl trying to restore balance to a broken world. Rose must connect with her Khat—Thorne—to become the Guardian the world needs. But things aren’t easy for Rose and Thorne, the powerful sorcerous Drucilla has many powerful and demonic allies—all of them focused on stopping one scared little girl who’s desperately trying to stay alive and do what’s right.”

I have been waiting on this one since I first saw the cover to issue one earlier this year. A warrior-girl with her giant black panther companion. It was a good start to the series though the volume felt a bit rushed. A few of the pages cut off part of some sentences near the end of the volume. I am looking forward to volume 2 and hope that the pacing might find a better flow. I think it’s worth checking out.

In Movies/TV Shows --91 Days “Prohibition—a lawless era where bootleggers prosper and mobsters prowl. Avilio Bruno has grown up alone in this murky world after the Vanetti's murdered his family. One day, he receives a letter that holds the key to revenge. Befriending the don's son, Nero, Avilio works his way through the Vanetti family and sets his vengeance in motion.”

I haven’t had time to try this one out yet but I really want to. There is a standard and an LE edition. The LE has an art box and comes with a 40 page companion guide that has, ��artwork, character profiles, background information on Prohibition, the Chicago mafia, period firearms, and more.” And a set of six art cards.

--Atomic Blonde “An undercover MI6 agent is sent to Berlin during the Cold War to investigate the murder of a fellow agent and recover a missing list of double agents.”

I was really excited to see this one because of how they treated the main character. They made her fight how a woman would actually need to fight. And they made it also realistic by how bruised and cut up she was after all this was over. When she got punched in the face that bruise would stay there. Some of those fights were painful to watch just of the pain you see was being done to her. The fight scenes in this movie were just fantastic. But the plot was a little convoluted. Maybe it will make more sense during a second watch. Either way it was an enjoyable movie to watch. 

https://www.huffingtonpost.com/entry/atomic-blonde-doesnt-pretend-women-fight-like-men-and-the-result-is-awesome_us_597b3c67e4b02a8434b5df58

--Blue Exorcist Kyoto Saga Set 1 “Born the spawn of Satan, Rin Okumura decides to hide his origins, and become an exorcist. He enrolls at the Exorcism Cram School, a training institute for exorcists located on the True Cross Academy grounds. But, his cover is blown during an attack by Amaimon, the King of Earth, and he is revealed to be the son of Satan. Terrified of Satan’s blue flames, his friends start to distance themselves from Rin…It is then that someone steals the Left Eye of the Impure King, sealed away in the deepest part of the academy, and Rin and the others find themselves embroiled in an unexpected crisis.”

The newest season of Blue Exorcist is starting to release. It was a pretty good season. And now I’m trying to remember if I finished it or not. I feel like I did but now I can’t remember.... Anyway. This is an Aniplex title so it is going to be a bit higher. There is a DVD edition and a Blu-Ray. They contain episodes 1-6 of this season. But if you buy the Blu-Ray it also comes with a booklet and some postcards.

--Doctor Who Complete Series 10 The final season of Peter Capaldi as 12 and with Steven Moffat as executive producer is now out as a complete set. Pearl Mackie was great as Bill Potts though sometimes I can’t help but feel like they could have done more with her character. Once I see the season again I might change my mind but for now that thought occasionally pops up. 

My favorite episodes of this season are “Smile”, “Thin Ice” if only to watch the Doctor punch that guy over and over, “Empress of Mars”, and the two-part season finale.

--In This Corner Of the World “Based on the award-winning manga by Fumiyo Kouno, In This Corner Of the World tells the emotional story of Suzu, a young girl from Hiroshima, who’s just become a bride in the nearby city of Kure during World War II. Living with her husband’s family, Suzu has to adjust to her new life, which is made especially difficult by regular air raids. But life must go on, and Suzu - through the help of her new family and neighbors - begins to discover the joys of everyday life in Kure. Much is gained in Kure, but with war, many things cherished are also lost.”

This just looks fantastic. I’m really excited to see this one.

--Pokemon Indigo League S1 The original that started it all is out on blu-ray for what should be the first time. I love the Indigo League. It’s where I started with Pokemon. And it has some the saddest episodes I’ve seen from the series. At least up until the point where I stopped watching. I tried to pick it back up during the last season and the new Sun and Moon seasons but it has been sporadic. 

This set has the first 52 episodes of the series. It also comes with a 64 page manga sampler, a recipe card, the complete Pokerap, and a “Who’s That Pokemon” gallery. I feel like they could have done more for this release as the extras just feel like a pull for you to start buying the manga and one of their Pokemon cookbooks.

I really hope they kept the other songs in at the end of episodes instead of just the Pokerap. I love the Pokerap but I also love the other songs. Yeah, I have them on one of the soundtracks but I’d still like to see them at the end of the episodes. 

The box itself is really cool. It is designed to look like the original Pokedex.

--Preacher S2  “Jesse, Tulip and Cassidy hit the road in search of God, and quickly realize they're being stalked by a killer cowboy from Hell.”

I wasn’t as crazy about this season as I was the first. I’ve been that way with a lot of series this year. It is still a good series and had a great start to the season. And ended with a great cliffhanger.

In Video Games --RiME (Nintendo Switch version) “In RiME, you play as a young boy who has awakened on a mysterious island after a torrential storm. You see wild animals, long-forgotten ruins and a massive tower that beckons you to come closer. Armed with your wits and a will to overcome—and the guidance of a helpful fox—you must explore the enigmatic island, reach the tower's peak, and unlock its closely guarded secrets.”

I’ve been really excited for this game for a while. But I am conflicted. It is half price if I get it on my PS4 but I was really hoping to get it for my Switch. Visually it looks gorgeous and the OST is supposed to be really good. But I have heard that the puzzles aren’t very challenging. I still want to try it out. Now I just need to decide what console I want it for.

[ladystylestores]

That Old-School Runway Is Looking Pretty Good – WWD

https://pmcwwd.files.wordpress.com/2020/07/couture-stills-fall2021-1.png?w=640&h=415&crop=1

A thought crystalized clearly, before 9 a.m. New York time on Monday, less than five hours into haute couture’s first digital fashion week: The runway can’t reopen for business soon enough. The real, physical runway walked by real, live models in venues open to — hope against hope — live audiences.

This couture season was destined to be a learning curve, one necessitated by an unforeseen, cataclysmic global pandemic that attacked without notice, and certainly without respect for institutional events we once held sacrosanct, like fashion weeks. Thus, to critique fall 2020 haute couture’s creative output at all negatively may seem unfair and even small. But sometimes, “small” is reflected in the job description. The point here isn’t to criticize  — Oh, Lord, how pretentious are some of these film shorts (but, oh, Lord, how pretentious are some of these film shorts) — but rather to note that, early on, this digital fashion week is making the live show model feel plenty relevant, and even essential.

“I think [the week] won’t have the same splendor as a normal haute couture fashion week,” Bruno Pavlovsky, president of fashion and president of Chanel SAS, told WWD on Monday. He nailed it.

Technology has changed our lives with more power, speed and wonder than we could possibly have imagined 20 years ago. But fall’s early couture showings indicate that digital has a long way to go — light years — before it can replace the live fashion event. Oddly, watching these short films under the current forced intimacy — home alone — one was reminded of the genuine, enjoyable intimacy of actually “being there,” an intimacy borne of the gathering of a finite number of people in a finite space watching a one-time-only event, shared communally. It doesn’t get much more intimate than that.

To expect the short-films construct to substitute fully for fashion shows, immediately and seamlessly, is ridiculous; film and live performance are not the same, and this inaugural digital fashion week was orchestrated in haste. But who expected to be over it midday through Day One?

Since March, the haute houses have had to shift gears on a dime to try to make compelling brand statements for fall — perhaps inclusive of a real collection, perhaps not — in a medium not previously utilized for that specific purpose in a major way. At the same time, as a genre, fashion film/video is no longer special. It’s everything and everywhere, a 24/7 onslaught, from high-minded to cheesy and from mega-brand messaging to influencer/editor musings on topics from red-carpet winners to the best summer t-shirt. To be memorable, a fashion film must resonate with power. But watching back-to-back on Monday, the viewing got dull.

For some reason, fashion seems to have decided that “interesting” house-messaging must be capital-A artful, with moods registering between soulful and downright dark, sometimes to the point of skin-crawling pretension. That was the case with Monday’s first seven offerings. One by one, they’re fine; some are even beautiful. One after the other, they made for an exhausting litany of heartfelt, ethereal, introspective and sober — in too heavy a dose for one workday morning.

Schiaparelli opened the couture film festival with a mini feature on creative director Daniel Roseberry’s “Collection Imaginaire” — so titled because the collection won’t be produced. Rather, from his favorite outdoor perch — Washington Square Park in Manhattan, far away from the house headquarters on Place Vendôme — Roseberry sketches out the collection that’s in his mind. No words, just intense drawing scored with intense music against (happily) a beautiful blue-sky day.

Next on the schedule, Ulyana Sergeenko’s film takes the respect-for-craft route, highlighting the outside Russian lacemakers with whom the designer works before shifting focus to her atelier in Moscow. Reverential scenes of busy workers are spliced with photos of the Forties Hollywood sirens who inspire Sergeenko’s work. The film closes with a fast-moving take on a fashion show, a Busby Berkeley-type kaleidoscope of models, only digital, and one of Monday’s few overtly upbeat elements.

Maurizio Galante’s film is seven minutes of a woman walking downstairs. Stairs that appear to be elegant Haussmann-era Parisian stairs, but stairs nonetheless. She descends to voiceover incantations of color names delivered with great passion by a female speaker: “Bleu! Bleu! BLEEEU!” (Add 12 more “bleus.”) “Mauve! Mauve! Mauve! (Add nine more “mauves.”)

Iris Van Herpen enlisted filmmaker Ryan McDaniels and “Game of Thrones” actress Carice van Houten for her film, a mesmerizing study of a single dress — white structured petals with black center filaments — in her signature oeuvre of poetic high tech. Despite some dense accompanying show notes, the film itself is dialogue-free, a creative treatment shaping up as couture’s first bona fide trend.

Through much of the morning, the clothes’ screen time varied, from no real clothes at all at Schiaparelli (though Roseberry’s illustrations project a distinct power-woman attitude with dashes of house-proud surrealism) to Van Herpen’s single dress to Sergeenko’s mini collection, each look shown in full focus. Galante’s stair-walker has numerous costume changes which look lovely — what you can see of them, anyway. Given the moody-broodiness of it all — including the blurs of those passionately identified hues — the clothes were hardly the point.

By the time Maison Rabih Kayrouz and Ralph & Russo aired at 10 and 11, one couldn’t help but delight in sightings of their orange and hot pink dresses, respectively. Like Van Herpen, Kayrouz focuses on the creation of a single dress, his crafted entirely from strips of orange ribbon. The film highlights the dress’ journey from Beirut to Paris, against captivating music by the singer Shadia, which offered distinctive relief from the morning’s more tedious soundtracks.

Ralph & Russo’s Tamara Ralph provided a different kind of relief. She opted off the film artistry path in favor of speaking — yes, words — straight-on into the camera, for a while at least. She discussed her inspiration — the Seven Wonders of the World — before introducing her brand’s new avatar, Hauli, whose name “symbolizes strength and power.” Born of the necessity to find new ways to show clothes in the COVID-19 era, Hauli flaunts several form-fitting gowns against those Seven Wonders backdrops.

Yet, as always during couture, Monday was “Dior Day” — and a curious one, to boot, as once or twice the house’s visually exquisite film veered toward fashion satire. (See preening Narcissus, below.) Maria Grazia Chiuri commissioned Matteo Garrone — he directed last year’s Pinocchio — for “Le Mythe Dior.” In it, two handsome young porters carry a Dior dollhouse filled with miniature dresses through an enchanted woodland populated by magical creatures — nymphs, giant snail, living statue, mermaid, Adam and Eve (or some such naked couple kissing in a tree), Pan (or some such beautiful horned fellow) and Narcissus, whose Sophia Petrillo-meets-Horshack hairdo should have been rethought.

Along their route, the porters stop to allow the mythic types, some in states of semi-undress, to admire and select clothes. Now, the unwoke reality is that most of us look better in clothes than naked. But these young beauties are earthy goddesses (not to mention gorgeous young women in real life). The idea that they’d be so smitten with dresses from the human realm suggests unbecoming self-reverence by the house. Maria Grazia likely didn’t think of that, and she didn’t make the film, Garonne did — oh, well. A more difficult issue: the surprisingly un-diverse casting.

A fashion matter is less troubling. For this collection, Chiuri created 37 miniature looks — doll-size clothes, done to human scale. WWD’s preview featured mostly Fifties-inspired ball gowns. But the dresses chosen by the woodland lasses are more of the Mount Olympus peplos sort, a favorite of Chiuri’s, and nymph-appropriate. They’re beautiful, but the dichotomy makes the focus of the collection unclear. Film-wise, Garrone worked the no-dialogue approach, setting the non-verbal, spritely goings-on to the strains of monotonous music, with a running time of about 10 minutes. Though not at all sober, the lyrical-ethereal vibe at times flirted with tedium.

In aggregate, this sequence of films lacked a fashion “wow” factor, a film-short version of that instant when, at a live fashion show, a collection — or a single dress — just takes your breath takes away. Apart from that, while the productions weren’t downers per se, none delivered something that would feel great right now — a moment of full-on joyful fashion distraction from life’s current larger grim realities. Oh, for some haute joy. Or intrigue. Or something where the mind doesn’t wander for the duration. Or dialogue.

Still, be careful what you wish for. Morning session over, the time came for afternoon viewing. First up: Antonio Grimaldi’s film by Asia Argento, who also co-stars as the elder in an abysmal mother-daughter relationship. The work opens upon the ghostly daughter, clutching a bouquet of dreary flowers against her blood-stained white dress. She’s polite. She introduces herself: “My name is Ælektra, the Unhappy. My companion is grief.”

The runway can’t reopen for business soon enough.

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