#ILLU

[hannahlockillustration]

Falling Through Dreams.

[november32nd]

LOOKS TO THE MOON So far, all the illustrations that I've posted here have been fairly old, but this one is very recent. I'm not usually one for fanart but Rain World is both an incredible and visually stunning game and it felt wrong to not give it any love, so I sincerely hope you enjoy.

[gryphll]

🍏🍎 Apples of the World 🍎🍏

[bunibelles]

Clownfoolery (but with bunnies) ✨

[lumikhanne]

a clever mind is fatal

[bloodsadx]

boob meme.png, c. 6/10/2021

[circadraws]

for jinnie!

[ionaillustration]

something small between commissions 😎 tysm to everyone who has supported me over the last few days!!

⭐️ my comms are open! ⭐️

[pierrotsdrawer]

Top 9 posts of 2024. Happy new year!

[cicada-heart]

sketchbook pages from 2022 ❤️‍🔥🐚🌿

etsy

[semoyed]

huevember day 3: link!

[hannahlockillustration]

Patreon print reward for February's love letter tier. Link to Patreon here.

[november32nd]

Wanted an excuse to make a post thanking you all for the attention and support for my last post, so here's the uncolored base of my previous illustration. It was easily the highest turnout I've ever had on any social media platform, and I spend a lot of time working on these silly scribbles so I truly do appreciate all of you who gave it your time. Thank you.

[gryphll]

or do nothing 🌈

[emmahasadhd]

Well since yall have brought my attention back to my post, I may as well add another, and probably cooler reference. In the end, when Holmes arrives and Kitty basically comes to save the day, the background music is shortened orchetral part of the finale of Don Giovanni, which shows Giovanni's downfall and death, as he is being dragged into Hell to be punished for his sins.

(I still love the first one mentioned more as the aria is one of my favorites from Don Giovanni)

Also I would've just reblogged, but it won't let me add the clip lol

And also almost full story explained below

Just to clarify the basic storyline of DG. The opera starts with Giovanni trying to seduce donna Anna. Well lets just say that does not go according to the plan and results in Giovanni killing Commendatore, Anna's father. Anna and her fiancé swear to have their revenge on Giovanni and not to mary until the former is achieved. Giovanni tries to seduce another woman later in the story, also while being pursued by donna Elvira one of his many former mistresses, who hopes he will come back to her. Giovanni doesn't want to, since he just wants to vontinue with his not really a boyfriend material lifestyle.

(Also reffering to the beginning, everywhere is said "seduce" I would think it is not about seducing as he is just trying to escape from her fucking house while she wants to unmask him. And I won't believe she is just "so much into him that she doesn't want him to leave". But yeah, that on your own interpretation I guess, since many stage productions put it simply like this. In my mind she just stopped her assailant and she hates his guts for everything he has done)

So the ending comes like this. Giovanni and his servant Leporello are at the cemetery. Giovanni sees the late Commendatore's statue and invites him over to dine with him. To his surprise and terror, the statue actually shows up and offers him a handshake. Giovanni accepting the handshake and refusing to repent dies, being dragged to Hell. Anna and her fiancé eventually get married, Zerlina and her husband are happy together and Elvira decides to join a convent.

The subplot with Zerlina, the woman Giovanni wants to seduce and Elvira I will leave out to simplify the story, as well as some other things. But if you are interested, look it up, youtube has many excelent recordings of the whole production.

(I would reccomend an older one though, since it usually portrays the opera set in the original time period and doesn't include conceptional and contemporary direction and scenic elements, therefore makes it a good starting point for opera newbies. Nothing against contemporarily produced performances, but if you want to get familiar with the source material and don't want to pre-read everything, those can make it harder to grasp what is actually going on.)

[snaitf]

Thinking about Scandal in Bohemia vs The Illustrious Client...

Two high society clients who desire anonymity, calling on Holmes to solve a problem involving a woman with connections to a highborn gentleman. In SCAN, the King's identity is immediately deduced, but like. Holmes still takes the case. Still plots to burgle this woman, who he is told is trying to blackmail the king and ruin a royal house. And, well. Holmes HATES blackmailers.

So he starts investigating. The coachmen fawn over her - and if she is the suave cold-blooded seductress the king painted her as, then it's no wonder. She lives quietly, and has a male visitor - her next victim, perhaps. A lawyer. A safeguard, then?

And then the church happens. And she is kind to the random passerby who acts as their witness. She gave him a SOVEREIGN. Just for being there.

And THEN. Holmes stages this accident. She has been accosted so many times by the king that it is perfectly reasonable for her to see this as another more elaborate set-up, this time with a whole gang. By setting himself as a kindly clergyman who just happens to be passing by, who is HURT trying to help her, he makes it impossible for her to ignore him. He preys on the kindness to strangers that she showed earlier in the day.

But the biggest thing for me is the conversation between Adler and the clergyman.

[Granada]

A: why would they do such a thing?

H: Revenge. (Intense expression, because to his knowledge, that's exactly what HER motive is.)

A: *flabbergasted* Revenge? Are there such wicked people?

H: (pointedly) there are some people, madam, for whom revenge itself is a reward.

A: (has at this point started to suspect who he is and why he's here) *i cannot imagine* such feelings.

H: (struggle. She seems so sincere in that statement. Is she perhaps NOT the character the king had painted?) I'm sure you cannot.

The Coules radio adaptation depicts Holmes as being more skeptical of the King from the offset, which i really like. But I also think it's interesting to think about a younger Holmes, early in his career, who takes his client at his word and ends up on the wrong side of true justice.

Mostly because we then get to ILLU, where he is once again called upon by a mysterious, rich client and outright REFUSES to do business unless he knows where it's coming from.

Or... actually, The Resident Patient, where he can tell the patient is lying about his past but won't admit it, and he immediately walks out and refuses to deal with HIM.

I find it so interesting to think that the king's duplicity in SCAN affected Homes so deeply that it affected how he deals with his clients, and in the stories, Watson barely seems to notice. Like, he's surprised in both the above stories that Holmes is so hellbent on honesty from his clients that he would even go so far as to NOT take the case.

I love it in the context of Granada specifically because of the episode order. Scandal, then Dancing Men - where Holmes is irritated by Mr. Cubitt's waffling and prevaricating. The Naval Treaty - where Holmes straight up implies that Phelps himself might have stolen the treaty when he's talking to Holdhurst. The Crooked Man - where the Major's reticence and desperation to avoid even the appearance of a scandal makes Holmes snap at him and Watson.

...Shit, an Essay is brewing here, isn't it? Analyzing Holmes, Trust, and what cases he takes in the first season of Granada Holmes. Because of the 8 cases he takes after Scandal, 3 are from terrified women, 1 is from his brother, and 2 are from WATSON in this adaptation. Hmmmmm